Why you should experience Temakinho in Milan, Italy.
Temakinho is a colorful Japanese-Brazilian restaurant where Duomo's architectural grandeur, Milanese fashion culture, São Paulo's Japanese diaspora and tropical Brazilian cooking converge steps from Piazza del Duomo.
Set along Via Guglielmo Marconi near Piazza Diaz and just steps from Museo del Novecento, the restaurant occupies the ground floor of a renovated Reale Mutua building directly opposite the Arengario, placing its tropical interiors against one of Milan's most concentrated architectural ensembles. The original Duomo design drew upon Brazil's Mata Atlântica through saturated color, botanical forms and hand-finished decoration, including a De Gournay wallpaper created with Aquazzura and personalized for Temakinho with flowers and insects, while the current Arya concept pushes the room toward urban art and a faster, more informal character. Japanese technique meets Brazilian ingredients through raw fish, rice, nori, tropical fruit, cachaça, chile and citrus, with sushi sharing the table with ceviche, fried bites and cocktails. The result is a restaurant where a concept born from Brazil's Japanese culinary culture gains unusual force from a position facing Museo del Novecento, joining tropical flavor, expressive design and Central Milan within the same compact address.
What you should know about Temakinho.
Temakinho is best known for bringing the Japanese-Brazilian cooking its founders encountered in São Paulo to Milan, beginning a restaurant concept in 2012 after discovering the depth of Japanese culture in the Brazilian metropolis and its Liberdade district. Linda Maroli, Fabrizio Pisciotta, Santo Bellistri and Francesco Marconi founded the venture, translating the encounter between Japanese migration and Brazilian ingredients into temaki, sushi and caipirinhas at their first Milan restaurant on the Navigli. Vogue Italia was already describing that original location as Milan's first Brazilian temakeria in November 2012, when its early success had prompted plans for a second restaurant in Brera. Expansion accelerated across Milan, Rome, London and the Balearic Islands, and the Via Marconi restaurant arrived in June 2018 as the fourth Milan address while a second Balearic location opened simultaneously in Formentera. Temakinho had reached ten restaurants by that point, and annual revenue had risen from €2 million in 2014 to €25 million in 2017. The founders carried the concept through that expansion until Cigierre acquired a majority stake in 2018, with Maroli, Bellistri, Marconi and Pisciotta remaining shareholders and continuing to lead the business. Mutares acquired Temakinho from Cigierre in March 2024, returning Pisciotta to the forefront as CEO and bringing Maroli back into a creative role. Another turn followed in March 2025 when Temakinho passed through a management buyout, setting the stage for a renewed restaurant structure in which the Milan locations developed separate personalities under the names Aqua, Arya, Fuego and Tierra. Via Marconi became Arya, recasting the Duomo restaurant around raw fish in burger form, Japanese-Brazilian flavors, urban art and a street-oriented format. More than a decade after Maroli, Pisciotta, Bellistri and Marconi translated São Paulo's Japanese-Brazilian food culture for Milan, the Duomo restaurant now carries that founding idea through a distinctly individual branch of the concept.
Camarão Baianinho opens the current kitchen with breaded prawn and spicy banana sauce, placing crisp shellfish against tropical sweetness and chile heat. Sashimi di gambero rosso strips away the fried exterior through red prawn dressed with coconut milk, ginger, lime zest and coriander, shifting the seafood toward a cooler combination of richness, citrus and fresh herbs. Sashimi di ricciola sharpens that register with ceviche sauce and finely cut vegetables before Tartara Mixta combines salmon, tuna and oceanic amberjack with ponzu, crisp nori and salt. Rio Bananal carries the Japanese-Brazilian combination directly into a roll of rice, floured salmon, cream cheese, sesame, banana and sushi sauce, bringing fruit into the savory structure. Camarão Popcorn returns to fried prawn with chives and kimchi mayonnaise, exchanging banana sweetness for fermented chile and creamy heat. The Arya cocktail joins cachaça, Mondoro aperitivo, jasmine, soda and fresh lime, giving the Duomo location a namesake drink rooted in the Brazilian spirit most closely associated with Temakinho. Temakinho develops its current Duomo cooking through these shifts between raw and fried seafood, coconut, lime, banana, ponzu, nori and cachaça, preserving the Japanese-Brazilian premise through combinations that remain specific to the Via Marconi kitchen.
How to fold Temakinho into your trip.
Temakinho works as the anchor for an afternoon tracing twentieth-century art, royal architecture and cathedral craftsmanship across the southern edge of Piazza del Duomo.
Begin at Museo del Novecento directly opposite Via Marconi, where the Palazzo dell'Arengario designed by Enrico Agostino Griffini, Pier Giulio Magistretti, Giovanni Muzio and Piero Portaluppi became the home of Milan's twentieth-century art collection after a conversion by Italo Rota and Fabio Fornasari. Opened as a museum in 2010, the building displays more than 300 works selected from civic holdings exceeding 4,000 pieces, with its spiral ramp rising from metro level toward the Duomo and collections spanning Futurism, Novecento Italiano, abstraction, Spatialism and Arte Povera. Continue to Palazzo Reale, whose origins as the Broletto Vecchio preceded Visconti and Sforza rule before Spanish governors expanded the complex and installed Milan's first court theater in 1594. Giuseppe Piermarini recast the palace between 1770 and 1778 for the Habsburg court with Martino Knoller, Giocondo Albertolli and Giuseppe Maggiolini, and later work by Andrea Appiani, Pelagio Pelagi and Francesco Hayez accompanied its passage through Napoleonic and Austrian rule; the bomb-damaged Sala delle Cariatidi subsequently housed Picasso's Guernica during the artist's 1953 Milan exhibition. Conclude at Museo del Duomo, created by the Veneranda Fabbrica in 1953 and expanded in 1974 before Guido Canali redesigned its presentation for the 2013 reopening inside Palazzo Reale. Sculpture, stained glass, tapestries, paintings, terracotta, plaster casts and architectural models bring centuries of cathedral production down from the spires, including Giorgio Solari's 1403 San Giorgio, originally installed atop the cathedral's first spire. The progression moves from the Arengario's conversion into a home for twentieth-century Italian art through Piermarini's royal palace and Picasso's postwar intervention into the centuries of craftsmanship preserved by Museo del Duomo, revealing the extraordinary concentration of artistic production surrounding Temakinho.
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