SSM Concert Hall

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SSM Concert Hall

Firm

NSMH

Type

Cultural › Hall/Theater

YEAR

2009

SIZE

100,000 sqft - 300,000 sqft

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…

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.

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.

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.

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.