Even the most unconventional tourist would never leave Milan without visiting Piazza del Duomo. Well, since you’re there you must have a traditional “aperitivo” (to get before lunch or before dinner) at the Bar Zucca where Verdi and Toscanini used to go, back from the Scala Theatre. We never sit at the nice small tables located apart, we like to enjoy our Rabarbaro Zucca standing in the crowd of the bar - just try it.

The Spirit is a cocktail bar in the hearth of Porta Romana, in Milano. An hidden gem, they say. At first sight you might not see the door. You need to be curious and adventurous to get in. But it’s worth it! Once inside, custom made velvet sofas, extravagant mirrors and games of sparkling lights will lure you down in a world of illusion and magic, where the perception of time and the world outside fades away. Surrounded by rare bottles from all over the world, you can savor the unusual mixed ingredients of our crafted cocktails, have a sip of long aged spirits from exotic lands or just have the barman tailor your perfect serve. Experience The Spirit!

Rotating modern art exhibitions in a complex of. beautifully design/renovated buildings, designed by Rem Koolhaas. Also has a great cafe and restaurant.

'Un posto a Milano' is a restaurant and cafe in Cascina Cuccagna, an ancient building which is dating back to 17th century. It was originally intended as a residential farmhouse and it is now completely surrounded by the city of Milan.

The Brera Gallery was officially established in 1809, even though a first heterogeneous collection with educational purpose existed already from 1776 – and then increased in the following years – alongside the Accademia di Belle Arti, requested by Mary Therese of Austria to offer the students the opportunity to study lofty masterpieces of art close up. Brera become a museum to host the most important works of art from all of the areas conquered by the French armies. So unlike other important museums in Italy such as the Uffizi, Brera did not start out life as the private collection of a prince or nobleman but as the product of a deliberate policy decision. Paintings confiscated from churches and convents throughout Lombardy with the religious orders’ dissolution began to pour into the museum in the early years of the 19th century, soon to be joined by artworks of similar provenance from other areas of the Kingdom of Italy. This explains why the collection comprises chiefly religious works, many of them large altarpieces, and accounts for Brera’s special aura on which later acquisitions have had only a minor impact.