The origins of the parish of the Holy Family are rooted in the early twentieth century, when the expansion of the city beyond the urban boundaries dictated by the railroad tracks to the suburbs prompted a perceived need for a house of worship for the emerging Borgovilla Tempio district.

After due procedures to acquire the surrounding land in 1981, work began on the excavation of the parish center and basement auditorium, currently dedicated to Pope Wojtyla, in which the first liturgical services would be celebrated.

In 1993 the parish center was raised by one level, taking advantage of the substantial foundations and the height of the stairwell tower, which allowed the construction of an additional floor while still maintaining a projecting cornice.

[7] In that same year, moreover, it was planned to use the space of the courtyard, located between the parish buildings and the residential buildings outside the complex, to design and construct an underground auditorium, consecrated to the memory of Archbishop Addazi, who had previously made possible the construction of the church complex by means of the authorization to proceed with the donation to the parish of some land in the possession of the diocese, donated long before by Canon Rizzi, who lived there.

Donato Lionetti, having exceeded by two years the maximum age limit allowed for the presbyterate at the behest of Diocesan Archbishop Giovanni Battista Pichierri, took his leave, becoming monsignor and parish priest emeritus.

Due to its precarious structural condition, the original church of the Holy Family was included in the program agreement for the municipal district contract, which provides for its renovation.

It is placed in an antinodal position with respect to the urban fabric,[12] towards which it establishes a relationship of close correlation due to the proximity, and in some cases the adjacency, of the residential complex.

Above, the facade, in this case white in color, goes on in a continuous manner from the bottom to the top from the western end to the two secondary entrances to the east, interrupting only to leave room for the bell tower.

Along the entire façade, at a height of about six meters, runs a bronze inscription set into the white background of the wall that reads "Let the harmonies of the bells and the organ and the exultant voices of the faithful sing in this holy temple the longing for You O God."

[citation needed] The entrance is tripartite by four pillars, which will determine and support the roof of the church, between which are three rectangular portals with solid oak doors at the center of which is a glazed cross.

The path of entry leads directly to the presbyteral area and in particular stands in axis with the fixed altar, characterized by a single block of white-colored natural stone.

Perfectly orthogonal and central compared to the first path is the counter axis at the ends of which there is an exit portal leading respectively to the disabled entrance on Canosa Street and to an internal parking area at the bottom with a historiated glass surface.

The size of the pews is at their maximum at the point closest to the center of the church; at their minimum near the main exit and the altar, so as to maintain a constant distance from the walls of the hall and thus virtually drawing an additional inner octagon to the perimeter one.

Assuming that the entire church was designed with the construction criterion of béton brut so that the warping of the wooden boards used as formwork is visible, a definite order in height, from bottom to top, is observed in the use of materials for the interior: granite slabs[17] serve as a continuous base around the entire perimeter of the hall, interrupting only at the presbytery area; a horizontal wooden plank cladding concluded at the top by a band of greater height as far as the half of the hall closest to the altar is concerned, while a paved cladding of gray granite alternates with one of lesser width in white for the half of the hall farthest away; a beam that serves as a continuous pediment around the entire perimeter of the church in béton brut and separates the lower from the upper part, on which are affixed the Stations of the Cross, characterized by a wooden boat and the superimposed liturgical scene in copper; a counter-wall detached from the concrete wall, warped horizontally with wooden laths arranged alternately according to the two minor dimensions; a concrete band at the upper conclusion.

In the assembly hall there are two paintings placed on the two walls covered in wooden stave respectively: one consists of Warner Sallman's reproduction of Christ, the other of the icon of Our Lady of Pompeii, both oval in shape.

The equal sides of the presbytery trapezoid act as theatrical wings, detaching themselves from the perimeter walls of the liturgical hall and forming an uncovered corridor above that leads to the sacristy.

The beams in the roof correspond to the projection of the main entrance-altar path and the counter-axis orthogonal to it that leads to the two side exits and result in a double skylight of 96 meters of span.

The sacristy It is accessed through the two stage wings carved out on either side of the presbytery area, protected by a wooden door of similar workmanship to those at the entrance to the church.

In addition to being the place for the dressing of the presbyter and altar servers and the storage of liturgical vestments this also serves as a direct access point to the parish center and the rectory.

The addition of the last two bells was conceived later than the first eight, based on a project directed by the parish priest and promoter of the entire architectural work, Don Donato Lionetti.

Then there is the floor communicating with the sacristy where there are the parish priests' offices, secretariat, archives, classrooms for pastoral and educational activities, and a weekday chapel dedicated to Our Lady of Trust.

The hall features an elevated presidential seat, and on the wall behind it is an iconostasis and an immersion baptismal font dug into the ground, octagonal in shape with the stairs arranged to form a Greek cross.

Inside the liturgical hall, the mosaic theme is noticeably present: the back wall of the chancel is entirely mosaicked with tiles, the color of which strongly echoes that of the arches and the image outside.

The four side walls are designed according to an arrangement of the different color tones of the tiles that restores a horizontal warp of beams ranging from white to golden and from ochre to brown, passing through those in between.

The upper central surface, on the other hand, features an altarpiece with the icon of the Holy Family in the Byzantine style, thus included between the pillars spaced two meters apart,[34] which tends to detach itself from the gilded background, with St. Joseph, the Virgin Mary and Jesus, not yet an adult.

high and reads: —Novalis, Die Philologischen WissenschaftenThis phrase originates in German Romanticism and presents a strong reference to divine music and the relationship of tension and nostalgia that places man in a continuous search for God.

[42] The usual colors of the clothes worn are red for the mozzetta edged with gold embroidery, white for the alb with buttons and a sky blue cincture, to which is added the medallion with the icon of the Holy Family carved in high relief.