A focus on the restorative aspects of architecture is at the core of Rome-based studio Alvisi Kirimoto’s practice, with the studio’s design ethics firmly centred on urban regeneration projects that address social concerns. With over 20 years of experience as an independent architectural practice, Alvisi Kirimoto has an expansive portfolio that spans architecture, urban planning, interior design and product design. The attention to regeneration and restoration is also evident in the commissions the Italian architecture studio is working on currently, including projects in Italy and Hanoi, and the drafting of strategic guidelines for the Battipaglia urban plan. What’s especially worth noting here is the expression of a distinctly Italian architecture—and what that means for the studio where one of the founding principals was educated in Japan. The studio makes a point of emphasising the dynamic between the pair, with Junko Kirimoto working on more detail-oriented aspects of projects and Massimo Alvisi dispensing more socially-oriented sensibilities and urban strategies.

The studio’s restrained yet definitive design language across their portfolio could be read uniformly through their rigorous methodology that aims to carve buildings out of light. In what ways can architecture say that it has understood the essence of a place? This seems to be a central inquiry for the duo, with all of their projects opening out to the landscape in a manner that feels almost instinctual for them to exist there. Take the firm’s recently designed educational building, ABF Maria Manetti Shrem Educational Center. The profile of the roof seamlessly mirrors the rolling hills where the school is located. And while the building, in this way, roots itself into the terrain, there is still the glimpse of the distinctive yellow exhaust pipes—a small detail that nonetheless makes the architecture seem that much more thoughtful.

Over the course of the decades in which the studio has been working, they have won several design awards, including an honourable mention at the EU Mies van der Rohe awards in 2021 and the International Architecture Award 2021 by The Chicago Athenaeum. The studio has also published two monographs—the first one, Alvisi Kirimoto. History, Nature, Work, celebrated their 20th anniversary—and the second, Alvisi Kirimoto. Selected Architecture 2012-2025, marked the launch of a series exploring different aspects of contemporary architecture in Italy by looking at some influential practices. On the occasion of the book’s publication, STIR took the opportunity to speak to the studio about their work, contextuality and sustainability in architecture, as well as their aspirations. Edited excerpts from the conversation follow.

Mrinmayee Bhoot: You describe your practice as being mutually influenced by Japanese and Italian sensibilities. Could you elaborate on how these distinct philosophies are expressed in your projects, and how they find harmony with each other?

Alvisi Kirimoto: Our studio is based on the meeting of Italian and Japanese cultures, a value that we also transmit to our collaborators. Junko and I (Massimo) come from different backgrounds in terms of culture and method, and this complementarity allows us to develop a unique design approach, adapting it to each context. One of the most fascinating aspects of Japanese culture is the beauty of imperfection, accommodating change and a plurality of perspectives. This vision invites us to imagine places beyond their physicality, constantly evolving.

The Italian essence, on the other hand, lies in the concept of measure, understood not only as a physical act, but as the ability to perceive, interpret and shape space so that it responds to the needs of people and context. The encounter between these two visions generates dynamic and balanced projects, capable of dialoguing with the environment, adapting to needs and maintaining a distinctive identity.

Mrinmayee: Both you and Junko have considerable experience working with the likes of Renzo Piano, Massimiliano Fuksas and Oscar Niemeyer. Over the years, how have you adapted their architectural language into your practice?

Alvisi Kirimoto: Working with masters of this calibre has enabled us to gain a deep understanding of architecture and to develop a true methodological approach. Renzo Piano instilled in us a meticulous attention to detail and a belief that even the smallest projects deserve great vision and care. Of course, (Oscar) Niemeyer and (Massimiliano) Fuksas also deeply inspired us, leaving an indelible mark on the way we conceive architecture. However, we never passively adopted an external method or tried to replicate someone else's architectural language. We believe that we become masters not only through example, but through deep attention, through listening and observing by those who are ready to learn.

Mrinmayee: Each of your projects is quite distinctive in its visual aesthetic. Could you speak about how you work at achieving a balance between typological morphology, aesthetic and contextuality in your work?

Alvisi Kirimoto: Each of our projects is born from a tailored approach, shaped around the specific needs of the context and the people who will experience it. The balance between typology, aesthetics and contextual integration is not a rigid concept but the result of a deep dialogue and careful interpretation of each variable at play.

We always start with typological morphology, studying the relationships between spaces and functions to create solutions that are both efficient and harmonious. Aesthetic aspects develop through a process that balances proportions, materials and light, giving rise to a clear yet unforced visual identity.

The context is always at the heart of our work. Every project must engage with its surroundings, whether it’s a complex urban fabric or a natural landscape, to create a balance between innovation and memory, functionality and artistic sensitivity. For us, designing means finding a meeting point between practical needs and creative inspiration, creating spaces that are expressive, recognisable, and capable of having a positive and lasting impact.

We believe that we become masters not only through example, but through deep attention, through listening and observing by those who are ready to learn.

Mrinmayee: Since your studio works at many scales, how do you approach something on an urban scale versus an interior design project?

Alvisi Kirimoto: In our approach, both urban-scale projects and interior design projects are based on the same fundamental principles, but the scale and context require a different focus.

When working on an urban scale, the main attention is directed toward the relationship between the built environment and the city as a whole. We carefully consider the social, historical and environmental context, ensuring that the project integrates harmoniously with the existing urban fabric. The goal is to create spaces that not only meet the needs of the people who will use them but also contribute positively to the overall identity of the city. Urban projects are focused on creating connections between different parts of the city, between people and between the past and the future. This often involves working within specific constraints, such as the preservation of historical elements, while always looking for ways to innovate and improve the livability of public spaces.

In the case of interior design, the focus shifts to the individual's experience within the space. Interiors are designed to create environments that are both functional and emotionally meaningful. In these projects, we pay particular attention to materials, lighting and the spatial relationship between elements. Interior design requires an intimate understanding of how people interact with their environments on a daily basis. The goal is to create spaces that are not only comfortable and functional but also inspire a sense of well-being and connection for those who inhabit them.

Mrinmayee: You mention that sustainability comes about through adopting a context-based approach. Along that line, could you expand on the parameters of sustainable design and how they manifest in current projects? 

Alvisi Kirimoto: Sustainability in architecture is expressed through a combination of environmental, social and economic parameters aimed at creating spaces in constant dialogue with and respect for the natural and human context in which the buildings are inserted. This approach is not limited to reducing the ecological impact of buildings, but instead extends to the quality of life of the people who inhabit them and their relationship with the surrounding environment.

On the environmental level, sustainable design relies on the use of local and natural materials and the reduction of the ecological footprint through solutions such as the use of recycled materials, the integration of good bioclimatic design and the responsible management of water through rainwater collection systems. For Villa S, for example, we prioritised natural and local materials, worked by local artisans to enhance the island and its rich culture.

Beyond technical aspects, sustainability is measured by the ability of architectural works to meet the needs of people. Sustainable architecture fosters socialisation, well-being and inclusion through the creation of public spaces that are accessible and usable by the entire community, as well as integration and dialogue with the urban and landscape context to preserve cultural identity and the value of the territory.

A suitable example is the ABF “Maria Manetti Shrem” Educational Centre inside the Meyer Children's Hospital in Florence. This space, designed and promoted by the Andrea Bocelli Foundation, was conceived with the aim of providing a serene, enriching and stimulating retreat, immersed in nature. It is part of the 2020 ABF H-LABS per la Scuola in Ospedale (ABF H-LABS for School in Hospital) initiative, which supports the right to quality education in complex and difficult contexts such as Italy's Paediatric Hospitals. Every aspect, from the choice of materials to the layout of the spaces, from the lighting to the colours, has been carefully studied to favour the comfort and serenity of the little ones.

Sustainability in architecture is expressed through a combination of environmental, social and economic parameters aimed at creating spaces in constant dialogue with and respect for the natural and human context in which the buildings are inserted.

Mrinmayee: What’s NEXT for the studio?

Alvisi Kirimoto: The future of the studio is focused on expanding into projects that combine sustainability, innovation and cultural sensitivity. We are completing numerous culturally significant projects in Rome, ranging from urban regeneration to the creation of public and cultural spaces of high importance. In particular, we are concentrating on initiatives that enhance the city’s historical and artistic heritage, making each project a reflection on the context and identity of the place.

Mrinmayee: Building on that and in light of your studio’s ongoing projects, could you share a few thoughts on how we can build more sustainably when working with heritage, especially, say, in the context of Italy?

Alvisi Kirimoto: Building sustainably in Italy, without compromising historical heritage, requires a careful balance between innovation and tradition. Given the country’s rich architectural and cultural heritage, along with increasingly stringent protection regulations, it is essential to adopt strategies that respect the local context and enhance the place where the architecture is integrated. Each project must be conceived with the territory in mind, engaging in a harmonious and respectful dialogue with the surrounding environment. In particular, in cities with great cultural value, such as Rome, this approach becomes even more crucial.