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Duas Towers
Duas Towers
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Other Projects by OODA Architecture
Duas Towers
Firm
STATUS
Concept
SIZE
300,000 sqft - 500,000 sqft
THREE BLOCKS, TWO FUNCTIONS
Three blocks state the building: a horizontal slab at the base, a vertical slab standing on it, and a second horizontal slab returning at the top to close the composition. The towers take their name from the pairing, duas being the Portuguese word for two.
The composition is identical in both. What differs is the plan: one is quadrangular, thirty metres by twenty-five, the other a circle twenty-six metres across. The same element, the same three positions, resolved once against a corner and once against a curve.
The rrodhe, a traditional Albanian rug motif, enters the project as geometry. Its concentric lozenges are read as a stepped figure, and that figure governs the descent of the silhouette, the sorting of the cladding and the rhythm of the elevations.
The palette is a single stone. Tomorri white marble, the nearest white marble to the city, quarried sixty kilometres inland and selected from a survey of the country’s quarries, clads both towers throughout. It is almost unveined, and was chosen for that: a white marble holds no colour of its own, and takes instead the colour of the hills across the bay. Not to vanish, but not to assert itself either.
Bladed elements stand proud of the slab edge, shaping the views and shielding the glass from the low sun, lending the elevations a depth that migrates through the day. At the corners the mass steps out beyond its supports, the load returned to the frame by prestressed concrete beams.
Four intentions shape the massing. The views are moulded toward the sea, the setbacks answer the proximity of the neighbouring buildings, the footprints are refined to the irregular geometry of the two plots, and the ground floor is left open to public life. Both towers rise to ninety-eight metres over twenty-four floors and a rooftop, matched in height and distinguished only in plan.
Circulation is separated by programme, with dedicated cores for residential, hotel and restaurant access. The section stacks parking and services below grade, commercial uses at street level, hotel floors, residential floors, and a skybar and restaurant on the roof. At the ground, gardens of Hungarian oak, sycamore and myrtle mediate between the buildings and the surrounding streets, while the roof carries drought-tolerant Mediterranean species, among them wild olive, rosemary, sage, mountain tea, lavender and Albanian spurge.
The question asked of the cladding was asked of everything behind it. Low-carbon substitutes for cement are under study, among them metakaolin, slag and Seratech, alongside recycled aggregates drawn from local demolition and street works, biobased insulation in hemp-clay, wood fibre and cellulose, and rainwater reuse. The environmental work is organised under four themes: energy and water management, health and wellbeing, biodiversity, and the choice of materials.
Three blocks state the building: a horizontal slab at the base, a vertical slab standing on it, and a second horizontal slab returning at the top to close the composition. The towers take their name from the pairing, duas being the Portuguese word for two.
The composition is identical in both. What differs is the plan: one is quadrangular, thirty metres by twenty-five, the other a circle twenty-six metres across. The same element, the same three positions, resolved once against a corner and once against a curve.
The rrodhe, a traditional Albanian rug motif, enters the project as geometry. Its concentric lozenges are read as a stepped figure, and that figure governs the descent of the silhouette, the sorting of the cladding and the rhythm of the elevations.
The palette is a single stone. Tomorri white marble, the nearest white marble to the city, quarried sixty kilometres inland and selected from a survey of the country’s quarries, clads both towers throughout. It is almost unveined, and was chosen for that: a white marble holds no colour of its own, and takes instead the colour of the hills across the bay. Not to vanish, but not to assert itself either.
Bladed elements stand proud of the slab edge, shaping the views and shielding the glass from the low sun, lending the elevations a depth that migrates through the day. At the corners the mass steps out beyond its supports, the load returned to the frame by prestressed concrete beams.
Four intentions shape the massing. The views are moulded toward the sea, the setbacks answer the proximity of the neighbouring buildings, the footprints are refined to the irregular geometry of the two plots, and the ground floor is left open to public life. Both towers rise to ninety-eight metres over twenty-four floors and a rooftop, matched in height and distinguished only in plan.
Circulation is separated by programme, with dedicated cores for residential, hotel and restaurant access. The section stacks parking and services below grade, commercial uses at street level, hotel floors, residential floors, and a skybar and restaurant on the roof. At the ground, gardens of Hungarian oak, sycamore and myrtle mediate between the buildings and the surrounding streets, while the roof carries drought-tolerant Mediterranean species, among them wild olive, rosemary, sage, mountain tea, lavender and Albanian spurge.
The question asked of the cladding was asked of everything behind it. Low-carbon substitutes for cement are under study, among them metakaolin, slag and Seratech, alongside recycled aggregates drawn from local demolition and street works, biobased insulation in hemp-clay, wood fibre and cellulose, and rainwater reuse. The environmental work is organised under four themes: energy and water management, health and wellbeing, biodiversity, and the choice of materials.
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