Fascinated by how buildings are constructed like complex three-dimensional jigsaw puzzles, Greg Walton has wanted to be an architect for as long as he can remember.
When he was six years old, he told his parents he wanted to be an architect and attend Georgia Institute of Technology (Georgia Tech) in the USA. Motivated by the sense of purpose this dream gave him, Walton achieved his goal in 1981 when he graduated from the university with a master’s degree in architecture. Following this, he studied at L’Ecole des Beaux Arts in Paris, France, and in the ensuing years, he has worked on both land-based and cruise ship interior design projects around the world. In 2016, Walton co-founded Miami-based firm Studio DADO in 2016, leading projects for some of the world’s biggest cruise brands before starting his well-earned retirement in January 2025. Here, he shares an insight into the highlights of his more than 40-year career.
How did you first get into cruise ship design?
Like many in the industry, my path wasn’t a straight line but it was an interesting one that truly mirrors how the industry has grown. In the late 1980s I started working at The H. Chambers Company in Baltimore, Maryland, which specialised in hotel interior design. The owner, Lee Chambers, had secured a contract with Sitmar Cruises, a traditional passenger line that sailed between Europe and the USA. Sitmar was eventually purchased by P&O, which transferred the line to Princess Cruises, and Chambers ended up designing spaces for the original Crown Princess and Regal Princess.
I assisted Teresa Anderson – who was a lead designer with Chambers at the time – with detailing and documentation for these projects. I was young and soaked it up like a sponge, learning whatever I could and trying to look smarter than I was. I was immediately taken by the level of detail and precision – we calculated everything down to the last millimetre – but fell in love with the typology and the people. However, I was mostly impressed with the impact our work had on the guests. We didn’t call it the guest experience back then, but that’s what we were crafting.
In 1998, I moved from Baltimore to Miami, where I joined Howard Snoweiss at his firm, which specialises in designing interiors for hospitality spaces and cruise ships. My experience was suddenly in demand, and I haven’t looked back since.
Walton’s award-winning design career began while he was still a student
What fundamental design principles have underpinned your work and how have they changed during your career?
My thinking has evolved over the years, but my design principles remain steadfast. As a graduate student I had the honour and privilege to work for John Portman, one of the most significant urban designers and hotel architects of the 20th century. John was a true visionary who defined the way modern hotels look and function and he instilled in me the importance of creating experiences for people, no matter if it was a large urban planning project or a restaurant. To this day, whenever I start an assignment, I go back to that fundamental principle – we’re designing this for a person, so knowing and understanding that human is the most crucial part of design.
Can you tell us about some of the other individuals who have had the greatest influences on your work?
It’s a cliche but I feel as though I’m standing on the shoulders of giants. As mentioned, John Portman opened my eyes as an architect and my tenure at his practice was a very significant part of my career, equal to studying at L’Ecole des Beaux Arts. I’ve also had the great fortune to have a mentor everywhere I’ve worked: Jean Barnak at CHK Architects, Rita St. Clair in Baltimore, Maryland; and Howard Snoweiss. It was Howard who reintroduced me to cruise ship design and taught me how to run a studio as a business. He helped me understand how to identify, hire and retain the best talent, and how to work with clients, especially the challenging ones.
In addition, Maj Lindstrom, senior consultant at ShipPalette, has been a constant presence in my work over the years – it would be hard to imagine achieving any level of success without her. Bruna Carriero, who works for Norwegian Cruise Line Holdings, has also been instrumental in my life since we met in 2012. She has been a steadfast sounding board. I also cannot thank Norwegian Cruise Line Holdings’ Frank Del Rio and Robin Lindsay enough for their ongoing support and friendships.
However, the bedrock of my career have been my Studio DADO co-founders Yohandel Ruiz, Jorge Mesa and Javier Calle, especially over the past couple of decades. They have been an unlimited source of knowledge, inspiration and humour. I can’t imagine what it would’ve been like without them. They have always been there for me from our days at Callison RTKL.
Which third-party companies have you had the longest professional partnerships with, and what factors have been key to this longevity?
European shipyards Chantiers de l’Atlantique, Fincantieri, Meyer Turku and Meyer Werft have all been true partners that understand the relationship between design, engineering and construction.
What design trends have inspired your work over the decades?
In the 1980s, post-modernism was all the rage and deconstructivism was popular in the 1990s, but both of these trends ran their course after a few years. They now look dated, tired and a little cliched. To me, that’s the opposite of what good design should be – an interior space should look just as relevant and high quality on day 3,791 as on day one. Consequently, I’ve never really followed the latest trends; my goal has always been to create designs that embraced a level of timelessness or lasting value, while also reflecting an understanding of their time or era.
However, that doesn’t mean all trends are bad or misdirected. For example, the recent movement towards sustainable design feels like it’s absolutely the right thing to do. The cruise industry has a long way to go to catch up to land-based design, but we are making great progress. A core value of green design is its lasting value and respect for the environment, and I can’t think of a stronger endorsement of quality design.
One of Walton’s most recent design projects with Studio DADO was creating interiors onboard Norwegian Cruise Line’s new Prima-class ships
How has the type of design brief you receive from cruise brands changed throughout your career?
The biggest change has been the diversification of cruise experiences. When I started my career, ships seemed to be designed for a singular experience – sailing the Caribbean (except for Princess, which operated on the Pacific coast of Mexico). Cruising was generally seen as a luxury experience but the industry made a concerted effort to attract mid-market guests, which had a big impact on how we designed and who we designed for.
Today, we have a much more stratified market with very specific and well-analysed target demographics. We have ocean, river and expedition ships sailing all over the globe – from Antarctica to Asia – offering everything from contemporary to luxury, premium and premium-plus experiences and amenities. The market is far more sophisticated, which has been driven by guests having higher expectations, and that has been a good thing for designers.
What have been the most surprising changes in the hospitality and cruise industries during your career?
I’m tempted to say that very little surprises you when you’ve been at it as long as I have, but I have to admit I see new things every day. The typical guest has become infinitely more sophisticated over the past few years and has elevated expectations for the overall experience, which has been interesting and challenging at the same time. The ships don’t just have to be more beautiful, they must also be smarter and offer more amenities and experiences. The dining experiences have to be heightened because people are no longer looking for quantity over quality; they want expertly prepared food. They also want extraordinary destinations and unforgettable memories they can tell their friends about.
The whole industry has greater integrity now too. Cruise ship design wasn’t necessarily seen as a serious pursuit when I first started out, but now the work we do is on par with – if not above – anything we see on land. We have industry visionaries like Frank Del Rio, Harry Sommer, Harri Kulovaara and Richard Fain to thank for that. They, and many others, have pushed the envelope with their impatient search for the next thing.
Do you have any amusing stories from your career that helps to illustrate why you have been so captivated by this industry?
My amusing stories all centre around my ever-present and loyal companion, Enzo, an Italian greyhound with impeccable style and class. Enzo was the first dog to ever enter Fincantieri’s Monfalcone shipyard and, if it weren’t for some quick-thinking diplomacy, the visit would surely have triggered an international incident. To make a long story short, Enzo was allowed through the gates and has since been welcomed with open arms at Fincantieri. He even has a permanent yard pass and has been a key member in stateroom mock-ups as well as mock-ups for public areas. He has also (literally and figuratively) left his mark in the boardrooms of the major cruise lines.
What does the future look like for you now that you have entered a new chapter of your life?
For most of our adult lives, we’re defined by our careers and related accomplishments. My architecture and design career has taken me all around the world, multiple times. It’s been an incredible journey and I wouldn’t have had it any other way. Now I am beginning a new chapter, but I haven’t written the script yet, so I am open to future possibilities and how those will define me. For my whole life I have had a very clear path of what I wanted to do and who I wanted to be. It may have meandered a few times but there was always a trajectory. Now there are infinite possibilities laid out before me, which is both exciting and slightly terrifying!
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