架构师提供的文本描述。当一位建筑师交付一座建筑时，它总是一个非常感人的时刻，标志着一个漫长的调解过程的结束，从早期草图的绝对潜力到最终细节的现场微调。一个演员，在一段时间内，在无止境的发展，建筑师离开现场。他把控制器交给了他一直为之工作的人。这是架构从知识、概念状态过渡到本质物理和现实的时刻。

Text description provided by the architects. When an architect delivers a building it is always an extremely emotional moment, marked by the end of a long process of mediation, from absolute potentiality of early sketches to fine tuning in situ of final details. An actor, for a time, in the endless development of territories, the architect exits the scene. He hands over the controls to those he has been working for. This is the moment when architecture transitions from the intellectual, conceptual state to the fundamentally physical and real.

 © Michael Nagl

迈克尔·纳格尔

在维也纳，这些感觉被DC塔1号的标志性人物和极端能见度放大，但也被把我与这个项目联系在一起的历史所放大。其中一项始于12年前，即2002年，当时我们举行了一次国际比赛，争取多瑙城最后一部分的发展，这一历史仍在继续。

In Vienna, these feelings are magnified by the iconic character and extreme visibility of the DC Tower 1, but also by the history that binds me to the project. One beginning twelve years ago, in 2002, when WED held an international competition for the development of the last remaining section of Donau City, and a history which continues to be written.

 Floor Plan

从一开始，这个项目就提供了一个具有难以置信潜力的地点：一个面向维也纳帝国的开阔地形，嵌入多瑙河的地理位置，坐落在河流东岸的一个高原上，就像通往两座维也纳的桥头堡。但该遗址并不是处女地，因为以前曾为它设想过几个项目。因此，有一个概念上的“已经存在”，一个完全迷人的虚拟。

From the start the project offered a site with incredible potential: an open terrain, facing Imperial Vienna, embedded in the geography of the Danube, lying on a plateau on the river’s eastern bank, like a bridgehead to two Viennas. But the site was not virgin territory as several previous projects had been conceived for it. So there was a conceptual “already there”, a thoroughly fascinating virtuality.

 © Michael Nagl

迈克尔·纳格尔

很早的时候，我对这个地方最感兴趣的是多瑙市区其他地方的桥头堡，有河岸，但也有条件给公园的公共空间注入生命。我们利用这个委员会设计了一个通往多瑙市的真正入口。

Very early on, what kindled my interest most in this site was the bridgehead with the rest of the Donau City district, with the river banks but also the conditions for breathing life into a public space on an esplanade. We took advantage of this commission to design a genuine entry gate to Donau City.

 © Michael Nagl

迈克尔·纳格尔

与这里设想的早期开发项目的目标相反，WE规范要求一个明确的混合使用程序，这是我们提议在塔楼内和周围产生的现代城市振动的一个必不可少的条件。

Reversing objectives for earlier development projects envisaged here, WED specifications called for a decidedly mixed-use program, an indispensable condition for germinating the contemporary urban vibration we were proposing to create in and around the towers.

这些塔的作用就像一个巨大的巨石的两块，它似乎已经分裂成两个不相等的部分，然后打开，用起伏和闪闪发光的̧Des创造出一个拱门，使新创造的公共空间在那里创造出来的空虚中生活。塔楼在他们的平台上跳舞，略微面向河流，与城市的其他地方展开对话，他们没有背弃任何人，无论是历史上的维也纳还是新的维也纳。

The towers function as two pieces of a gigantic monolith that seems to have split into two unequal halves, which then open to create an arch with undulating and shimmering façades that bring the newly created public space to life in the void created there. Dancing on their platform, the towers are slightly oriented toward the river to open a dialogue with the rest of the city, turning their backs on no one, neither the historic nor the new Vienna.

 © Michael Nagl

迈克尔·纳格尔

今天，这两座大楼中的第一座已经建成，其结果是相当惊人的，这要归功于霍夫曼-简兹建筑事务所的宝贵合作。折叠的̧ADE的视觉品质创造了一种新的方式来解读多瑙城的天际线，它的起伏标志着这个新极性的入口点。这些褶皱与其他三座塔楼(façades)的严格程度形成了鲜明对比，造成了一种紧张局势，使塔底的公共空间充满了电。

Today, the first of the two towers is up and the result is quite amazing, thanks notably to the invaluable collaboration of the Hoffmann-Janz architecture office. The visual qualities of the folded façade create a new way to read the skyline of Donau City, its undulations signaling the entry point of this new polarity. The folds contrast with the no-nonsense rigor of the other three façades, creating a tension that electrifies the public space at the tower’s base.

 © Michael Nagl

迈克尔·纳格尔

FAÇade的褶皱使塔楼呈现出一种液体的、非物质的特征，一种不断适应光线、反射或事件的可延展性。另一方面，在室内空间方面，Gaëlle Lauriot-Prévost，这位副设计师，我们试着让这座建筑变得非常真实和现实。结构不隐藏，不回避眼睛。暴露的混凝土框架是可触摸的。石和金属用于大厅和循环有助于塔的慷慨和令人放心的身体。

The façade’s folds give the tower a liquid, immaterial character, a malleability constantly adapting to the light, a reflection or an event. For interior spaces, on the other hand, with Gaëlle Lauriot-Prévost, the associate designer, we have tried to make the building very physical and present. The structure is not hidden, does not evade the eye. The exposed concrete framework is touchable. Stone and metal used in lobbies and circulations contribute to the tower’s generous and reassuring physicality.

 © Michael Nagl

迈克尔·纳格尔

我们试图避免当代建筑生产中的一种倾向，即隐藏建筑师的真实作品，即缝纫、缝合项目以及在环境中对其进行上下文化和锚定。设计出现在一个较晚的阶段。浮在地面上的塔楼太严重了，就像建筑物体、物体本身一样。他们必须降落，扎根在城市的土壤中，在他们的城市物质存在的地方。目的是使城市和公共空间的基本水平与垂直轨迹相吻合。在直流塔1的基础和基础上的工作是非常令人兴奋的。建筑布置决定了塔与地面的关系。在FAÇade的背面，公共空间以一系列交错的步骤从公园的水平上升到地面参考平面。这种地形图的构造使塔体得以升空，并创造了一个所有人都能接触到的空间界面，使这种物理物体的出现成为可能，也是可以接受的。在另三扇̧Des上，金属雨伞从地面逐渐上升，逐渐靠近，软化了火山喷发的暴力，将城市和运动融入了塔的未来。社区边缘的重要工作仍有待完成，以揭示这一城市景观的地理特征，并更好地利用河岸。

We have tried to avoid a tendency in contemporary architectural production to hide the architect’s real work, of sewing, suturing the project and contextualizing and anchoring it in the environment. Design emerges in a later phase. Towers floating above the ground are too severe, like architectural objects, objects in themselves. They must land, take root in the soil of cities, in places where their urban substance is found. The aim is to get the basic horizontality of the city and the public space to coincide with vertical trajectories. The work on the base and foundation of the DC Tower 1 was highly stimulating. Architectural arrangements determine the tower’s relationship to the ground. On the back façade, the public space rises from the level of the esplanade in a series of staggered steps to reach the ground reference plane. This structuring of topography launches the tower and creates a spatial interface accessible to all, making the occurrence of such a physical object both possible and acceptable. On the other three façades, metallic umbrellas gradually rise from the ground on the approach, softening the violence of the eruption and blending city and movement into the tower’s future. Important work on neighborhood fringes remains to be done to reveal the geographic features of this urban landscape and take better advantage of the river bank.

通过这座第一座塔楼，维也纳市已经证明，准时而有控制的高楼大厦可以参与创建城市，并生产出符合都市商业需求和生活方式的现代、经济、高能源性能混合使用的建筑。

With this first tower the city of Vienna has demonstrated that the punctual and controlled emergence of high-rises can participate in creating the city and produce contemporary, economical, high-energy performance mixed-use buildings adapted to metropolitan business requirements and lifestyles.