<span>Church of the Jubilee</span>

Richard Meier

Three years after the planned completion date, the church designed by Richard Meier was solemnly opened with the participation of Pope John Paul II. In 1996, Meier won the invited competition against Tadao Ando, Günther Behnisch, Santiago Calatrava, Peter Eisenman, and Frank Gehry. The church is located in a relatively new residential area ten kilometers outside of Rome. The traditional white aesthetic of Meier is dominated by three prefabricated concrete arches (ranging from 56 to 88 feet tall) resembling sails. The white color of the concrete was achieved by adding 2,600 tons of crushed white marble from Carrara. To ensure the white remained white, Italcementi developed a special type of white cement. Harmful substances do not settle on the concrete surfaces made from this cement but oxidize into hydrocarbons, keeping the surface clean, which is an invaluable advantage in smog and dust-laden Rome. Engineers spent tens of thousands of hours on the project, devising sliding formwork, a mechanism for lifting twelve-ton prefabricated elements, and threading kilometers of steel tie rods through the construction. And all of this just for three white sails. The spiritual aspect of the building will be addressed in the following part of the text. (pš)

The Church on the Path to the Third Millennium
A characteristic feature of this church is its multiplicity of meanings. Most visitors admire the architecture and the construction of the church, which makes it a work of art. The spiritual and liturgical significance of the building holds equally great importance for the observer. Let’s start with the shape of the church nave, which resembles a real ship - “Peter's ship.” In Christian tradition, the church represents the ship of the “People of God” led by “Peter” - the pope.
This church, which Pope John Paul II wished for as a remembrance of the Jubilee year 2000, was meant by its author to depict “the church as a ship” sailing through the sea into the third millennium and, in a figurative sense - due to its location - “the ship of the community church” arriving in the local neighborhood. The three sails that span the main church nave and the side chapel symbolize the Holy Trinity, and the largest of the sails is meant to represent God's protection over Christian society. Although most of the horizontal and vertical surfaces are glazed, no direct sunlight shines into the church. The only exception is in the summer afternoon when a beam of light penetrates through a small window above the presbytery, illuminating the crucifix.
The altar again takes on the shape of a boat. Moreover, it is positioned contrary to the customs in the west, which is the usual location for the chancel in classical churches. It is traditionally situated there because the sun represents Jesus as “the light of the world” in Christian symbolism, and the altar faces east to emphasize the place where Jesus is present during the Eucharist (Holy Communion), just as the sun rises in the east. In this church, the bow is to the east, so to speak, the “fore” of the boat, while the altar is located at the stern, where the engine of the boat would otherwise be. The Eucharist is the engine that propels the ship forward.
When one participates in the liturgical service, they have - thanks to the completely glazed roof as well as the glass front (eastern) and back (western) facades - the feeling of praying under an open sky directly to God.
The tabernacle (sanctuary) is not evidently placed centrally, as it is located in the right corner of the chapel. Not so much because it is not important, but rather the opposite, it is more visible from the main nave.
Even though it is a modern church, it still follows the classical image of a religious building in a certain sense, especially the “Gothic” - with its height, slender façade with a side belfry.
Five bells were manually cast at the Pontificia Fonderia Marinelli in Agnone. Each of the bells features representations of both local and universal significance: The first and largest bell is dedicated to Europe and was consecrated to the Virgin Mary. This bell also includes a list of all official anniversaries from 1300 to the present day, as well as the first mass of the local community. The second largest bell is dedicated to America and was consecrated to Saints Peter and Paul, the patrons of the city of Rome. Additionally, it bears the date of the first baptism in the community. The third largest bell is dedicated to Africa and was consecrated to Saint Charles Borromeo in honor of Pope John Paul II, whose baptismal name is Karol. It also bears the date of the first burial in the community. The fourth bell is dedicated to Oceania and was consecrated to Saint Cyril of Alexandria and Saint Thomas Aquinas - in honor of both communities to which our territory previously belonged. This bell incorporates the date of the first marriage in the community. Finally, the fifth bell is dedicated to Asia and was consecrated to Saint Francis Xavier and Saint Therese of Lisieux - the protectors of missions. It bears the date of the laying of the cornerstone of the church complex, which can be seen in the small square in front of the main entrance to the church.
Inside the church, in the corridor leading to the sacristy right behind the presbytery, stands a crystal reliquary with liturgical objects made of silver, designed by Bulgari specifically for this church. They are true masterpieces that perfectly resonate with the church through their elegance and simplicity. They are used only on exceptionally significant liturgical feasts. Above the chancel, you can admire a 17th-century crucifix. It is made of papier-mâché with a wooden cross, donated to the church by another Roman Christian community.
The pictorial (and sculptural) representations throughout the church are also presented very austerely: “Via Crucis” (Way of the Cross), a statue of the Madonna, and a flat relief of “The Merciful Father.” The austerity in the pictorial representation and architecture captures the essence of the entire building.
The decision to create such a construction on the outskirts of Rome ultimately resulted in the appreciation of the entire peripheral area. The building leaves its mark not only on visitors but also on the residents of this suburban neighborhood.