Giugiaro’s main objective was to contain industrialization investments as much as possible: the Engineering and Development Division availed itself of materials and constructional technologies already used by the major car manufacturers worldwide. Therefore, the Maya was deliberately made to appear realistic. At first glance the coupe makes a very aggressive impression; its wedge-shape reflects the tradition of Giugiaro's most penetrating silhouettes Mangusta, Boomerang, Tapiro), while embodying the softness of line necessary for good aerodynamic efficiency. The layout of shape shows traces of its American destination: the front and rear soft-nose bumpers (deformable plastic shell filled with polyurethane resins) extend to the wheel arches and are visually aligned by a groove that runs along the sides.

The differences in size of the two exercises (that use the same platform) and thus the relative changes in available inside space led Giugiaro to the conclusion that improvement is still possible in the roominess of an aerodynamic three-box car like the Marlin; however the best relationship between outside dimensions and usable space is offered by a space-wagon like the Together. This model carries on the research for a high, multifunctional vehicle embarked upon with the New York Taxi (1976) and continued with the Megagamma (1978) and Capsula (1982), transferred to mass-production cars such as the FIAT Panda and Uno. The mass of the Together is arranged in a "one-and-a-half-box" form. Giugiaro reduced the size of the front end by choosing a compromise between the design of a decidedly long hood in respect to the passenger compartment and a hood that blends into the middle volume.

In 1983 Giugiaro decided to offer the car world a practical comparison of the advantages and disadvantages of different bodywork structures. Taking off from an identical platform, he created for the 1984 Turin Motor Show the Marlin, a four-door three-box sedan with strong characteristics of aerodynamics and roominess, and the Together, a space-wagon. The Marlin, that takes its name from the tapered, ocean swordfish, follows in the footsteps of the Medusa (1980) and Orca (1982) research. From the standpoint of shape the car is also characterized, like the Lotus Etna, by its windows and roof. They merge to produce a single transparent dome that is supported on the belt-line with pillars cut down in size and concealed behind the (bonded) windows. While recalling the style of classic show-cars, the glass roof offers passengers the typical feelings of openness and freedom of a cabriolet.

Research started at the end of 1979 and was to continue for two years with the development and refinement of three three-dimensional models, the first in polystyrene and the other two in painted plaster. The brief given left no room for misunderstanding: the car was to be elegant, classic, "important" but not revolutionary. Giugiaro proposed three guiding principles: a three-box bodywork with a two- and three-window side, and a two-box concept with three windows. The choice of Lancia's management (which was also Giugiaro's preference) fell on the three-box two-window concept. Giugiaro's result was extremely balanced, the creation of a car with a striking personality that, as in many of his creations, was not understood right away but appreciated with the passing of time. The Thema was to meet with enormous commercial success and, thanks to its first-class mechanical assembly and excellent aerodynamics, took Lancia to the top of the list of manufacturers of best quality cars, soon becoming a status symbol.