圣玛丽和圣特克拉教堂
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1947年，乔瓦尼·米凯卢奇负责重建圣玛丽和圣特克拉教堂，该教堂在第二次世界大战的轰炸中被毁。
决定在城市东南部的一个空地上重建教堂，当时该地区种植着苗圃。
该项目经过多次修订，于1949年获得民事和宗教当局的批准，但由于与承包商在建筑结构稳定性问题上的分歧，施工直到1955年才开始，并于1956年4月完成。
教堂采用拉丁十字平面设计，设有单一的 nave，短的横臂倾斜朝向后殿。
砖砌的建筑体量由柱子分隔，坐落在高高的钢筋混凝土基座上，基座覆盖着来自维罗纳的红色石灰岩板，表面可见化石化的菊石。
光线透过狭长的窗户和后殿及横臂的大型彩色玻璃窗洒入室内。
包裹建筑的钢筋混凝土框架在内部也有体现，包括屋顶桁架和独立的钟楼体量。
内部空间简单而朴素，两侧各有7个由柱子形成的壁龛，设计用于安放十字架之路的雕塑，这些雕塑由昆托·马尔蒂尼、弗拉维奥·巴托洛齐和乔里奥·维瓦雷利等艺术家创作，祭坛上方的十字架也出自他们之手。
突出于立面的基座内设有洗礼堂和婚礼小教堂，位于入口门廊的两侧。
该建筑显得简朴而严肃，回忆起乞讨修道院的建筑传统；米凯卢奇对神圣空间的初步理解更多地体现在对过去构成遗产的尊重上，而非创造性的冲动。
砖材的使用、立面上的柱子以及简单的设计都让人联想到附近的圣多米尼克教堂，正如同一项目报告中所述。
In 1947 Giovanni Michelucci was in charge of the reconstruction of St Mary and St Tecla Church, destroyed during the bombing of World War II.
It was decided to rebuild the church in a lot of south eastern outskirts of the city, at that time planted with nursery.
The project, after several revisions, was approved by the civil and religious authorities in 1949, but the construction began only in 1955, due to disagreements with the contractor on issues of structural stability of the building, and was completed in April 1956.
The church has a latin cross plan with a single nave, with short transepts inclined towards the apse.
The brick volume is punctuated by pilasters and stands on a high base of reinforced concrete, covered in red limestone slabs of Verona, with visible fossilized ammonites.
Light filters in through slit windows and large stained-glass windows in the apse and transept.
The reinforced concrete frame, that wraps horizontally the building, also features inside, in roof trusses, and in the isolated volume of the bell tower.
The interior space, simple and sober, presents 7 niches on both sides, formed by pilasters, and designed to host the Stations of the Cross, created by artists such as Quinto Martini, Flavio Bartolozzi and Jorio Vivarelli, to which also belongs the crucifix above the altar.
The base, advanced to the facade, contains the baptistery and chapel weddings, on either side of the entrance portal.
The building looks poor and austere, and recalls the building tradition of the mendicant orders; initial approach of Michelucci to the sacred space is marked more by a respect for the compositional heritage of the past than by creative impulses.
The use of brick, the pilasters on the facades, the simple design recall the nearby St Dominic Church, as stated in the same project report.