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  1. ArchDaily
  2. Projects
  3. Concert House
  4. Turkey
  5. Nevzat Sayin Mimarlik Hizmetleri
  6. 2009
  7. SSM Concert Hall / Nevzat Sayin Mimarlik Hizmetleri

SSM Concert Hall / Nevzat Sayin Mimarlik Hizmetleri

  • 01:00 - 23 December, 2009
SSM Concert Hall / Nevzat Sayin Mimarlik Hizmetleri
SSM Concert Hall / Nevzat Sayin Mimarlik Hizmetleri, © Cemal Emden
© Cemal Emden

© Cemal Emden © Cemal Emden © Cemal Emden © Cemal Emden +20

  • Architects

  • Location

    Istanbul, Turkey
  • Project Team

    Umut Durmus, Nesli Kayali, Fatma Olgaç, Ahmet Korfali, Sinem Cerrah
  • Structural Engıneer

    Arce / Necati Celtikci
  • Electrıcal Engıneer

    Enkom / Belgin Merey
  • Mechanıcal Engıneer

    Okutan Muhendislik
  • Acoustıcal Engıneer

    Team Fores / Turker Talayman
  • Design Development & Construction Documents

  • Contractor

    Onder Insaat
  • Clıent

    Sakip Sabanci Müzesi̇ / Sakip Sabanci Museum
  • Parcel area

    123200 m²
  • Area

    6800.0 sqm
  • Project Year

  • Photographs

From the architect. The Bosphorus in Istanbul, which expresses most sharply the divide between Asia and Europe, is one of the places that must be preserved unchanged with the boats both large and small that go through it and the fabric that surrounds it. In fact, its surroundings should be slightly weeded out, thinned down, cleaned up. For this reason, it would be best if buildings to be constructed in this area be, to the greatest extent possible, composed, set back, and almost invisible. Therefore, when we started working on a ‘concert hall for chamber orchestra’ in this area, to be located on a museum campus situated almost immediately on the shore of the Bosphorus, we knew that we had to design an invisible building. It should not be seen unless pointed out, mentioned, or visited: We decided to build a structure underground…

© Cemal Emden
© Cemal Emden

We were willing to be squeezed among the roots of the precious existing trees, the foundations of the old house, and the walls and terrace which we wished to preserve as is. The place we were trying to define was one about which we would not have the slightest idea unless we entered it; as the earth and rocks were being removed, the structure, made almost entirely out of steel, was being manufactured in a workshop. By the time manufacturing was completed the place was ready. The structure was assembled on site like a boat. We had used time twice and reduced the duration of completion.

© Cemal Emden
© Cemal Emden

Old stone walls greet you upon entering the campus; through an opening in these walls you enter the lower foyer; an unexpected place. Reached via this space with a curvilinear ‘thing’ painted the yellow of construction machinery is the upper foyer, a narrow, elongated space parallel to the Bosphorus. A ‘place’ that is there to accentuate the Bosphorus rather than itself: The outdoor terrace in front of it gives you all the clues as to where you are; you are right next to the Bosphorus.

© Cemal Emden
© Cemal Emden

The yellow of construction machinery in the lower foyer is also present here and the shape complements that of the lower foyer. Whereas actually, when you enter through the yellow door, the shiny black multifaceted concave ellipsoid exaggeratedly reflects all the colors that enter it with unexpected surprises. There is nothing more inside than what is necessary and compulsory. What we have before us is a chamber orchestra hall seating 300, with its inner shell composed of acoustic panels, a floor whose inclination can be adjusted and if need be leveled out, the truss on which the necessary equipment can be hung, and a stage that can be expanded according to the size of the orchestra.

© Cemal Emden
© Cemal Emden

The trees, old house, terrace and walls remain in there original positions. And passing through all this, at the end of a journey during which we draw away step by step from the outside world in order to access the place where we can listen to music, we finally reach the seats awaiting us, each different from the other, within a shiny black space. When the lights dim and the music starts nothing remains but the music, its executants, and their reflections.

Location to be used only as a reference. It could indicate city/country but not exact address. Cite: "SSM Concert Hall / Nevzat Sayin Mimarlik Hizmetleri" 23 Dec 2009. ArchDaily. Accessed . <>
Read comments


gökalp us · April 22, 2012

Hele ?ükür böyle bir ortamda bulunduk.

He is one of the best architec in Turkey.

CRISTIAN · February 12, 2010


CigdemKanber · February 03, 2010
serpil özcan durmaz · January 20, 2010

nevzat say?n SSM concert hall ..

ashok · December 29, 2009

Interesting use of gabion wall...

Susan Cohan · December 28, 2009

Interesting architectural use of gambions.

GoodMillwork · December 27, 2009

An Eat-Your-Heart-Out Modern Concert Hall (via @archdaily )

Nicholas Patten · December 25, 2009

SSM Concert Hall.

Sinem Cerrah · December 25, 2009
Yorik · December 24, 2009

Pictures of the construction phase are pretty interesting!

leporello · December 24, 2009

Photo: ???????????????????????????????????????????????

thomas foral · December 24, 2009

SSM Concert Hall / NSMH-ArchDaily -

Fudge · December 23, 2009

I really like the composition of the entrance with the gabion walls, that works really well. I'm less convinced by the performance space, both internally (the reflections look slightly distracting from the stage and I'm not sure if this would perform well acoustically) and externally (The way that users can read the volume through the floors is nice but I don't like the exposed service ceilings which your eye is inevitably drawn to as you inspect the 'bosphorus')
It is a shame that the composed style of the entrance is lost after you enter the building.

eron · December 23, 2009

Everything was going good but the chicken did the job!

andrei · December 23, 2009 10:14 PM

vote +1 for this comment over here

Mehmet M.Tural · December 23, 2009

RT @archdaily: SSM Concert Hall / NSMH

Fabiano Meneghetti · December 23, 2009

RT @archdaily: SSM Concert Hall / NSMH


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