The building establishes its relations with the national garden in which it is located, by considering the potential of circulation scenarios in the immediate vicinity. Considering the intensity of use to be created by the suggestions of the festival area, culinary arts academy and the city museum located on the west of the land, the main entrance of the building is gradually included in the building with a definition that meets the west façade. A new alternative entrance is provided to the public open spaces of the project at -2.50 and -5.00 levels, with the staircase added to the pedestrian circulation foreseen on the edge of the pond in the north of the project area.

The project can be read as integrated with the landscape through the continuous roof tiles at 0.00 elevation. A stepped entrance scenario is designed with open landscape areas integrated with the public garden, the workshop courtyard and the semi-open entrance courtyard defined in front of the foyer. The open area at -2.50 level, which will allow space for periodical activities, serves the workshops at this level. The workshops, classrooms, cafe and multi-purpose hall at -2.50 and -5.00 levels are designed in such a way that users can participate independently. It is aimed that the spaces meet with daylight through occasional roof or wall rips, and the interior spaces are diversified with the light requirements required by different functions. The architectural library, which defines the entrance courtyard underneath, has a unique place in the composition. While it is functioned as the eaves of the entrance courtyard on the one hand, it has a symbolic attitude that it is located at the top level compared to other program elements. The foyer, which is connected by the entrance courtyard, which is a semi-open space at the -5.00 level, serves as a joint service to the architecture center and the museum. The exhibition hall, which is reached from this area, is defined by the permanent exhibition where the works and teachings of Mimar Sinan will be conveyed, and the temporary exhibitions proposed with divisible fictions. The long, narrow skylight, which is an important highlight of the architectural character of the exhibition hall, aims for a controlled and dramatic light quality for the hall, while referring to the balance between the gardens on the south and north sides of the space and the indoor and outdoor spaces. The open, semi-open and closed space setup of the building, which is embedded in the topography, progresses by constantly dissolving in each other. The interior gardens, which increase the light quality and offer outdoor areas for the architectural center and museum areas, form the partial spaces between the reinforced concrete eaves that slide on top of each other. The vertical elevation differences between these eaves and the elongated gaps between them have a great effect on the natural ventilation possibilities of the building. Thus, it is not possible to talk about a structure that is completely lost in the geography, nor a structure that is futile out of the concern of belonging to its place.