Why you should experience Yang Sushi and Fusion in Milan, Italy.
Yang Sushi and Fusion is a contemporary Japanese restaurant where Porta Nuova's architectural experimentation, carefully composed raw fish, Italian accents and a purpose-designed dining room converge through a distinctly Milanese approach to fusion cooking.
Set along Via Gerolamo Cardano near Via Melchiorre Gioia and just steps from Piazza Città di Lombardia, the restaurant occupies a rapidly changing pocket where postwar office buildings give way to glass towers, broad pedestrian spaces and the vertical architecture that recast Milan's northern center. Sabrina Gallini and Simone Marchiorato shaped the interior through warm timber surfaces, red seating, dark tables and sculptural black lighting that draws attention inward from the surrounding high-rise district. The kitchen follows a similarly composed approach, moving raw seafood through searing, frying, citrus, truffle and Italian dairy. The result is a carefully authored restaurant where contemporary Milanese design and cross-cultural seafood cooking develop in parallel.
What you should know about Yang Sushi and Fusion.
Yang Sushi and Fusion is best known for the interior created by Sabrina Gallini and Simone Marchiorato, two named designers who gave the Via Gerolamo Cardano restaurant an architectural authorship rarely preserved in the history of an independent sushi venue. Their project organizes the long dining room through pale timber wall panels, dark tables, red chairs and large black ceiling fixtures whose branching forms establish a repeated visual rhythm above the tables. Acoustic treatment became part of the project itself, leading CELENIT to feature Yang in its Milano Restaurant Experience and later Acoustic Design publications devoted to hospitality interiors. Architectural photographer Andrea Benedetti produced the photographic series associated with the project, preserving both the broad spatial composition and the individual lighting elements developed by Gallini and Marchiorato. Yang was already operating on Via Gerolamo Cardano in 2016, placing the restaurant in the neighborhood during the period when the wider Garibaldi-Repubblica area was completing its dramatic architectural reinvention. By 2019, the Gallini-Marchiorato interior had entered CELENIT's Milan restaurant collection under the same Via Gerolamo Cardano address, connecting the restaurant's sustained presence with a specifically attributed design project. The surviving project history gives Yang a firmer factual character through Gallini, Marchiorato, Benedetti and CELENIT: a restaurant whose physical authorship became sufficiently distinct to enter a specialist architectural publication and remain recognizable nearly a decade later.
Yang's fusion approach becomes clearest when familiar sushi structures begin absorbing ingredients associated with contemporary Italian cooking. Millefoglie di salmone layers seared salmon with burrata, gazpacho and teriyaki, moving between warm fish, cool dairy, tomato and sweet soy seasoning within a single preparation. Uramaki Ebiten surrounds tempura prawn with salad, tobiko, sesame, crisp potato and teriyaki, using frying twice through the prawn and potato to deepen the contrast against seasoned rice. Uramaki Miura changes direction through grilled salmon, almonds, tobiko and teriyaki, joining the softness of cooked fish with nutty crunch. Tataki introduces another degree of heat through fish seared across the exterior and left substantially raw through the center, placing temperature itself between sashimi and fully cooked preparations. Nigiri, gunkan, chirashi, carpaccio and tartare return the progression toward minimally altered seafood through different cuts and relationships with rice. Yang develops its fusion cooking through controlled changes in rawness, searing, frying, dairy, acidity and texture, keeping seafood as the continuous element across those shifts.
How to fold Yang Sushi and Fusion into your trip.
Yang Sushi and Fusion works as the meal within a Porta Nuova route connecting a sixteenth-century Franciscan rebuilding with Petra Blaisse's contemporary landscape architecture and the international design team responsible for Palazzo Lombardia.
Begin at Chiesa di Sant'Angelo, where Milanese governor Ferrante Gonzaga commissioned a new Franciscan complex after the earlier Sant'Angelo was demolished for the city's fortifications, with Angelo Arcimboldi laying the first stone on February 21, 1552. Domenico Giunti designed the replacement church and Francesco Pirovano continued the work before artists including the Procaccini brothers enriched its decorative program; the convent later accommodated 130 friars. Spanish troops occupied the complex in 1745 and an ensuing fire destroyed the conventual library and works of art, beginning another sequence of disruption that culminated in nineteenth-century suppression, military use and the Franciscans' recovery of the complex in 1922. Continue to Biblioteca degli Alberi, where Dutch landscape architect Petra Blaisse and Inside Outside won Milan's international design competition in February 2004 for a contemporary botanical garden across the former Porta Nuova railway terrain. Agnes Denes temporarily transformed five hectares of the future park into Wheatfield for Expo 2015 through a collaboration promoted by Fondazione Riccardo Catella and Fondazione Nicola Trussardi. The completed park opened on October 27, 2018, bringing Blaisse's circular forests, irregular fields and intersecting paths into the final major landscape component of Porta Nuova. Conclude at Palazzo Lombardia, where Pei Cobb Freed & Partners joined Paolo Caputo Partnership and Sistema Duemila to win the 2004 competition for Lombardy's new headquarters. Henry N. Cobb, José Bruguera, Simon Hsu and Matteo Milani led a design joining sinuous lower buildings with a 160-meter tower, with Thornton Tomasetti responsible for structural engineering and Arup contributing engineering expertise. The tower surpassed the height of Gio Ponti and Pier Luigi Nervi's Pirelli building on May 8, 2009, ending a Milanese height record that had stood since 1960 and marking a decisive stage in the city's renewed vertical expansion. The progression moves from Giunti and Gonzaga's reconstruction of a displaced Franciscan institution through Blaisse and Denes's conversion of former railway ground into landscape and art into Cobb and his collaborators' return of high-rise ambition to Milan, tracing successive acts of architectural reinvention around Yang Sushi and Fusion.
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