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The creative director of Denniston International Architects and Planners talks hotels with Su Pecha.

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Gathy on the Aman Grand Canale, Venice
'When I first saw the building, I thrilled to the beauty of the volumes, views and features but it was scary too because so much restoration needed to be done. Then, when you realise that you are not allowed to change anything, the scale of the challenge really dawns on you. For instance you can't open up walls for cabling or in any way alter the windows, and you certainly can't introduce fitted furniture since none of the walls are straight. So you have to do your research thoroughly and be very creative. It was a labour of love; Venice is very special to me and I like to think of the palazzo, still beautiful and legendary in 50 years' time.'

Gathy on the Chedi Andermatt, Swiss Alps
'It was a difficult project because there were so many elements to harmonise. There were numerous regulations and local stipulations. We were building big, yet the building had to look like a chalet and we had to use certain timbers and stone. At the same time, we also had to create a hotel that works, with vertical services and the best relationship between back and front-of-house to ensure a top level of service. People talk about the Asian style of interior design and suppose this was the brief from [the owner] General Hotel Management (GHM). Well, they are wrong. We created the interior concepts for the owner and I introduced GHM to the project later on. It's just an assumption people have because we are both based in Asia. It is not Asian design, although I acknowledge that after living in Asia for 33 years, I have unconsciously absorbed Asian design influences. These are to do with layers and mystery, the view through the space, a succession of light and dark. There is nothing in the Chedi Andermatt which is specifically Asian however.'

Gathy on Denniston
'I started the practice, as a Belgian living in Kuala Lumpur, 25 years ago. There was no strategy or vision, I just loved what I was doing and each job gave me that bit more leverage into the next project. As we grew, we remained focused and disciplined and we weren't greedy. Why be greedy when you love your work? So, initial success led to another project and more learning, resulting in more success. We are 150 people now and I continue to be hands-on, passionate about designing.'

Gathy on design
Design is at its most intriguing, most sexy, when it's layered and nuanced. Not black, nor white, but multiple tones of grey. Age and experience teaches us this as we become able to cross-reference so much that we've seen and sensed and our mind's eye becomes more refined. If there's one word I would use to describe what this wisdom brings hotel guests, I would say it's 'comfort'. I don't need guests to know how this has been achieved - that's for Denniston to worry about - I just want guests to want to return. You don't fall in love with a person for one or two reasons; it's for the whole being. I want guests to fall in love with the hotels we have designed in the same way.