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CER Modern Arts Centre
CER Modern Arts Centre
Ankara, Türkiye
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Other Projects by Uygur Architects
CER Modern Arts Centre
Ankara, Türkiye
Firm
Type
STATUS
Built
YEAR
2010
SIZE
100,000 sqft - 300,000 sqft
BUDGET
Unknown
The history of the project dates back to the 1990s, when a national architectural competition was held in 1992 for the design of the Presidential Symphony Orchestra Concert Hall. The designated site, located between Ulus and Sıhhiye—the historic and modern quarters of Ankara—contained remnants of the railway infrastructure, including early 20th-century traction ateliers and maintenance sheds. These consisted of three identical units from the 1920s and a fourth, larger addition built later. Initially, all four structures were slated for demolition.
In 1995, after the winning architects had begun designing the concert hall, a decision was made to transform the old sheds into an art museum. Meanwhile, the railroad was rerouted and two of the three identical sheds were partially demolished. The remaining structures were in ruins and required structural reinforcement and mechanical installations to function as gallery spaces.
The contractor appointed for the restoration of the ateliers invited the concert hall architects to collaborate on the museum project. The initial brief called for a "Contemporary Art Museum"—later named the "Modern Arts Center"—to include gallery spaces and related functions. While the size and spatial characteristics of the ateliers were well suited for galleries, additional spaces were needed for a multi-purpose hall, museum store and café, smaller exhibition rooms, and support areas. To meet these needs, a new contemporary building was annexed to the remaining sheds.
A guiding principle of the design was to preserve the site’s historical relationship with the railway. The active tracks are made visible from the interior via a transparent façade that wraps both the historic and new structures. The original railway lines running into the sheds were preserved and embedded in the timber decking of the courtyard. The new addition is distinguished by a continuous curvilinear glass façade—likened by the architects to a "roll bandage"—gently embracing and supporting the damaged historic buildings, especially the two half-demolished sheds.
This gesture not only physically connects the new structure to the old but also metaphorically enables the latter to “stand” again, with the new serving as a sort of architectural walking stick. Forming one side of a U-shaped composition, the annex defines a courtyard shielded from vehicular traffic. All entries are oriented toward this protected outdoor space. At courtyard level, the entrance hall, museum store, café, and main galleries—converted from the original sheds—are located. The basement accommodates additional galleries, an auditorium, studios, and service areas.
The Modern Arts Center occupies one corner of a larger site that is reserved for the concert hall, which remains under construction. The immediate context is thus still undefined, surrounded by temporary parking lots and construction zones. Despite this, the presence of the building has already elevated the district’s identity, illustrating the transformative power of architecture as an urban attractor.
Designed with dynamic and uninterrupted spaces, the building accommodates flexible layouts for evolving exhibitions and art events. Since its opening in April 2010, the center has become a vital cultural hub in Ankara, hosting simultaneous exhibitions, conferences, performances, and festivals. Its courtyard functions as an extension of the café, and is actively used year-round for installations and community gatherings. On summer evenings, it transforms into an open-air cinema that attracts audiences of all ages.
More than a simple renovation, this project has revitalized a neglected cluster of industrial buildings once regarded as expendable. Although modest in architectural terms, the site held historical memory from the early Republican era, when the railway was nationalized—a period symbolizing the country’s modernization efforts. The sheds’ utilitarian architecture represented an early form of modern vocabulary, built under post-war conditions with largely unskilled labor—except for ironwork provided by a German company.
As one of the few surviving examples of industrial archaeology in Ankara, the adaptive reuse of these structures has become a model of sensitive urban reclamation. The new building enriches the historical context, adding new layers of meaning and use. The project is especially notable for its harmonious integration of old and new. The contemporary addition exhibits an "architecture of courtesy," carefully enveloping the existing structures with respectful boundaries. Designed with an awareness of its time and place, the new volume prioritizes contextual harmony and modern expression equally—responding to the adjacent heritage, railway axis, traffic artery, and sunken garden with nuanced architectural gestures.
In 1995, after the winning architects had begun designing the concert hall, a decision was made to transform the old sheds into an art museum. Meanwhile, the railroad was rerouted and two of the three identical sheds were partially demolished. The remaining structures were in ruins and required structural reinforcement and mechanical installations to function as gallery spaces.
The contractor appointed for the restoration of the ateliers invited the concert hall architects to collaborate on the museum project. The initial brief called for a "Contemporary Art Museum"—later named the "Modern Arts Center"—to include gallery spaces and related functions. While the size and spatial characteristics of the ateliers were well suited for galleries, additional spaces were needed for a multi-purpose hall, museum store and café, smaller exhibition rooms, and support areas. To meet these needs, a new contemporary building was annexed to the remaining sheds.
A guiding principle of the design was to preserve the site’s historical relationship with the railway. The active tracks are made visible from the interior via a transparent façade that wraps both the historic and new structures. The original railway lines running into the sheds were preserved and embedded in the timber decking of the courtyard. The new addition is distinguished by a continuous curvilinear glass façade—likened by the architects to a "roll bandage"—gently embracing and supporting the damaged historic buildings, especially the two half-demolished sheds.
This gesture not only physically connects the new structure to the old but also metaphorically enables the latter to “stand” again, with the new serving as a sort of architectural walking stick. Forming one side of a U-shaped composition, the annex defines a courtyard shielded from vehicular traffic. All entries are oriented toward this protected outdoor space. At courtyard level, the entrance hall, museum store, café, and main galleries—converted from the original sheds—are located. The basement accommodates additional galleries, an auditorium, studios, and service areas.
The Modern Arts Center occupies one corner of a larger site that is reserved for the concert hall, which remains under construction. The immediate context is thus still undefined, surrounded by temporary parking lots and construction zones. Despite this, the presence of the building has already elevated the district’s identity, illustrating the transformative power of architecture as an urban attractor.
Designed with dynamic and uninterrupted spaces, the building accommodates flexible layouts for evolving exhibitions and art events. Since its opening in April 2010, the center has become a vital cultural hub in Ankara, hosting simultaneous exhibitions, conferences, performances, and festivals. Its courtyard functions as an extension of the café, and is actively used year-round for installations and community gatherings. On summer evenings, it transforms into an open-air cinema that attracts audiences of all ages.
More than a simple renovation, this project has revitalized a neglected cluster of industrial buildings once regarded as expendable. Although modest in architectural terms, the site held historical memory from the early Republican era, when the railway was nationalized—a period symbolizing the country’s modernization efforts. The sheds’ utilitarian architecture represented an early form of modern vocabulary, built under post-war conditions with largely unskilled labor—except for ironwork provided by a German company.
As one of the few surviving examples of industrial archaeology in Ankara, the adaptive reuse of these structures has become a model of sensitive urban reclamation. The new building enriches the historical context, adding new layers of meaning and use. The project is especially notable for its harmonious integration of old and new. The contemporary addition exhibits an "architecture of courtesy," carefully enveloping the existing structures with respectful boundaries. Designed with an awareness of its time and place, the new volume prioritizes contextual harmony and modern expression equally—responding to the adjacent heritage, railway axis, traffic artery, and sunken garden with nuanced architectural gestures.
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