Okuldas started her design with reference to flows: pedestrian flows around the site and future flows towards the theater and finally free flow of people inside the building. The mass of the theater takes the shape of a blob that softly incorporates distinct parts of the building program into one whole. At a location where different morphological entities converge, the theater building is a strange, but unique form that has the vocation of becoming a landmark and an attractive public node in the center of Izmir.

Rezoug has elaborated her design around the idea of a “promenade”, a “promenade théatrale” in itself, but also a trajectory that would gradually carry the citizen away from the reality of the daily urban life. The trajectory, taking the form of a ramp, constitutes the principal structuring element that combines the parts of the building program sequentially. It leads the “promeneur” in between the semi transparent shell of the building and the main spaces, passing by the main auditorium; and ends up on a public terrace looking over the Golf of Izmir.

Sivri’s design is based on the idea of dissecting the building program into its parts first and then recomposing them into an urban complex that takes its scale and form with reference to the morphological properties of the site. The transparency of the main spaces and the accessibility of the building at different levels make it an inviting public node, not only during spectacles but also with the daily activity of the workshops. In this respect the theater becomes a part of the neighboring streets and passages of Kemeralti historic district.