In the early 1960s, the issue of a permanent home became more pressing when the chapel of the Convent of the Good Shepherd was sold to RPI, leaving the Catholic community without a regular worship space.

On December 6, 1966, the RNF Board of Trustees passed a resolution directing its Building Committee, chaired by Stephen E. Wiberley, to develop a final plan for the C+CC.

In September 1970, the University Parish of Christ Sun of Justice was erected by canonical decree of the Bishop of the Roman Catholic Diocese of Albany.

The C+CC was conceived and designed as a functional multi-purpose facility, drawing together the sacred and the secular, religious services and performing arts, educational and social events.

By February 1969, nine national and international publications had written major feature articles on the C+CC (including a cover story in The New York Times), praising its unique mixture of utilitarian simplicity (it is an unfinished block building) and functional flexibility.

Ade Bethune [1] Archived May 3, 2006, at the Wayback Machine designed the altar chapel and main auditorium's liturgical features, including the stained glass oculus in the east wall.

Father Edward Catich [2] Archived 2011-07-20 at the Wayback Machine wrote the giant Greek, Roman and Hebrew alphabets painted on the main auditorium's floor.

In 1994, a capital campaign was begun to fund building and grounds improvements at the C+CC, and to bring the facility fully into compliance with the Americans with Disabilities Act of 1990.

In October 2003, 19th Street between Sherry Road and Peoples Avenue in Troy was renamed "Tom Phelan Place" in recognition of the RNF/C+CC founder's service to the local community.