Profound. Visionary. Ethical. Matteo Thun has undeniably shaped a crucial chapter in design history – and continues to do so – by maintaining a consistent, sensitive, and deeply respectful approach to the environment and nature. Today, we might label it “sustainable” or “green”, but his philosophy transcends mere labels. More than two decades ago, Thun was already advocating for timeless design: integrated, sensory, and conscious. This design ethos doesn’t chase trends but is rooted in the genius loci, the local culture, and a commitment to preserving and protecting our surroundings. Anticipating themes that are now central, he has built a solid and consistent career based on an architectural and design philosophy profoundly connected to the land, its soul, and its very essence.
Vigilius Mountain Resort – © Vigilius Mountain Resort
There’s a precise relationship between your projects and nature – it’s not just a matter of context but also meaning: a relationship of respect, continuity, and reduced architectural impact. Could you tell us about it?
Yes, the soul of the place – the genius loci – defines the architecture of every one of our projects. Conscious architecture and interiors that respect nature are an integral part of our studio’s work and philosophy.
With Vigilius, you anticipated a highly relevant theme of architecture perfectly integrated into its natural context. 20 years later, what value do you place on that project, and how do you recall its genesis?
The Vigilius Mountain Resort is our pioneering project. It embodies everything we stand for: local materials, ecological sensitivity, consciousness, timelessness, simplicity, and durability. Over time, the local larch wood architecture has developed a beautiful patina – it’s even more beautiful today!
Vigilius Mountain Resort – Photo © Serge Brison
Often your projects are born next to bodies of water – I’m thinking of the Chiemgauhof retreat, Park Resort Lake Garda, Langham Venice, Lake Resort in Bad Saarow, to name just a few. Is this a coincidence, or is there a particular predisposition? How much does the presence of the water element influence the design?
When projects are located in the mountains, the focus is on the peaks; when by the sea, it’s the water that deserves attention. Our approach always remains focused on the surroundings, and nature always prevails over architecture.
In the case of a comprehensive nautical project, such as the Seadeck series for Azimut, what principles do you follow in defining the interiors?
We work by subtraction to ensure durability and sustainability. Designing yacht interiors might seem like a challenge, but Azimut is committed to upholding the highest standards of hybrid propulsion. The Seadeck series features an iconic and contemporary interior design that elevates a high-quality yacht to the next level while reducing its carbon, water, and waste footprint. The Seadeck series represents an innovative and conscious vision, embracing the yacht’s entire lifecycle, from production to transport, use, and even its disposal.
Chiemgauhof Lakeside retreat, Übersee, Germany – Photo © Elias Hassos
Among your latest projects is the Chiemgauhof Lakeside retreat: what are its main characteristics, and how does it differ from your previous projects?
Chiemgauhof is a timber structure inspired by alpine architecture. Comprising three buildings oriented east-west, the complex is connected by gardens, patios, and large glass facades. Each of the 28 accommodation units offers spectacular lake views, while the interiors expertly blend contemporary and traditional styles, creating an elegant and welcoming atmosphere.
In your projects, there’s always a strong continuity between interior and exterior. How important is it today to rethink spaces in terms of this relationship – even in urban contexts?
We aim to create a perfect balance between exterior and interior. Guests should experience being outdoors, even when inside. This concept transcends locations: whether it’s mountains, sea, or city, the architecture and interiors are shaped in harmony with the surrounding environment and local traditions.
Seadeck, interni – © Azimut
Seadeck, esterno – © Azimut
Sustainability is a key word in contemporary design. But in daily design practice, how truly applied is it, in your opinion? And how much, instead, remains a statement of intent?
We prefer to speak of ‘consciousness.’ This means avoiding architectural mistakes and selecting the right materials for each context, finding the optimal configuration for building volumes. It’s a process that implies a harmonious synthesis between the surrounding environment, the intended use, and the site. Every solution is unique. Conscious design represents an alternative to the complexity of current sustainability certifications, addressing broader themes like social aspects, cultural heritage, and the value of quality craftsmanship. The goal is to maximize benefits for the community while minimizing environmental impact.
Your studio was among the pioneers of design based on simplicity, durability, and dialogue with context. How has this approach influenced design culture? And today, how do you continue to push the boundaries of sustainability?
We’re happy to see more and more timber architecture! Wood is an extraordinary building material: it’s a renewable resource easily sourced locally, recyclable, and carbon-neutral. It’s flexible, lightweight, and boasts excellent structural properties. It’s malleable and ensures a good indoor climate. It’s ideal for prefabrication and can be individually configured. Timber structures meet requirements for structural stability, sound insulation, and fire protection. Furthermore, they are becoming increasingly economically attractive. Prefabricated construction allows us to reduce construction times and costs.
Recidences Lake Garda, Salò, Italy – Photo © Tecma
Can you give us a preview of the main projects you’re currently working on?
We are redesigning the spa area of the Fairmont Chateau Lake Louise in Canada, and we have other projects in Asia. In Italy, we are developing a resort on Lake Garda, as well as The Langham Venice in Murano – a fantastic project. This involves the restoration of the 16th-century Casino Mocenigo, featuring original frescoes by Paolo Veronese’s pupils, as well as the 20th-century industrial glass buildings. In Milan, we are designing the interiors of the upper and residential floors of Torre Velasca, one of the city’s most important post-war architectural monuments. Exploring the building’s original interiors from that period and enhancing their character in a contemporary key is a unique opportunity for us.
