1985/87 Pier Luigi Spadolini (1922/2000) with structures by Riccardo Morandi (1902/89)
“The shape
of the church is a message of hope for the parishioners, but also for the
distracted motorists whizzing on the large avenue of Tor Bella Monaca: it seems
to say to the prostrate man: 'Raise your head again, look up to the Lord who
raises up those who have fallen (...)'. But there are two more possible
interpretations. Seen from afar, our church (...) looks like a big tent. It is
the tent that God has planted in the midst of his people. (...) God has pitched
a tent at Tor Bella Monaca also, and the house of God is the home of all his
children. In the shape of the building can also be seen two hands as in the
characteristic gesture of the Christian prayer” (Official Website of the Parish
of St. Mary Mother of the Redeemer - www.smmr.it)
“A technical
solution makes possible that the two pinnacles would trace a cross on their
summit visible only when it is crossed by the light of the sun. (...) The
structure, which is the real innovative element of the building, is built in
panels of precast reinforced concrete. Architect Spadolini was indeed one of
the first engineers in Italy to use this type of construction. This expertise
is perceived in the particular arrangement of the panels, placed in a staggered
position with respect to each subsequent one” (Massimo Alemanno)
Huge and
amazing group of wooden sculptures behind the ALTAR with “Crucifixion with
Virgin Mary and St. John” 1987 by Mario Ceroli (1938)
It is about
15 m (50 feet) high and it is made out of pine wood from Russia
Mario
Ceroli wanted to quote the Blessed Mother Theresa of Calcutta in the likeness
of Our Lady and Pope John Paul II in those of St. John
The other
sculptures and original wooden
ornaments (including the amazing two small houses for face to face confession,
without partitions) are by Mario Ceroli
“After
an initial activity as a potter in the studio of Leoncillo in Rome, he has been
sharing the experiences of Neo-Dadaist and of the so-called 'Arte Povera' (Poor
Art), identifying an original line of research that focuses on raw wood as
expressive material in a formal style rigorous and complex: silhouettes of
projected and cut figures, presented in an obsessive iteration, connected to a
space that becomes an essential theme, drawn with gouache and ink”
(Enciclopedia Treccani)
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