The Defining Architecture of Hugo Toro

Hugo Toro creates architecture that stays with you. This is evident in the Orient Express and many other projects. We met up with him to discuss space as a narrative medium and its emotional resonance.

Born in 1989, Toro first studied at the prestigious Penninghen School in Paris, then at the University of Applied Arts in Vienna. There, he deepened his hands-on knowledge, learning ceramics, metalwork, and digital techniques. His curiosity for materials and the creative process continues to shape his work. At Marlow in Monte Carlo, he transformed what was once an empty shell into an immersive experience: dining areas, intimate alcoves and a bar are all clearly zoned, and everything is custom-made. Carpets, lighting, and wall finishes feature mythological motifs, while the soft, warm lighting creates a sense of intimacy. ​“People should be able to perceive one another without being immediately visible,” Toro explains.

A Perfect Dose of Atmosphere

At the iconic Le Mas Candille in southern France, Toro reinterprets Provençal elegance. Natural materials, textured surfaces, and a palette of stone, ochre, and light weave a seamless connection between interior and exterior. The space feels at once timeless, modern, and deeply rooted.

At the newly opened Orient Express La Minerva in Rome, Toro blends classical Roman motifs with a contemporary travel aesthetic. Vaulted ceilings, light axes, marble, and brass evoke an atmosphere that one might expect to find on a film set or in a memory fragment. For Toro, space is an emotional medium. Places tell stories – not metaphorically, but as a guiding design principle. His architecture is designed to be remembered.

You recently designed the Marlow restaurant in Monte Carlo. What was especially important to you there?
Hugo Toro: Marlow started as an empty floorplan. I wanted to create multiple levels – spaces for dining, for having a cocktail – but also small partitions so people can see one another without being completely exposed. I wanted to generate a sense of sensuality. Everything is bespoke – from the carpet patterns to the lights featuring mythological motifs.

Other projects include Gigi Paris and the Booking Office in London. What defines your design approach?
I want spaces to tell stories. My goal is to encourage interaction – to create environments that don’t just look good, but that stir emotions. I love it when people have strong opinions. Whether they love it or hate it – as long as it doesn’t leave them indifferent.

You studied in Paris and Vienna. How did those experiences shape you?
I studied interior design at Penninghen in Paris and then did a second master’s at the University of Applied Arts in Vienna. In Vienna, I learned to truly value craft. I was taught to weld, make ceramics, and work with robots. I believe there should always be a dialogue between the past and the present. Traditional techniques don’t exclude modern technology – in fact, they complement each other.

You’ve called lighting ​“true luxury”. Why?
Because so many people live under harsh white LED light. For me, luxury means a carefully considered lighting concept with warm tones. I prefer multiple light sources – wall lamps, table lamps – to create an atmosphere that feels like home. That’s much more meaningful than an expensive chandelier.

Is there a project you dream of realising one day?
Absolutely – I’d love to design a museum or a foundation. It might sound strange, but I’d also be fascinated by an aquarium or even a crematorium. They’re often purely functional and rather unattractive, yet they can be just as inspiring as a hotel. And I’d love to design an underwater house where you could watch sharks.

Where do you find inspiration?
Everywhere. In museums, but also in street rubbish. I’ll see something – and instantly imagine how to translate that feeling or image into a space people can experience.

What’s something you always have at home?
A candleholder – I love candlelight. And ashtrays. I’m actually asthmatic and don’t smoke, but I love their shape and the ritual. I use them to burn essences, for example.

How do you personally define luxury?
For me, luxury is being able to work with passion. And the ability to travel in your mind. Even if you don’t travel physically, you can always be on a journey through your ideas and projects.

What’s next for you?
I want to keep experimenting. To create spaces that feel like institutions – but still bring something fresh and new. And to give projects a strong identity that remains in people’s memory.

More info: hugotoro​.com

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