Music and art house, Istanbul

GAD Architecture was probably chosen for their experience with a similar project. Almost ten years ago they designed a totally new and contemporary glass and steel box inside the brick walls of an old mansion without altering the external appearance of the building. This time GAD, led by Gokhan Avcioğlu, developed a concept that will ensure the structural integrity of the existing facade while providing the maximum amount of internal space. Heritage watchdogs are not very keen on the juxtaposition of old and new structures, especially in Turkey. Nevertheless, GAD managed to persuade the relevant authorities to allow them to build a totally new internal space while restoring the original exterior. The new structure is based on a light diagonal-grid steel frame inserted into the existing envelope, which enables the architect to provide the maximum amount of space using a minimum amount of load-bearing elements. The diagrid box, which is separated from the outer shell of the building, does not carry the facade but it is the main supporting structure for the concrete floors, which in turn bind the steel cage to the existing facade. Thus the fragile old facade is firmly attached to the new steel structure.

The building has seven storeys, plus a roof terrace with a magnificent view; the latter has been refurbished in order to host small events in summer. The ground and the first floors are reserved for temporary exhibitions. The ground-floor windows reveal the exhibitions inside and attract passers-by into the building. Upon entering, first-time visitors will be surprised to be confronted by the V-shaped columns of the diagrid structure, for there is no hint of this unusual internal structure on the outside, except for Leo Villareal's light installations on the columns, which change colour in response to sound inputs. The main functional spaces are located behind the V-shaped columns, and all the circulation spaces are outside this permeable cage.

The second and third floors are devoted to performance activities and can accommodate 200 people seated, or 500 standing; the rehearsal rooms are on the fourth floor. Insulation on these levels consists of sound-insulated window frames fitted with special thick glass and gypsum boards on the interior walls to absorb any unnecessary vibrations. The fifth floor is once again given over to exhibition space, while the sixth floor contains the administrative offices.

There are two staircases in the building, one on the side facade and another at the back of the building, which doubles as a fire escape. But the main vertical circulation for visitors is the glass-walled elevator. It has to be said that the distribution of exhibition and performance spaces is somewhat problematical, especially when exhibitions coincide with performances. It could be solved by putting the three exhibition floors together and moving the performance and rehearsal spaces to the third, fourth and fifth floors. This would not only create a smoother vertical circulation for visitors but would shift the performance and rehearsal spaces further away from the crowded and noisy pedestrian street below.

Even though the vertical sequence may seem a trifle baffling, GAD Architecture has done a good job of fitting a contemporary structure into an historical envelope, managing to maintain a degree of spatial flexibility in constraining conditions. The building performs well enough for music events and rehearsals and it also stimulates artists keen to present their works or create installations. The building's main success, however, is the integration of art and music, whereby visitors are able to listen to informal musical rehearsals while strolling around an art exhibition.