The church, called Santa Maria OAS, is therefore detached from the hotel according to the interposition of the water of the lake, as well as from the driveway dall'Aurelia by virtue of the pre-existence of the pine forest. "The classroom has an elliptical plan, which circumscribes at its end the vestry, and joins spiral atrium. Within this plant, the form that is found naturally in certain shells "says the same Parisi" volumetric components are very rich and complex, alternating ascending zones, in dynamic equilibrium ".
The church is primarily identified with its main room, small but capable, with an atrium and a small sacristy. The classroom comes with an elliptical plan, which shows circumscribed in one end the vestry, and joins spiral atrium. The particular shape given to the church, makes the spontaneous approach to certain shells, and in relation to these trends, the visitor is led spontaneously to assume a contemplative attitude.
The church shows with instant responsiveness physiognomy identifiable with a dose of eccentricity. Interior space focuses attention towards the presbytery, where the altar is facing the faithful, according to the request of the liturgy, through the subdivision of coverage in two areas in alternating gradient, which allow the creation of interior spaces towards increasing the presbytery. The construction is designed entirely of masonry painted with smooth, continuous and outside colored plaster colored bear brick, and inside. About the coverage in copper plates welded and riveted, it contributes to enrich under the material and chromatic profile the not large but complex building of the church. Parisi has moved in close collaboration with the sculptor Francesco Somaini engineering design and the painter Mario Radice. the first of which realizes the large bronze altar cross, which introduced the first cross on the front door to the church, pierced in the hand-hammered copper plate that covers the door, and a second in a torn sheet thick iron grate located between the atrium and the classroom.
The church is also part of a relief painting that expresses the "labyrinth of Penance" the confessional entrusted with the role of screen between the classroom and the sacristy. It is not difficult to trace, in the works of abstract art typical of Root, an intense mystical component.
According to the architect Ranellucci analysis, the opportunity presented itself to Ico Parisi as an architectural mediation between the conformation of more exceptional landscapes.