8月，整個世界人們的注意力正在被倫敦奧運場館的魅力吸引著。
每次奧運會都是人類建築史的一次進步與跨越，進步的是新材料與新技術的應用，跨越的則是建築背後獨特的設計理念。奧運建築凝聚了人們對進步的嚮往，吸納了主辦國的文化精髓，創造建築精品的同時，拓展了人們的思維邊界，留下了體育精神之外的另一種美。
四年過去了，我們時常依然會想起08年北京奧運會，“水立方”，“鳥巢”。而這個熱愛中國的義大利男人Enrico Taranta，便是北京奧運工程水立方的設計者之一。
從義大利羅馬建築學院畢業後，Enrico就在著名的Fuksas參與了歐洲國會中心“The cloud”的全程設計。他曾與眾多來自哥本哈根，紐約，邁阿密，奈及利亞，上海等世界各地的國際知名建築師、室內設計師一起合作了許多成功的專案。他的作品“風能咖啡屋”“氣泡門”也已經是已經是永久性景觀。
他渴望溝通，喜歡分享，現在是上海華東大學建築系的RDI永久講師。實力、磨練、平衡，便是他對設計的理解與詮釋。
【ABBS】：What bring you to the China? Or say, what is the first thought that attract you to China?
您是怎樣的機緣巧合來到中國的?或者說，您到中國的源動力是麼?
【Enrico Taranta】：I arrived in china in 2005, I always being fascinating about the East and the Asian culture in general, at that time I heard that China were about the host the 2008 Olympic games and 2010 world expo so I decided that I wanted to be involved on that.
我是2005年來中國的。我本人一直都很迷戀東方和亞洲的文化。所以很想了解這個國家，想來了解中國的文化，瞭解這些新的事物，以此增加我的經驗。時逢中國將要舉辦2008年奧運會和2010年的世博會，於是我決定參與進來。
【ABBS】：There is interesting point in China for separating Architecture design and interior design, and your specialties include architecture, interior, art and urban planning. It could be a iconic symbol for crossover. However, among those specialties, which one you are better at? And which one you prefer?
在中國有個特點，建築設計跟室內設計是分開來的，而您本人專業的領域包括建築、室內、藝術和都市計畫。可算跨界設計的典範了，您覺得從個人來說更擅長哪一塊?您更喜歡哪個身份?
【Enrico Taranta】：At this moment of my professional career I like to be focus more on small architecture building and interior design, for the simple reason that in China the big scale project have too many limit and restrictions and it is very difficult to control the final construction quality.
On the contrary in Interior design there are less limit and the final result can be astonishing most of the time.
See Foshan ceramic museum zhangjiagang headquarter, Rockefeller villa club, Shushan hotel, Ramada hotel
在我的職業規劃當中，我願意把更多的注意力放在小型建築和室內設計上，原因很簡單，大型設計和規劃方面，中國的規範有太多的限制，很難把握和控制最終的施工效果和質量。
而室內設計在國內情況相對來說就好太多了，限制少了，就有更大的發揮空間，最後出來的效果令人驚喜。單純從設計來說其實是沒有侷限性的，創意是無限的。我的作品佛山陶瓷博物館張家港總部、洛克菲勒別墅俱樂部、舒珊成酒店和華美達酒店。都可以清楚的看出這點。
Enrico Taranta作品
問：Have you ever applied the architecture design philosophy upon other area? And how specifically?
您把自己的建築概念匯入其他設計了嗎?具體是怎樣做的?
【Enrico Taranta】：Everything in life for me is related to architecture philosophy: the art of balance functions (needs) with beauty, the way of dressing, cooking, travelling is for me like an architecture project
我生活中的每件事都與我建築理念有關：那就是平衡藝術功能(需求)和美感。你看我的穿著習慣，烹飪飲食，旅行方式，對我來說，都是一個專案設計。而我設計的靈感也來源於這些東西。簡單說來，我的設計靈感來源於我每天的生活和我的所見所聞。
問：For your standing point, do design for the business & commercial positive to improve the integrity of design or damage it? Do they always put restrain on your design? Can you convince your clients every time?
在您看來，商業化設計是推動了設計本身，還是限制了設計?商業專案會對你的設計有限制嗎?每次都能說服客戶嗎?
【Enrico Taranta】：Restriction on design always happen when there is a bad communication between clients and me or when client are not clear on what they really want, that’s why before starting a project is always very important to communicate a lot with clients and write very clear agreement, I do understand that the client is like the mother of the project and myself is the father so better start with a great marriage first.
如果我和客戶之間缺乏溝通或者溝通不到位，客戶也許不知道他真正要的是什麼，在這種不清楚客戶的需求的情況下，設計的限制和約束就產生了。所以這就是為什麼，在開始一個專案前要一定要和客戶多交流，寫一份清楚的協議。這是件很重要的事。打個比方：這就好像是在跟客戶以婚姻為基礎談戀愛一樣，我們雙方的需求和感覺完全到位和契合，這個婚姻才有一個最好的開始。
問：For some offers and requirements of design from the clients seem unreasonable and inappropriate, how do you deal with them?
在對待客戶意見和要求上，您認為不合理的地方是怎麼處理的?
【Enrico Taranta】：Well in this case the situation must be analyzed from a financial point of view and the damage that can create to the design company cash flow, if the design request is really unreasonable I rather step back than continue but still respecting the contract where it is mention that.
客戶肯定想花最少的錢獲得最多的功能，而我們要讓客戶明白：費用，設計，精力都是有限，不可能滿足無限的要求。一個優秀的設計師必定是專業的、客觀的，所以如果這個設計要求真的是不合理，超出了專業能夠實現的範圍，又不符合合同規定和工作規範要求，我肯定會堅持自己的看法，而不是退步。這個要根據具體情況分析和衡量對於雙方的利弊。當然也不是完全拒絕，我們只需要溝通的技巧和方法，在尊重合同細節條款的情況下，既使對方接受你的意見，又能達到一個大家都滿意的效果。
問：Within a project, have you encountered that clients have weird and absurd requirement? As a foreigner designer, have you been asked to do the old school Chinese style? How you deal with them?
在專案中是否遇到過客戶有什麼離奇的要求?作為一個外國設計師，您是否遇到過實現中式風格的要求，您又是怎樣運用和處理客戶所要求的中國或者說東方元素?
【Enrico Taranta】：Actually absurd requirement I never experienced, maybe is because I have a full understanding of Chinese culture and traditions as in my 7 years in China I have really tried my best to blend myself into the local culture, meeting local friends and travelling all over, study Confucius and fengshui, going at KTV or drinking Chinese tea, My Chinese friends think I am more Chinese inside then them.
事實上我還沒有遇到過這樣的要求，這可能跟我在中國生活的7年，充分的瞭解了中國的文化和傳統有關。我盡力融入這裡的文化，交了很多中國的朋友，和他們交流學習。我也幾乎跑遍了中國所有的城市，學習孔子，風水這樣中國獨有的文化。平時也和大家去唱KTV，喝中國茶，我的中國朋友都認為我比他們更像中國人。
問：Is there any difference for design industry at the moment between China and West? What is your opinion in terms of the foreseeable future of Chinese design industry? What is the core-strength for yours to keep going as your career of design? Design for me is my passion in life and feel that my life and ideas have a meaning to improve other’s people life.
現在中西方的建築行業有什麼不同嗎?對中國建築行業可預見的未來你有什麼意見呢?是什麼核心力量讓你一直堅持你的設計事業呢?
【Enrico Taranta】：I feel blessed and honored every day to have the chance to do this great job, of course sometimes I feel very tired, but it is part of life.
I think design happening in China it is totally different from doing design in Italy or America where there are other needs and market, but I would say it makes more sense for a designer work in China at the moment as the development speed is much faster and you can totally see the improvement of a society into a better lifestyle.
設計就是我的一切，是我生活動力和思想激情。我所設計的東西可以融入整個社會，讓人們所接受，甚至改變的他們的一些生活理念和生活方式，這是讓人感到高興的事情，我會為此感到開心。我也覺得自己是幸運的，能有機會做自己喜歡的又充滿意義的事。對此，我懷著深深的感恩之心。當然，有時候也會覺得累，但不要緊，這就是生活。
而說到行業的發展前景，中國與義大利，和美國，自然是完全不同的。這有地域差異，不同的大環境下，需求和市場是不同的。但是我要說，現階段下，作為一個在中國發展的設計師，是可以預見中國市場的前景的，你完全可以清晰的看見整個國家的發展速度是怎樣的迅速和日新月異。
問：We have four elements for public space projects: government, arties, developer and public. How do you deal with them and use professional guide to achieve a workable design for Chinese market in terms of sustainability?
我們在公共空間建設中會有四個方面，一方面是政府，一方面是藝術家，一方面是開發商，一方面是公眾，我們怎麼對待這四方的交流?如何用專業引導從而共同實現適合中國市場的可持續設計?
【Enrico Taranta】：I think sustainability is a very important issue of nowadays design, government is trying hard to promote that creating sustainable offices or railway station. But I do believe that the real problem is in the private projects like residential homes. People should achieve a sustainable life starting from in their daily life habits get more knowledge about that through information campaign. I understand that it is quite hard to educate 1.3 billion of people in china about sustainability but it is something that should aspect more from the government.
可持續性是是現今設計中的一個非常重要的問題，現在政府出臺了各種政策法規，通過很多手段努力的在推動這件事。但我認為最大的問題在於住宅設計這樣的私人專案，我們通過宣傳讓人們從他們的日常生活習慣中獲得相關的知識，明白“可持續發展”這件事的重要性，從而從根源上真正的實現可持續性的生活。要所有13億的中國人都完全理解和實施這個事情確實很難，所以政府的導向作用非常重要。
問：What is your opinion of the current situation for Chinese design Industry? Under lack of professional commenting and criticizing mechanism, do developed companies have those kinds of organization or mechanism? What could they help us (Chinese design industry)?
你怎麼看中國設計界的現狀?在缺乏專業的評價機制和建築批評前提下，已開發國家中沒有這樣的成熟的評論機制?對我們有什麼借鑑作用?
【Enrico Taranta】：I believe in the next 10 years China will be able to create its own design style that will define traditional Chinese element from the history into our modern day life with much more elegance and sophistications, just like Japan did 30 years ago.
中國的設計行業正在朝正確的方向前進。許多的設計師都在不斷前行，技能上的，思維上的，對工程的質量和要求方面也開始更精益求精。我相信在未來10年裡，中國肯定會有和現在完全不同，完全自我的設計風格，人們將會把中國傳統中更優雅更老練的歷史部分帶入到現代生活設計中來，就如同30年前的日本一樣。
問：You are quite dynamic to be part of academic organizations and event like uni-lecturer in/out China. Therefore, is there any difference between them?
您一直活躍在國內外各種學術組織和活動中，那麼您覺得國內外的活動有什麼區別，您對中國業內的學術活動有什麼建議或者期許?
【Enrico Taranta】：Well, like in any other countries in the world there a commercial events and cultural events both have different value and meaning, I personally like to attend as much as possible events when I have time because I like to sharing ideas and knowledge and for sure meeting many people.
就像世界上其他國家一樣，商務活動和文化活動都有不同的價值和意義，有時間時我個人喜歡儘可能多的參加這些活動，因為我希望遇到更多志趣相投的人們，從而與更多人分享我們的創意和設計上的東西。
問：What are the suggestions which help to improve the communications between Chinese and foreigner design?
中國設計應該如何與世界溝通?您有什麼好的建議嗎?您希望跟中國的同行交流什麼東西?
【Enrico Taranta】：Communication it is the key point in everything in life, business, love, friendship, I think Chinese designer should try to feel more confident and less shy to open communication or exchange with foreigners in terms of ideas and visions and foreigners designers (at least the one living and working in china) they should make more efforts to learn basic Chinese language and study Chinese culture.
交流是生活中一切事情的關鍵，就象做生意、談戀愛、交朋友。我覺得中國設計師在與外國設計師交流或交換意見的時候，在思維碰撞的時候，敘述自己想法的時候，都應該充滿自信，千萬不要害羞。而外國設計師(至少是在中國居住和上班的)應該更努力的學習中國語言和中國文化。
問：In accordance with the fact that the reduction of gap between Chinese and foreigner design, we need to value our competitive advantage and disadvantage, what’s your opinion of that? What role China will play upon the stage of international theatre of design?
在國內外設計水平差距逐漸縮小的情況下，我們需要思考自己的競爭優勢和差距，您對此有何看法?您認為在未來的發展道路中，中國將在國際舞臺上扮演怎樣的角色?
【Enrico Taranta】：Considering that the world is globalized now the there is a globalized economy the chance for Chinese designer to jump into the international field will happen more and more, the Chinese designer should take strong the keypoint of their advantage: they are hard working people they can bring balance in space and design they can introduce Chinese style from a standing out and exotic point of view and most of all they can merge and collaborate with designers from other countries join the forces to created a new globalized design.
世界的全球化、經濟的全球化，會讓中國設計師將會有越來越多的機會出現在國際舞臺上。中國設計師應該充分的利用他們的優勢：他們辛勤工作，他們可以在空間和設計上實現平衡，他們可以從突出的異國觀點中引出中國風格，最重要的是他們可以和從其他國家加入的設計師合併協作創造一個新的全球化設計。
問：All over the city at global, there is trend increasingly that the development is made via city/district/suburb planning. Do you have any opinion and recommendation about that? (pictures and documents may needed)
在遍佈世界各地的城市中，從城市和區域規劃層面促進產業的發展已經成為非常時髦的現象。您有些什麼好的觀點和建議嗎?
【Enrico Taranta】：I think the city planning or suburb is just the hardware of the development what makes the software in the information and the people thinking and lifestyle, that sometimes take very long to develop and can only be developed by cultural exchange and different experiences in people’s life.
我認為都市計畫和郊區規劃只是硬體的發展，並且促使資訊中軟體的發展和人們的思考和生活方式，有時花費很長的時間僅僅使人們生活中的文化交流和不同的經驗有所增長。
問：As the current situation of China, there are way too many junk buildings, as an honored designer with attitude, what you will do to make architecture and urban planning to develop under a healthy status?
就中國的現狀來講，有了太多垃圾建築，作為有社會責任感的設計師，會用什麼手段方式讓建築和規劃在一個良性的狀態下發展?
【Enrico Taranta】：Well if those building are quite new build no more than 20 years I would prefer demolished that and rebuild it more sustainable and more suitable for a good use probably would be even cheaper than just renovate it and still keep the disadvantage.
如果這些不合適的所謂的垃圾建築都沒有合理使用，並且沒超過20年，那麼寧願拆除，重新開發修建更持久，更合適的，能夠真正屋盡其用的建築，這樣的成本可能比改造一個不合適的建築還要便宜更多。
問：Architecture is not only for the magnitude of imagination but also application, how to balance?
建築需要提供生活的多種可能性，我們如何把握想象力和建築的方向?
【Enrico Taranta】：Yes exactly architecture is not only about beauty or shape but is how to get the right intuition to choose the suitable shape or feeling for the usage of certain people with specific needs, you become a good designer only when you are aware of that and getting more knowledge about culture economy art can all help you to find the right choice
一個好的建築不僅僅他的美感和形狀，還要考切身考慮到使用者的感受，功能與美感相輔相成，從而達到設計的目的。要成為一個好的設計師，只有當你意識到它並且獲得更多關於經濟文化藝術知識時，所有的一切才能幫你做出正確的選擇。
問：In your opinion, what kind of role of design will play in the future? How they serve people? Future of trend for architecture design?
您認為未來設計將扮演什麼角色?設計應該為人們解決什麼問題?您怎麼看建築設計未來的趨勢?
【Enrico Taranta】：In the future I hope that more people will be able to understand the importance of the design in life and that design will be easy accessible to everybody, so not only super rich people will be able to enjoy a good design but all of the population in a certain way.
我希望未來有更多的人能瞭解生活中設計的重要性，並且讓設計很容易的融入每個人裡，不僅僅是超級富有的人能享受好的設計，而是所有的人都能享受到。
問：World started to look similar, everywhere. What do your works do in it?
世界正在變得越來越相似，你的作品將起到什麼作用?
【Enrico Taranta】：My works try to be still a little similar to the others in the world but with a bit more energy passion and personality just to reflect who I am. I realize that big changes start from little steps. And a big step will create chaos rather then support the change,
我的作品試圖和世界其他地方仍然有點相似，但多了一些能量激情和能反映我是誰的個性化設計。我意識到大的變化是開始於小的步驟的。並且大的步驟不是支援改變而是製造混亂。我也希望可以盡到我的一份綿薄之力。
問：What project you are busy with next?
請問您正在著手的下一個設計是?
【Enrico Taranta】：I am working at the new shanghai tower in construction at the moment in lujiazui for the tallest observatory in Asia (121 and 122 floors) and head quarter for fashion industry and yachting, beside that hotel and resorts in Suzhou and a new material with 3d shape totally sustainable to apply on the wall
我目前正在新上海中心大廈陸家嘴建設亞洲最高的天文臺(121和122層)，還有總部要求的時尚行業和遊艇，此外還有蘇州的酒店和度假村，一種新的3d形狀的材料完全可以運用在牆上。
新上海中心大廈
設計的概念來源於河流。通常河流都位於地面，在城市中流經的河流都處在水平線高度。在建築設計中，河流總是以其本來形態出現，起到提升環境品質的作用。但我們希望能用一種創造性的、與眾不同的方式來演繹河流這個概念。我們在建築設計中融入了河流，並將它的走向設計成擺脫引力的方式，由地面行徑至頂層。這個概念衍生使我們在上海中心大廈專案中採用了垂直河流的元素。
設計中融入了象徵大廈的基本三角形狀。比如119層的燈光佈置是根據這個形狀進行安排，以及B1層進入大廳天花板上的“穹頂天窗”設計。
夜晚的119層
為了能夠增強參觀者在上海中心大廈觀光層的體驗以及更好展示上海的歷史和未來，設計中採用了眾多互動科技。參觀者可以在118層體驗未來的上海。通過最新的高科技裝置和多點觸控式螢幕，結合水幕投影的裝置將使你可和整個城市的天際線進行互動。119層的上海故事觀光廳利用互動技術展現上海之過去、現在和將來，以及這座城市的活力和創新。除了能欣賞上海全景，在118和119層上設計了公園，供參觀者在參觀途中休息。這些綠色區域使大樓更生態環保，也增加了更多自然感覺。這也會成為人們的社交場所。
問：Please share your opinion about “ideal city” & the life in it
請你描述一下你理想中的城市和城市生活。
【Enrico Taranta】：My ideal city is a place where people coexist and exchange knowledge to improve our already complicated life existence and where everyone could be able to be the personal designer for their life.
我的理想城市，是人們能在裡面共存並且交流，從而得到改善我們已經存在的複雜生活的各種方法，在那裡，每個人都能成自己生活的個人設計師。
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