Palazzo Chitarrini

When drawing up the reconstruction plan for the bombed city, Mario Ridolfi included Via Primo Maggio parallel to Corso Tacito and identified an open space that linked the two streets: Largo Villa Glori.

An empty space created by the bombing that the architect wanted to preserve, in memory of the thousand people from Terni who were killed. In addition to functioning as a connecting pedestrian space, it was also an opportunity to create a particularly evocative view which stretched as far as the church of St Francis. It was for this reason that in 1951, while designing Palazzo Chitarrini which overlooks Largo Villa Glori, Ridolfi and Frankl paid special attention to the fact that when looking from the corner of the building, it was also possible to see the church in the distance. They thus created a new urban axis referring to the historic city that had the new Palazzo Chittarini and the old church dedicated to St Francis at extreme ends. 

To create a connection between the new and old buildings, they made use of sponge stone. A large building that occupied an entire side of the square could not appear as a single square block; hence the use of triangular balconies (already used by Ridolfi in Quartiere Italia) and a large concrete band forming a long series of waves on the façade to house shop signs.

With the design of the "Leonardo Da Vinci" junior high school, Mario Ridolfi and Wolfgang Frankl completed the "design" of the city’s setting which had begun with planning Palazzo Chittarini. The school is close to the church, from which it picks up on some basic elements (sponge stone) and establishes a further, delicate but “striking” sign of contact. It emphasizes the window openings by using ceramics, as in the stringcourse of the bell tower and moreover using the same colours. There is no lack of reference to Palazzo Chitarrini, with its use of reinforced concrete, nor with the coeval Briganti House (1959-1960), built in Corso Vecchio.

The Palazzo or " Chitarrini House" has other peculiaritis, such as the partially staggered floors, while some secondary elements such as the railings of the internal staircase, the work of Domenico Malagricci, a master blacksmith who constantly collaborated with Ridolfi and Frankl, are of some interest.

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