His father worked as a bureaucrat for the Turkish State Railways, (Türkiye Cumhuriyeti Devlet Demiryolları), and the family often travelled throughout Turkey that included visits to archaeological sites such as the Greco-Roman city of Ephesus in the Mediterranean and Aegean coasts that became an inspiration for his interest in architecture.

He went to high school in Istanbul at Boğaziçi Lisesi in Baltalimani from 1974-77 with his youth primarily spent in the Kuzguncuk district of Üsküdar on the Asian side of the city.

Throughout his career Avcıoğlu in addition to his architectural practice would have key relationships with Turkey's contractors and builders seeking to advance economic and operational models for construction.

He was active in the milieu of architects and archaeologists in Bektaş's circle which prompted him to explore Central Anatolia in detail including Cappadoccia.

Later he would go further east, intrepidly hitchhiking on his own through Turkey to the Iranian regions of Khorasan and Isfahan on the Silk Road ending up in Samerkand in Uzbekistan.

The end of his student days was marked by his internship on the restoration project of the Uzbek Sufi Lodge in Üsküdar, Istanbul, where he worked closely with the traditional carpenter craftsman, Eyup usta, on the complete reconstruction of the historical timber Ottoman building financed in part by the Turkish-American businessman, Ahmet Ertegün.

His projects include residences, office and hotel buildings, cultural, public and commercial spaces in Istanbul, Bodrum, New Jersey, New York City, Washington, D.C., Virginia, Connecticut, Libya, Beirut, Riyadh, and Kyiv.

The project is located in Kadıköy, Istanbul with its unobtrusive structure sitting in the middle of a natural park surrounded by a bustling, almost chaotic metropolitan atmosphere.

The project uses the concept of transparency to showcase the historic brick shell while creating a contemporary interior space for events, which was built inside the ruins of a 19th century Bosphorus Ottoman yali that was devastated by fire.

The design concept centers on placing a glass box behind the remaining façade walls, preserving the building's heritage while adapting it to the needs of Istanbul's modern city.

The Exploded House design illustrates classic Aegean vernacular homes with newer techniques and formal advances while maintaining the same attention to interior climate mediation.

The House's angular structure protects it from the sun and serves as a formal synthesis with the asymmetric topography that fits into the rocky clefts of the hillside.

Water flows from one building's roof to the next, then circulates back around, producing a natural cooling system for the summer months of April to October.

This climactic performance is achieved while the architecture is being created in accordance with building code constraints of 75 square meters in a layout where each unit is erected close to one another with a small space connecting them with a glass atrium.

Being located in one of Istanbul’s most populated and diverse neighborhoods, Beşiktaş Fish Market Project's main ideology regards to its formal and conceptual organization is to achieve a public and vibrant welcoming appearance,so the surface was permeated along its periphery resulting in a dynamic overwhelming form in concrete that generates programmatic and circulation elements to easily mix and flow.

The design that met the programmatic needs of the Fish Market as a retail outlet, but perhaps more importantly realized a modern public space with an innovative approach to form and materials in the traditional fabric of the city, working collaboratively with the primary stakeholders, the municipality, and fishmongers.

The building’s new functions are visible solely at street level vanishing behind the neo-classic façade on the upper floors in an ideology of the limited role modern architecture can offer in this historical urban fabric dominated by Istanbul's 19th century past.

The project targets at symbolizing Istanbul's colorful and artistic renaissance in a dualistic tension between past and present by preserving the city's heritage.

The two buildings' façades were totally covered in Ünye stone, a form of yellow-beige limestone from Turkey's northern Anatolia region with a 3-million-year history.

This stone, which comes in a variety of colors, is known for its thermal insulation characteristics in construction keeping interior spaces cool in the summer and warm in the winter.

Instead, the exposed ruins of prior building foundations and terraces have been combined to provide unique spatial linkages and views up and down the site, within the ancient remains, and, most crucially, from the Bosporus itself.

Various awards holders such as 2012 Highly Recommended Hotel Architecture, International Hotel and Property Awards,[38] 2013 Green GOOD DESIGN Award for Eskisehir Spa & Thermal Hotel project,[39] 2015 WAF shortlisted,[40] 2016 Pool Vision Middle East in the category Tourism and Leisure,[41] the project re-evaluates the city’s quite rich history and former civilizations existed on this land such as Hittites, Phrygia, Alexandria, Rome, Byzantium, Anatolia Seljuk Empire, and Ottoman Empire, and particularly Odunpazarı region that has great tourism assets with its historic texture.

For years, the people believed that the hot water had a therapeutic effect and that anyone who sat in it for a time would improve their health; this led to a rise in the amount of attention that local and foreign visitors gave to the region.