We propose to materialize the context by creating an exceptional urban facility that respects the configuration planned for the site.
It will be a volume leaving you guessing at its interiority, a mysterious empty semi – cylindric volume, changing according to the light of the night and of the day.
Located in the point where the orthogonal grid of the city meets the skyscraper’s landscape of the Sheik Zayed Road, our architecture embodies and reconciles the typical elements of its urban context. We explore this ‘will of an age’ with a series of themes that have underline our work right from the start. They are all based on an ideal form.
This form rotates on itself around its backbone for one degree each floor and creates several play of light and shadow subjugating the onlooker and introducing him or her into a strange world of sensations and emotions.
The interior of the D – Tower features several stages, connected one by one by a transversal corridor and by a vertical cylindrical shape by elevators. These volumes are combined in a vertical superimposition that creates empty areas connecting the premises, from which one may enjoy the scenery of the city. A balance between interval, conference time, time dedicated to eating, to socializing, between representation and interrelation: this is the theme inspiring the project that aims to make a day or a night moment for celebration, communion and communication.
At night the volume becomes a place of colors, of lights, expression of an intense interior life. The interior is a world onto itself – complex and diverse.
An interior street follows the path of the glass wall; a restaurant, some offices, a gymnasium and a conference hall spill into it.
The restaurant is dominated by a loft, and dominates the landscape.
It is a world of contrasts and surprise, an interior landscape.
Into the podium of two storey’s height we put the children’s library and the conference spaces for a total of 100 persons that can be divided into three conference rooms where required. We put also a cafè of 150 square meters. Our architecture works with two – dimensionality, but seeks a depth and mysteriousness in its surfaces. We have assign a preponderant importance to the question of the surface, of the skin and the material nature of our building. And so we can no longer settle for opaque surfaces which are perceived as one – dimensional, even if they actually are so, geometrically speaking.
Our architecture is therefore based on a work with surfaces.
Our architectural vocabulary is therefore based on materials, exploiting very particular surfaces: opaque, wrinkled on the south face and glossy, translucent, smooth on the north face, which are called upon to make up a sort of ‘machine for perception’ in each case. In this context, opaque products are widely used for the particularly rich range of effects they offer: they protect by the sun the interiors rooms but, at the same time, they allow ray to enter.  Farther, people into the building can see outside thanks to the glimpses towards the city. In particular, in the south facade, opaque surfaces can be open by a mechanical system at the restaurant floor allowing people to see outside, where required.
In the north face, instead, glass offers an important field for experimentation: a succession of glass planes arranged in space, simple. This work creates an idea of three – dimensional depth. An attitude testifying to the desire to go beyond the appearances. The interest in the complex perception of matter increasingly leads us to use vegetation as a material in its own right. In our architecture, glass go beyond the status of simple decorative element to take on a preponderant position – roof garden.
We think that vegetation, an unstable material that changes with time, contains the perceptive wealth of a complex material like glass.