Developed for a Reuse Italy competition, the project is conceived as a ritual promenade that unfolds as a single journey made of two complementary moments: silence and word.

The sequence begins along Via Flaminia Minor, where a monumental olive tree marks the start. As the visitor approaches, a concrete trace appears on the ground and a thin spring of water emerges at the base of an existing shrine. Together, these elements form a clear system of signs that invites movement. The path then climbs uphill as a dense green corridor; the light gradually dims. Near the summit, the water meets a fragment of an existing boundary wall, and the olive tree and concrete marking reappear. Here the wall defines a forecourt conceived as an ordered meadow, deliberately set against the surrounding weeds left to spontaneous growth.

This threshold introduces the project’s core: a multi-faith meditation church, intentionally not attributable to any single confessional tradition. A gentle, continuous sound of water—generated by a sequence of terraced basins near the apse—reinforces the atmosphere of quiet. The roof is an elliptical semi-dome, shaped to exploit the ellipse’s focusing property: one focus aligns with the apse basins and their sound, while the other falls at the center of the nave, where a solitary seat concentrates the acoustic experience and defines a place for introspection. The intrados is finished in gilded mosaic, while the extrados is clad in oxidized copper, a material historically common in ecclesiastical roofing.

After this moment of silence, the promenade continues. The spring carries on, intercepts an existing well, and runs alongside a row of fruit trees. The journey concludes at a final olive tree, which conceals an intimate square framed by a continuous bench tracing the outlines of now-vanished apses. It becomes the place of the word—a space for sharing after meditation—bringing the promenade to an end as a unified experience in which silence and word remain inseparable.