One of the innovations brought into the industry by your mentor, Adam Tihany, is making design a cornerstone of high-end hospitality and travel experiences. What design elements do you prioritize when developing projects in the fields of travel, lifestyle, and fine dining? 

The starting point for each of our projects is space planning, which always precedes design. This crucial phase is carried out differently depending on the project type, whether it is Real Estate, Fine Dining, or Hospitality. Here, we operate on a dual track. On one hand, we consider how to move people through the space and what they should discover. We think about how they'll move within different areas, what they might want to experience or see. The other crucial aspect is ensuring the space is designed for efficient service. This means, in practical terms, that anyone working in a restaurant or serving in a hotel can operate smoothly, ensuring the best possible guest experience. If we can't achieve these two elements, we can't move to the next phase.

From this preliminary stage, a design language specific for that project starts to arise. If we have good space planning, the beginning of the narrative, the story that place has to tell, comes naturally. It is then up to us to take the threads of this impulse and weave them into the lifeblood of the design, always keeping in mind the site specifics and the client’s requests. Then, for each type, there are rules and differences. For instance, when designing a restaurant, we must remember that in this case, the client is the chef, for whom we are creating the stage to serve the dishes. When designing a cruise ship, there are technical rules related to it being a large boat sailing the sea. It is also a unique hospitality section that requires different engagement and has its clientele accustomed to remaining within the spaces we are called to design for several days. However, if each type has its own rules in terms of narrative, interior design, and furnishings, the starting point remains space planning.

Regarding the axis connecting Italy, where you were born and trained in university, and the United States, where you have grown professionally and now operate, how much influence do both countries have on your approach to projects? What are the major differences, and what aspects do you retain from each?

There is a clear difference in design philosophies between Europe and the United States. The European approach, particularly the Italian one, emphasizes a natural design sensibility that transcends borders and ensures its enduring appeal. This innate understanding of aesthetics is a core personality trait for European designers, something that cannot be replicated solely through education. Then, the nature of the project itself is different on the two continents, from a spatial, dimensional, clientele, and expectation perspective, where the United States has always aimed for maximum scale.

My personal experience highlights this difference in specialization. In the US, interior designers typically focus solely on that specific field. In Italy, on the other hand, architecture students become well-versed in a broader range of disciplines - architecture, interiors, lighting, mechanics, and more. This emphasis on versatility and acquiring knowledge across disciplines is what I embraced, ultimately becoming a key strength. It is this fundamental difference in approach that goes beyond mere aesthetics; it is a core philosophical distinction.

Another key factor is the unique beauty of Italy. Growing up surrounded by such visual richness undoubtedly shapes one’s design perspective. In contrast, the United States offers a dynamic environment where careers can flourish rapidly, valuing talent regardless of background. It is this combination of the open-minded American spirit and the versatile Italian training that has propelled me to where I am today.

Every project involves a service component and an artistic component. What adjectives would you associate with each of them in relation to Tihany Design's modus operandi and why?

There is a deep connection between form and function, as the famous saying goes: “form follows function”. Look at nature – every element, from its structure to its shape, serves a purpose and is inherently beautiful because of it. This principle is equally important in architecture. Purely aesthetic design doesn't exist in our field. If a design prioritizes form over functionality, it becomes more akin to a work of art. In our daily work, we strive to achieve the perfect balance between practicality and beauty.

Next projects in the pipeline?

Luxury hospitality remains at the heart of our design narrative, with a particular focus on exciting new projects in Italy – something I have been eager to revisit for some time. We are currently working on a mountain resort in the Dolomites, a hotel project in Rome, and a golf resort at Antognolla Resort & Residence in Umbria. We have also just been announced as the designers for the Four Seasons Residence DIFC. There are many other exciting projects in the pipeline that I can't reveal yet, but they involve venturing into new European cities.

For me, it is about evolution, not revolution. While I share Adam Tihany’s design approach after working alongside him for many years, I have my own sensitivities. Our design philosophy will continue to prioritize architecture over decoration, which is why I emphasize space planning and functionality.

In the next six months, you will see the new wave of projects under my leadership come to life, showcasing the evolving design direction of the studio. But rest assured, the core principles that have made us successful will remain.