While designing the rebuilding project of the bombed city, Mario Ridolfi included via Primo Maggio running parallel to Corso Tacito and identified a widening 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 of Terni who were killed. To the functionality of a pedestrian connectio space, the opportunity of offering a particularly suggestive view which stretched as far as the church of San Francesco was created. It was for this reason that while projecting Palazzo Chitarrini which overlooks largo Villa Glori in 1951, Ridolfi and Frankl paid particular attention so that when looking from a corner of the building it was also possible to see the church in the distance, creating in this way, a new urban axis referring to the old town which had as extreme points the new Palazzo Chittarini and the ancient church dedicated to San Francesco. To create a connection between the new and old buildings, they made use of sponge stone. A large building that occupied a whole side of the square could not present itself as a sole square block. And hence the use of triangular balconies (already used by Ridolfi in Quartiere Italia), and a large band of cement which forms a long series of waves on the facade intended to hold the shop signs.
As with the designing of the "Leonardo Da Vinci" junior high school, Mario Ridolfi and Wolfgang Frankl completed that "plan" of a slice of the city which had begun with the planning of Palazzo Chittarini. The school stands close to the church, of which it takes some basic elements (sponge stone) and establishes a further, delicate but striking sign of contact, it highlights the windows by using ceramics, exactly as in the string-courses of the bell tower, and what is more, using the same colours. References to Palazzo Chitarrini are not lacking, with the use of reinforced concrete, neither with the coeval Casa Briganti (1959-1960), realised in corso Vecchio.
The Palazzo or "Casa Chitarrini" presents other particularities, such as partially split-level floors, while some secondary elements are of a certain interest such as the railings of the inside staircase, manufactured by Domenico Malagricci, a master blacksmith who constantly collaborated with Ridolfi and Frankl.