Reformer Pilates

Reformer Pilates experience for 1–5 participants, private or group session (With professional Pilates instructors)

Pilates is an exercise method developed in the early 20th century by the German trainer Joseph Pilates. After experiencing various health problems in his childhood, Joseph Pilates created a system designed to strengthen the body, improve flexibility, and enhance control. He originally called this method “Contrology.”Pilates became widely known after the first studio was opened in New York, where it quickly gained popularity among dancers and athletes and later spread around the world. Today, Pilates is recognized as an important exercise system that improves posture, strengthens muscles, increases flexibility, and supports mental focus. Practiced by both athletes and people seeking a healthy lifestyle, Pilates is valued as a holistic form of exercise that also helps reduce the stress of modern life.

Why Should We Do Pilates While Traveling Far From Home?

Because we are valuable. No matter how far we travel — whether for tourism or business — life continues. Along the way, we keep learning new things, meeting new people, and collecting new experiences. In this flow, we need moments that nourish not only our bodies, but also our souls. Pilates is not just about physical health. It’s about slowing down, reconnecting with yourself, and creating balance. Stepping away from the noise, crowds, stress, and exhaustion of the day — even for just one hour — who wouldn’t want to relax both physically and mentally? When we travel, our eyes are often focused on centuries-old buildings, famous landmarks, and must-see places. But we rarely look at ourselves. We forget who we are and what we truly need.

Change begins with movement.

Latin Dance Salsa

A private or group salsa dance experience on the Asian side of Istanbul, led by professional instructors.

The experience lasts between 1 to 3 hours, depending on your preference and availability. The schedule can be adjusted upon request. Salsa is a lively and energetic dance that originated in the Caribbean, especially in Cuba, and later developed in cities such as New York. It blends Afro-Caribbean rhythms with Latin and jazz influences, creating a dance style that is both expressive and joyful. Over time, salsa spread around the world and became one of the most popular social dances.

Trying salsa during your vacation is a fun way to connect with the local culture and enjoy the music and atmosphere. Even a short one-hour session can help you feel the rhythm, learn basic steps, and experience the energy of Latin dance.

Salsa is not only about dancing—it’s about celebration, connection, and joy. Spending an hour learning salsa on holiday can create unforgettable memories, help you meet new people, and add a vibrant cultural experience to your trip.During the experience, your guide will take photos and videos to capture your special moments. ravel isn’t just about seeing places — it’s about feeling them. Salsa is pure joy. You don’t need any experience — just curiosity and a smile. Moving to the music helps you relax, forget travel stress, and enjoy the moment. It’s the perfect break between sightseeing, shopping, and photo stops. Dancing with locals and professional instructors gives you a real cultural experience, not something you’ll find in a guidebook. You’ll laugh, move, and create memories that last longer than souvenirs. So if you want to take home more than photos — come dance with us and feel the beat of your trip.

A Tile And Ceramic Workshop 

A unique tile workshop experience with groups of up to 10 people or private

One of the things that makes us happiest is creating something with our own hands — stepping away from the noise and crowds of the world, finding a calm space to reconnect with ourselves, relax, have fun, and leave daily stress behind.

It’s about slowing down, producing something meaningful, collecting new memories, and being part of a creative process where something beautiful comes to life through handcraft. Come and have fun with us. Let’s create together.

Iznik Tiles

The history of tile-making (Çinicilik) in Turkey is very ancient, dating back to 7000 BCE, but the most valuable pieces were created after the 16th century. Following the conquest of Tabriz in 1514, Persian tile masters moved to Iznik, contributing significantly to the development of the art of tile-making. Iznik was the first place to produce the rare and precious coral red used in designs featuring tulips and carnations. After the 17th century, the torch of tile-making was passed on to Kütahya.

Iznik tiles were widely used in the decoration of important Ottoman architectural structures such as mosques, palaces, and mausoleums. Some of the most impressive examples can be seen in Topkapı Palace, Blue Mosque, and Rüstem Pasha Mosque.

The designs commonly feature stylized floral motifs such as tulips, carnations, and hyacinths, along with traditional Islamic patterns including rumi and hatayi motifs. These artistic elements reflect the aesthetic principles and symbolic language of Ottoman art.

Today, Iznik tiles are considered a significant part of Turkey’s cultural heritage and remain one of the finest examples of Islamic ceramic art in the world.

Workshop Class Options

Our studio offers 2-hour and 45-minute workshop class activities.

2-Hour Workshop Class

You paint a pre-drawn plate or tile design in any colors you like.

Your painted piece will be varnished and delivered to you.

You will also have the opportunity to experience shaping clay once on a pottery wheel.

Included:

• All materials used (plate/tile, paint, brushes)
• Tea & coffee service
• Guidance from a master instructor

Not Included:

• Purchases from the exhibition section
• Shipping / delivery fee

45-Minute Workshop Class

You paint a small pre-drawn tile design using 2 colors.

Your painted tile will be varnished and delivered to you.

You will also have the opportunity to experience shaping clay once on a pottery wheel.

Included:

• Materials
• Tea & coffee service
• Instructor support
• Guidance

Not Included:

• Purchases
• Shipping / delivery fee
• Choosing 3 or more colors

Kadıköy on the Asian side of Istanbul

Discover the vibrant spirit of Kadıköy, one of the most colorful and lively districts on the Asian side of Istanbul. With a history stretching back thousands of years to ancient Chalcedon, Kadıköy has long been a meeting point of cultures, trade, and daily life by the sea. Today, it blends its rich past with a dynamic modern atmosphere that attracts both locals and visitors.Our tour is a relaxing walk through Kadıköy’s charming streets and seaside promenades. The district is known for its pedestrian-friendly areas, lively squares, and beautiful coastal paths where you can enjoy views of the Marmara Sea while feeling the rhythm of the city.Along the way, you will discover local restaurants, cozy cafés, and authentic eateries where Kadıköy’s famous food culture comes alive. From traditional Turkish flavors to modern culinary spots, the area offers countless places to explore and enjoy. Street musicians, boutique shops, and creative art spaces also add to the unique character of this neighborhood, making every step of the walk engaging and memorable.Kadıköy is also known for its energetic entertainment scene. As we continue our walking tour, you will see popular gathering spots, lively streets, and cultural corners that reflect the district’s youthful and artistic atmosphere.At the end of our tour, we will arrive at Game Center, where you can unwind and have fun after the walk. Here you can choose from a variety of arcade games and entertainment options—perfect for releasing some stress and ending the experience with laughter and excitement. This tour is designed as a fully walkable experience along Kadıköy’s scenic seaside areas, combining history, culture, gastronomy, and entertainment into one unforgettable journey on the Asian side of Istanbul.

Blue Mosque (Sultan Ahmed Mosque)

Sources that describe the history of Istanbul often begin with a tale of prophecy. According to a prophecy learned by a commander named Byzas from the city of Megara at the Temple of Apollo in Delphi, the new city was to be founded opposite the land of the blind. In this story, the hero would only understand the intended message at the right place and time. When Byzas arrived in what is now the Sultanahmet district, he could not understand why such a strategic location with a natural harbor and fertile land had been left uninhabited while settlement had taken place on the opposite shore of the Bosphorus. He therefore considered that land to be the “land of the blind” and founded his city opposite Khalkedon (Kadıköy). Thus, this city, which began its life as a modest colony, would in time become the capital of the Roman, Byzantine, and Ottoman Empires and change world history.

The Sultanahmet Mosque was built in a location that has attracted attention in every period. During the Byzantine era, the Imperial Palace stood here, and magnificent mosaics from this palace are still exhibited today in the museum located to the south of the complex. In the Ottoman period, the area was used as a district of palaces belonging to state officials. Therefore, before the construction of the mosque began, the palaces of Semiz Ali Pasha, Sokullu, İsmihan Sultan, and Ayşe Sultan had to be expropriated.

This monument, the first major mosque built after Mimar Sinan’s Süleymaniye and Selimiye Mosques and the largest of the imperial (Selatin) mosques, was completed between 1609 and 1617. The Blue Mosque is the work of Sedefkâr Mehmet Ağa, a master who was trained during the era of a great master.

In accordance with Ottoman tradition, the mosque was built as a large and richly endowed complex (külliye). However, many of the surrounding structures have not survived to the present day. Among the sections of the complex that have been preserved are the imperial pavilion (hünkâr kasrı), madrasa, primary school (sıbyan mektebi), timekeeper’s room (muvakkithane), arasta (bazaar), bath, bakery, kitchen, soup kitchen (imaret), and the tomb of Sultan Ahmed. The mosque is surrounded on three sides by an outer courtyard.

Upon entering the interior, the first striking feature is the central dome with a diameter of 23.50 meters and a height of 43 meters, supported by four marble pillars with a diameter of five meters, known as “elephant feet.” The central dome is expanded on four sides by semi-domes and by two exedras on the mihrab side and three on the other sides. Carried on high pointed arches and pendentives, the dome appears spacious and bright. The large number of windows—260 in total—plays a significant role in giving the prayer hall this airy appearance. Among the interior decorations, the most striking elements are the tiles, most of which were produced in the İznik workshops. These tiles were largely produced as 25×25 cm panels using underglaze, colored glaze, and monochrome glaze with gilding techniques. Motifs such as tulips, roses, rosebuds, carnations, hyacinths, cypress trees, and spring trees are frequently used. Another decorative feature that stands out as much as the tiles is the painted ornamentation (kalem işi).

Another architectural feature that makes the mosque special is its six magnificent minarets. No mosque with six minarets had been built before in Ottoman history. These minarets, with two balconies on those in the front courtyard and three on the others, have been the subject of various urban legends from their construction to the present day. According to the story, religious authorities objected when they saw that the number of minarets equaled that of the Masjid al-Haram in Mecca, and the Sultan resolved the issue by ordering the construction of a seventh minaret in Mecca.

On the western side of the courtyard, you will notice a chain hanging above the gate opening toward the Hippodrome. It is said that sultans entering the courtyard bowed their heads to avoid hitting the chain. Thus, the chain symbolically reminded that God is greater than the sultan and emphasized that everyone entering the mosque is equal. After passing the chain, the inscription you will see above the main entrance was written by Derviş Mehmed, the father of the 17th-century Ottoman traveler Evliya Çelebi.Formun Üstü

Hippodrome

The term “Hippodrome”, derived from two Greek words meaning horse and course, continued to be used with a similar meaning after the city came under Turkish control, and during Ottoman rule the area was called “At Meydanı” (Horse Square). The construction of the first hippodrome is dated to the reign of the Roman Emperor Septimius Severus (193–211). During the struggle for the throne, the city of Byzantion supported Severus’s rival Pescennius Niger and was besieged for three years. After it was captured, the city was punished by being completely destroyed. However, shortly after eliminating his rivals and becoming sole emperor, Severus rebuilt the city, and it was later developed and expanded during the reign of Constantine I, the city’s acknowledged founder. The Hippodrome was constructed during this period.

Following the decision in 330 to move the imperial capital from Rome to Byzantion, the former capital seems to have been deliberately replicated in the new city. For instance, the seven hills of Rome were artificially recreated in the new capital, which is why Istanbul is still known today as the “city of seven hills.” A more explicit example is the selection of the name Nova Roma (New Rome) for the city. As part of this process of Romanization, a structure similar to Rome’s Circus Maximus was built in the new capital. Although the Hippodrome did not rival the Circus Maximus in grandeur, it was nevertheless one of the essential elements of Roman identity. Since very little remains of its former magnificence, it is difficult to imagine the Hippodrome’s appearance in antiquity. Originally measuring 480 meters in length and 117.5 meters in width, this monumental structure is estimated to have had a capacity of approximately 100,000 spectators.

At the center of the Hippodrome ran a longitudinal platform known as the spina, which was adorned with monumental works. Chariot races—considered the most attractive events of the Hippodrome—were held around the spina, with teams known as the Blues, Greens, Reds, and Whites completing seven laps. These races were watched by the emperor from a special imperial box (kathisma) connected to the palace, allowing the ruler to engage directly with the people and conduct imperial propaganda.

Although many monumental structures once stood on the spina, only three have survived to the present day. The oldest of these is the Egyptian Obelisk, originally erected around 1450 BC by Pharaoh Thutmose III at the Temple of Karnak in Luxor to commemorate his victory in a Mesopotamian campaign. Brought to Alexandria in 357 by Constantius II, the son of Constantine I, the monument was finally erected in the Hippodrome in 390 during the reign of Theodosius I. Also known as the Obelisk of Theodosius, it is believed to have originally stood about 30 meters high. However, due to the breaking of its lower section during transportation or erection, only 19.59 meters of the obelisk survive today. Including its base, the monument currently measures 25.6 meters in total height. Reliefs on two sides of the stylobate beneath the base depict the erection of the obelisk and scenes of chariot races, while Greek and Latin inscriptions on the other two sides describe the emperor raising the monument.

The Serpent Column is another monument that has survived. It was one of the valuable offerings dedicated to the Temple of Apollo at Delphi by the Greek city-states in gratitude for their victory over the Persians at the Battle of Plataea in 479 BC. The names of the participating city-states were engraved on the coils of the column. It is known that the original monument also supported a golden tripod held by three serpent heads. One fragment of a serpent head that has survived is currently exhibited in the Istanbul Archaeological Museums.

Another surviving monument is the Column of Constantine, also known as the Walled Obelisk. Constructed from carefully cut stones of varying sizes, the exact date of its original construction is unknown. An inscription on its base records that it was restored in the first half of the 10th century by Emperor Constantine VII Porphyrogenitus. Standing 32 meters high at the turning point of the chariot races, this monument was once covered with bronze plates, which were stripped and looted during the Fourth Crusade. During the Ottoman period, the monument acquired a new function and became a target for those who attempted to climb it to demonstrate their skills during public celebrations in the square.

Another notable historical feature of the area is the German Fountain, which was prepared in Germany and brought to At Meydanı in 1901. Gifted by German Emperor Wilhelm II, the fountain features a domed roof supported by eight columns, with the interior decorated with gold mosaics. Inside the dome are the tughra of Sultan Abdülhamid II and the monogram of Wilhelm II.

Hagia Sophia

Hagia Sophia was referred to as the Great Church (Megali Ekklesia) because it was one of the largest buildings in the city at the time. Taking its name from two Greek words meaning “Holy Wisdom,” Hagia Sophia has rightfully stood in all its splendor for 1,500 years in the city’s most important square.

During the reign of Constantius II, son of Constantine the Great, a large church was built on this site; however, it was destroyed during a revolt in 404.

The second structure erected here was also ruined during the famous Nika riots (532). Thereupon, Justinian I ordered the construction of the magnificent monument we see today.

For this monumental project, two architects—actually one a mathematician and the other a physicist—were appointed: Anthemius of Tralles and Isidore of Miletus. A total of 10,000 workers, operating in two shifts, were placed under their command, and the building was completed in the remarkably short span of five years and ten months.

Its height from the ground is 55.60 meters, and its diameter is approximately 31–32 meters. The dome, set on a circular plan—similar to that of the Pantheon—was already known in Roman architecture even before Hagia Sophia.

Twenty-one years after its construction, an earthquake caused serious damage to Hagia Sophia, and its magnificent dome had to be rebuilt. Following this first major restoration, carried out by Isidore the Younger, the nephew of Isidore of Miletus, Hagia Sophia underwent numerous similar interventions and restorations throughout its history.

Having served as the patriarchal church for 916 years, Hagia Sophia was converted into a mosque after 1453.

Following its conversion, minarets were added to the structure—first during the reign of Mehmed II (Fatih), then during the reign of his son Bayezid II; the last two were built personally by Mimar Sinan.

The surviving figurative mosaics date from between the 9th and 12th centuries. Between 1847 and 1849, Hagia Sophia was restored by the Italian architect Gaspare Fossati and his brother Giuseppe Fossati, under the order of Abdulmejid I (1839–1861).

In addition, several changes were made: the mosaics and frescoes were appropriately covered, and essential elements required in a mosque—such as the mihrab and the minbar—were installed. Large circular plaques bearing the names “Allah,” “Muhammad,” “Abu Bakr,” “Umar,” “Uthman,” “Hasan,” and “Husayn” were also added to the interior.

After serving as one of the most prominent places of worship for Muslims for 477 years, the building began to be used as a museum in 1935.

Used as a museum for 86 years until 2020, Hagia Sophia became one of Turkey’s most visited tourist attractions during this period. As of 24 July 2020, it has once again been reopened for worship as a mosque.

Topkapı Palace

Topkapi Palace is located at Sarayburnu, a promontory overlooking the Golden Horn. It is believed that the acropolis of the ancient city of Byzantium once stood here.

After completing his conquest, Mehmed II wished to build a palace befitting the city he had made his capital. As its location, he chose the site where Istanbul University stands today, in present-day Beyazıt. However, this first structure must have been considered insufficient, for shortly afterward the need was felt to construct a new palace. This second palace was called “Saray-ı Cedid,” meaning “New Palace,” in reference to the previous one.

The reason the complex came to be known as Topkapı Palace is connected to another structure built in the 18th century near the Byzantine walls, which was named “Topkapusu Sahil Sarayı” (the Shore Palace of the Cannon Gate) due to the ceremonial cannons placed in front of it.

Construction of Topkapi Palace began in 1460, and the palace was used for approximately 400 years. Over time, it developed and changed through additions made by different sultans.

Topkapı Palace is surrounded on the landward side by the Sur-ı Sultani (Imperial Walls) and on the seaward side by the Byzantine walls, covering an area of 700,000 square meters.

The palace’s main entrance gate is called the Bab-ı Hümayun (Imperial Gate). This was a ceremonial gate used primarily by the Sultan and high-ranking officials rather than by the general public. Built during the reign of Mehmed II, it is known that there was once a pavilion above this gate, although that structure has not survived to the present day.

Palace Kitchens:
Rebuilt by Mimar Sinan, the Palace Kitchens of Topkapi Palace were known to prepare meals for approximately 5,000 people daily, offering an average of 50–60 different dishes each day. The food prepared here was not served solely to members of the palace; it was also distributed to anyone who happened to come to the palace for various reasons, as well as to people living in its vicinity.

Third Courtyard:
Entrance to the Third Courtyard is through the Babü’s Saade, meaning the “Gate of Felicity.” Considered the beginning of the Sultan’s private residence, this gate was so exclusive that even grand viziers were not permitted to pass through it without authorization, except when proceeding to the Audience Chamber.

Within the Third Courtyard of Topkapi Palace, there are several sections, each worthy of being considered a museum in its own right. In addition to the Miniature and Portrait Collection, there is the Collection of the Sultans’ Costumes, where the kaftans and garments of the Ottoman rulers are displayed. The Imperial Treasury houses world-famous masterpieces such as the Topkapi Dagger and the Spoonmaker’s Diamond.

Also located here is the Chamber of Sacred Relics, which preserves hundreds of revered items, including the mantle (cloak), beard hairs, a tooth relic container, footprint, letters, bow, and sword attributed to the Prophet Muhammad; the pot of the Prophet Abraham; the staff of Moses; and the swords attributed to David, Ali, Abu Bakr, and Umar.

In the Fourth Courtyard, visitors pass among structures such as the Circumcision Room (Sünnet Odası), a small pavilion used during the circumcision ceremony of the princes of Ahmed III; the Revan and Baghdad Pavilions, built to commemorate the conquests of Revan and Baghdad by Murad IV; and the Tulip Garden. At the end, they are rewarded with a magnificent view of the Bosphorus.

Harem

Originally located in the Old Palace (Eski Saray) in Beyazıt, the Harem was moved to Topkapi Palace during the reign of Suleiman the Magnificent. The existing Harem complex largely dates from the period of Murad III (1574–1595).

Essentially, the Harem was the household of the Sultan, and its administration was largely under the authority of the Valide Sultan (Queen Mother).

The Harem was not merely an institution connected to the dynasty. Some of the girls educated and raised there were assigned to serve the Sultan, while others were married to aghas who had been trained in the Enderun (Palace School) and were later appointed as administrators in various parts of the empire.

Girls admitted to the Harem were first taught Turkish, followed by instruction in the Qur’an and literacy. In addition, they received training in music, dance, fine arts, and palace protocol. It was expected that those who completed this education and later married would be known as “palace ladies” in the regions where they settled and would set a good example in their communities.

In the 19th century, when it could no longer meet the needs of the age, Topkapi Palace was gradually replaced by palaces such as Dolmabahce Palace, Ciragan Palace, and Yildiz Palace.

Nevertheless, even after this transition, it continued to house the Sacred Relics, the Imperial Treasury, and the state archives. In 1924, by the order of Mustafa Kemal Ataturk, it was converted into a museum.Formun Altı

Grand Bazaar

The fact that the ancient trade routes known as the Silk Road and the Spice Road passed through these lands led to the increase of inns, covered markets, and bazaars during the Ottoman period. The largest and most important of these bazaars is the Grand Bazaar. Also called the “Great Bazaar,” it is a historical document that bears the traces of both past and present consumption habits.

The main purpose of its foundation, after the conquest of Istanbul, was to strengthen the economy and to generate income for the maintenance and repair of Hagia Sophia. The first structure of the Grand Bazaar was commissioned in 1461 by decree of Mehmed II. Designed and built by Mimar Hayreddin, this vast market was constructed in the form of a large labyrinth.

Within the Grand Bazaar are three major bedestens (covered market halls), including Cevahir, Sandal, and Galata, which are among the earliest Ottoman bedestens. Throughout history, the bazaar suffered damage many times due to major earthquakes in Istanbul and numerous fires, and it was repeatedly restored and rebuilt in sections.

According to current data, the bazaar covers an area of approximately 30,700 square meters and contains around 66 streets and nearly 4,000 shops. It is a closed complex consisting of shops, bedestens, storage rooms, inns, and small mosques. With later additions, it includes 5 mosques, 1 school, 7 fountains, 10 wells, 1 sebil (public water dispenser), a fountain courtyard, 24 gates, and 17 inns.

At the core of the Grand Bazaar’s foundation lies the principle of being a “waqf-based commercial center.” For this reason, above the Beyazıt Gate of the bazaar hangs the inscription “Allah loves the one who trades,” placed beneath the tughra (imperial monogram) of Abdul Hamid II.

Today, the Grand Bazaar is a major attraction visited by tourists, where carpets, leather goods, textiles, jewelry, antiques, and ceramic products are sold.

Great Constantinus, 324-37

​Constantius, 337-61

​Julianus Apostata, 361-3

​Jovianus, 363-4

​Valens, 364-78

​I. Theodosius, 379-95

​Arkadios, 395-408

​II. Theodosios, 408-50

​Markianos, 450-7

​I. Leon, 457-74

​II. Leon, 474

​Zenon, 474-91

​I. Anastasios, 491-518

​I. Iustinos, 518-27

​I. Iustinianos, 527-65

​II. Iustinos, 565-78

​II. Tiberios Konstantinos, 578-82

​Mavrikios, 582-602

​Fokas, 602-10

​Herakleios, 610-41

​II. Konstantinos, 641

​Heraklonas, 641

​III. Konstantinos, 641-68

​IV. Konstantinos, 668-85

​II. Iustinianos, 685-95

​Leontios, 695-8

​III. Tiberios, 698-705

​II. Iustinianos (For the second time), 705-11

​Fillippikos, 711-13

​II. Anastasios, 713-15

​III. Theodosios, 715-17

​III. Leon, 717-41

​V. Konstantinos, 741-75

​IV. Leon, 775-80

​VI. Konstantinos, 780-97

​İrini [Eirene], 797-802

​I. Nikiforos, 802-11

​Stavrakios, 811

​I. Mihail, 811-13

​V. Leon, 813-20

​II. Mihail, 820-9

​Theofilos, 829-42

​III. Mihail, 842-67

​I. Basileios, 867-86

​VI. Leon, 886-912

​Aleksandros, 912-13

​VII. Konstantinos Profirogennitos, 913-59

​I. Romanos Lekapinos (Co-emperor), 919-44

​II. Romanos, 959-63

​II. Nikiforos Fokas, 963-9

​I. İoannis Çimiskis, 969-76

​II. Basileios, 976-1024

​VIII. Konstantinos, 1025-8

​III. Romanos Argiros, 1028-34

​IV. Mihail, 1034-41

​V. Mihail, 1041-2

​Theodora ve Zoe, 1042

​IX. Konstantinos, 1042-55

​Theodora (For the second time), 1055-6

​VI. Mihail, 1056-7

​X. Konstantino Dukas, 1059-67

​IV. Romanos Diogenis, 1067-71

​VII. Mihail Dukas, 1071-8

​III. Nikiforos Votaniatis [Botaneiates], 1078-81

​I. Aleksios Komnenos, 1081-1118

​II. İoannis Komnenos, 1118-43

​I. Manuel Komnenos, 1143-80

​II. Aleksios Komnenos, 1180-3

​I. Andronikos Komnenos, 1182-5

​II. İsaakios Angelos, 1185-95

​III. Aleksios Angelos, 1195-1203

​II. İsaakios Angelos (For the second time), 1203-04

​IV. Aleksios Angelos (Co-emperor), 1203-4

​V. Aleksios Dukas, 1204

Latin Invasion

​I. Baudouin, 1204-5

​Henri, 1205-6

​Pierre de Courtenoi, 1216-19

​Robert, 1219-28

​II. Baudouin, 1228-61

Byzantine Emperors of Nicaea

​I. Theodoros Laskaris, 1204-22

​IV. İoannis Vatatzes, 1222-54

​II. Theodoros Laskaris, 1254-8

​IV. İoannis Laskaris, 1258-61 (Co-emperor), 1258-61

​VIII. Mihail Paleologos (Co-emperor), 1258-61

After the Liberation of Constantinople from the Latins

​VIII. Mihail Paleologos, 1261-82

​II. Andronikos Paleologos, 1282-1328

​IX. Mihail Paleologos (Co-emperor), 1295-1320

​III. Andronikos Paleologos, 1328-41

​V. İoannis Paleologos, 1328-41

​VI. İoannis Kantakuzinos (Co-emperor), 1342-54

​IV. Andronikos Paleologos, 1376-9

​V. İoannis Paleologos ( For the second time), 1379-91

​VII. İoannis Paleologos, 1391-1425

​VIII. İoannis Paleologos, 1425-48

​XI. Konstantinos Paleologos Dragas, 1449-53

 Historic and colorful streets of Fener and Balat – Fener

Fener stretches along the western shore of the Golden Horn, between the neighborhoods of Balat and Cibali. In the Byzantine period it was known as Fanarion (meaning “lighthouse”), a name derived from one of the most important lighthouses on the Golden Horn, which once stood here.

Until the second half of the 20th century, Fener was known as the largest Greek (Rum) settlement in Istanbul. In the early 17th century, when the Ecumenical Patriarchate moved here, the district became the most important Greek quarter of the city. The transfer of the Patriarchate to Ecumenical Patriarchate of Constantinople strengthened Fener’s role as a religious and cultural center.

The Greeks of Fener, known historically as the Phanariots, gained prominent positions within the Ottoman administrative system, particularly as translators and diplomats. Thanks to their high level of education, cultural refinement, and knowledge of multiple foreign languages, they often served in embassies and as official interpreters. Others became wealthy through trade.

Although Fener experienced frequent fires throughout its history and was rebuilt many times, it has managed to preserve much of its original character. The main road was asphalted in 1970.

On the Fener waterfront, the Orthodox Epiphany ceremony—once interrupted after 1952—has in recent decades been revived. Every year on January 6, commemorating the birth and baptism of Jesus Christ, Orthodox young men dive into the waters of the Golden Horn to retrieve a cross thrown into the sea by the Patriarch during prayers. The one who recovers the cross is rewarded with a golden cross by the Patriarch. During this ceremony, known among the Greeks as the Phota (or Fota) Feast, it is believed that the waters are blessed.

The Greeks who once gave Fener its distinctive identity no longer live here in large numbers. Until the 1940s, they formed the majority of the population. However, due to industrialization, which significantly altered the character of the neighborhood, many gradually moved to other parts of Istanbul such as Princes’ Islands, Kadıköy, Yeşilköy, and Şişhane, or emigrated to Greece.

Today, Fener’s sturdy stone houses, columned entrances, decorated balconies, mosaic gardens, and the stone courtyards visible through open doors offer clues about life several centuries ago. It is also possible to see laundry hanging from pulley-operated ropes stretched between houses—a characteristic feature of Mediterranean neighborhoods.

Private Fener Greek Orthodox Secondary and High School

Sharing the same hill as the Church of St. Mary of the Mongols (known in Turkish as Kanlı Meryem), this school is not only the oldest continuously operating educational institution in Istanbul, but also one of the oldest schools in the world.

Throughout its long history, it has been known by several names, including Megali Scholi (the “Great School”), the Red School, Mekteb-i Kebir (the Great School), and the Patriarchal Academy. Its foundation dates back to before the Ottoman conquest of Constantinople.

One year after the conquest in 1453, Mehmed II guaranteed the Orthodox community freedom of worship, education in their mother tongue, and the restoration of the Patriarchate. Following this decree, many Byzantine bureaucrats and merchants who had left the city returned. With the Sultan’s official permission and support, the Greek Orthodox Patriarch Gennadius Scholarius established a school in this district.

The magnificent red building visible today was constructed between 1880 and 1882. It was designed by Konstantinos Dimadis, a graduate of the school and one of the leading architects of his time. The structure owes its distinctive color to the famous red bricks imported from Marseille.

Throughout the Ottoman period, many voivodes and hospodars were educated here. From the founding of the Turkish Republic until 1989, the institution functioned as a boys’ high school. In 1989, it became coeducational and adopted the name Fener Greek Orthodox Secondary and High School.

Because of its imposing and monumental appearance, many people mistakenly assume from a distance that the building is the Patriarchate itself.

It can be said that philosophy and modern sciences were first systematically taught within the Ottoman territories at this school. Likewise, organized foreign language education began here. After 1861, with a few exceptions, its curriculum became similar to that of other classical high schools. In 1903, a department was added to train primary school teachers, offering classical philology and pedagogy.

A telescope was installed in the dome of the building, and this section was designed as an observatory for astronomical studies. The school also possesses a remarkably rich library. Its ceremonial hall, decorated with columns and wall paintings depicting scenes from Ancient Greek history, is particularly magnificent.

Church of St. Mary of the Mongols

(Kanlı Kilise / Muhliotissa)

Also known as the Bloody Church and the Church of St. Mary of the Mongols, this rose-pink building stands slightly weathered, with an unusually high drum supporting its dome. The church is dedicated to Theotokos Panagiotissa—the Holy Mother of God—but is more commonly referred to as Muhliotissa or St. Mary of the Mongols.

It was rebuilt in 1282 by Princess Maria Palaiologina, the illegitimate daughter of the Byzantine Emperor Michael VIII Palaiologos.

In 1265, Maria was sent by her father as a bride to the Mongol ruler Hulagu Khan. However, Hulagu died before she arrived at the Mongol court, and she subsequently married his son and successor, Abaqa Khan. She lived in the Mongol palace in Persia for about fifteen years. Influenced by her presence, many members of the khan’s court are said to have embraced Christianity.

In 1281, when Abaqa was killed by his brother Ahmad, Maria was forced to return to Constantinople. After her return, her father attempted to arrange another marriage for her with a Mongol ruler named Qarabanda, but this time Maria refused. Instead, she restored the church and founded a convent for women, dedicating it to Muhliotissa, “the Queen of the Mongols.” Maria—also known as the Queen of the Mongols—became a nun and spent her final years in seclusion at the convent.

This romantic story is only partially accurate. In fact, the original church had been founded in 1261 by Isaakios Doukas, the uncle of Michael VIII. The Queen of the Mongols likely added certain extensions and decorative elements to the structure.

After the conquest of Constantinople, Mehmed II granted the church to the local Greek community at the request of the Greek architect Christodoulos. The original imperial decree (firman) is still displayed there today. It is the only Byzantine church in Istanbul that has remained in continuous Greek Orthodox ownership since the conquest.

Architecturally, the church originally followed a trefoil plan—four-lobed internally and three-lobed externally. A small central dome rises on a high drum and is surrounded along the axes by four semi-domes, all resting on the outer walls of the structure except for the western one

Sveti Stefan Church

(Bulgarian Iron Church)

Located along the shores of the Golden Horn between Balat and Fener, this architecturally remarkable Bulgarian Orthodox church is one of the most distinctive religious monuments in Istanbul.

The church takes its name from Sveti (meaning “Saint”) and from Prince Stefan Bogoridi, a high-ranking Ottoman bureaucrat who donated the land on which it stands. It is affiliated with the Bulgarian Exarchate in Istanbul and is widely known as the “Iron Church” because it was constructed from prefabricated cast-iron elements. It is considered the most magnificent Bulgarian monument in Turkey.

With the reforms of the Tanzimat and Islahat Edicts, which granted new freedoms to non-Muslim minorities in the Ottoman Empire, religious and national consciousness among Bulgarians began to rise. Especially in the 1860s, as legal regulations allowed communities such as the Greeks, Armenians, and Jews to govern their own internal affairs through patriarchal and communal statutes, Bulgarians accelerated their organization around national identity.

Growing tensions between Greeks and Bulgarians within the Orthodox community led the Bulgarians to separate collectively from the Greek Orthodox Patriarchate and declare to the Ottoman authorities that they would no longer recognize the leadership of the Greek Patriarch. Efforts to establish an independent Bulgarian Orthodox Church intensified, and in 1870, a decree issued by Abdulaziz officially recognized the Bulgarian Orthodox population as a separate religious community within the Ottoman Empire.

The first Bulgarian church on this site, opened for worship in 1849, was a wooden structure. Because it soon became insufficient for the growing congregation, permission was obtained from the Ottoman authorities to construct a new stone church. For this project, the famous architects Gaspare Fossati and Giuseppe Fossati—well known in the Ottoman Empire—were invited. However, after the foundations were laid, the project was abandoned due to insufficient funds.

The present structure represents the third and final construction phase. In 1882, the Istanbul-based architect Antoine Perpignani conducted ground and foundation studies and completed his design. After consultations with the Bulgarian government and the inclusion of requested modifications, the project prepared by Hovsep Aznavur was selected in 1883 as the winning design for the new church.

In 1890, Aznavur demolished the earlier foundations built by the Fossati brothers and carried out a detailed soil survey. Because the building site had weak ground conditions, 330 piles were driven into the soil and reinforced with oak beams to stabilize the foundation. It was determined that constructing the church in stone would be impossible due to the unstable terrain. Therefore, to reduce weight, it was decided that the entire building would be made of prefabricated iron components.

The steel and cast-iron elements were manufactured in Vienna by the R. Ph. Waagner Company and transported to Istanbul by sea. Once delivered to the site, the pieces were assembled according to the project specifications, completing the construction.

At the time of its construction, only three other similar iron churches existed in the world. The church has survived to the present day. While its main structural framework is made of steel, the rest of the building consists entirely of cast iron. Its fully iron bell tower rises approximately 40 meters high, making it one of the most striking features of the Golden Horn skyline.

Beyoğlu / İstiklal Avenue

The district of Beyoğlu, known as Pera before the conquest of Istanbul and once a major hub for European merchants, has remained one of the city’s most important centers of trade, culture, and tourism from past centuries to the present day. İstiklal Avenue, stretching 1.5 kilometers, is closed to vehicle traffic. Taksim Square lies at the northern end of the avenue, while Tünel Square is located at its southern end.

From Taksim Square—home to the Republic Monument, built in the early years of the Republic to convey the ideals of the new regime to the public—the area extends down to Galata, where numerous historic religious, cultural, and social buildings belonging to different nations and communities can be seen. With its cafés and restaurants, shopping arcades, entertainment venues, historic streets, museums, religious buildings, and nostalgic tram, İstiklal Avenue welcomes large numbers of local and international visitors throughout the year and is perhaps one of the most important symbols of Istanbul.

The road that continues downhill from the end of İstiklal Avenue leads to the Galata Tower, which offers panoramic views of the Bosphorus and the Golden Horn and is included on UNESCO’s World Heritage Tentative List.

Before the conquest of Istanbul, Beyoğlu was known as “Pera,” meaning “the other side,” and became a settlement where the Genoese colonies lived. In the area where today’s İstiklal Avenue is located, there were vineyards, hunting grounds, and cemeteries. Due to their disputes with VIII. Mikhail Palaiologos, the Genoese settled in Galata.

After the conquest of Istanbul, the English, French, and Dutch who wished to trade with the Ottoman Empire settled in Pera. As the French gained supremacy over the Genoese in Europe, this dominance was reflected in Pera as well, resulting in greater French influence over the district’s development.

Galata Genoese and Mehmed II

On June 1, 1453, the Friday prayer was performed in Hagia Sophia, which had been swiftly converted into a mosque. On the same day, a decree written in Greek was granted to the Genoese. The document bore the signature of the Sultan’s father-in-law and grand vizier, Zağanos Pasha, and featured Mehmed II’s tughra at the top.

Through this decree, the Sultan granted privileges to the Genoese of Galata. These privileges constituted the legal basis for the Latin community’s freedom of worship and the preservation of their churches for more than 400 years, until the proclamation of the Republic in 1923. However, it should be noted that the civil and religious privileges granted to the Genoese stemmed from their apparent neutrality during the siege.

Beyoğlu / Taksim Square and the Origin of Its Name

Located within the boundaries of Beyoğlu district, Taksim Square stands at the intersection of İstiklal Avenue, Sıraselviler Avenue, Gümüşsuyu Avenue, Cumhuriyet Avenue, and Tarlabaşı Boulevard.

The name of the square derives from the “maksem” (water distribution structure), which was built in the 18th century by Mahmud I to meet the city’s water needs. Water brought from the springs of the Belgrad Forest was collected at this structure, located at one of the highest points of Beyoğlu, and then distributed to Tophane, Galata, and Kasımpaşa. Because the water was “divided” (taksim) and distributed from this point, the area later came to be known as “Taksim.”

Taksim Republic Monument

The Taksim Republic Monument was created by the Italian sculptor Pietro Canonica (1869–1959), while its landscaping was designed by Giulio Mongeri. It is one of the monuments commissioned from foreign sculptors during the early years of the Republic. The purpose of the monument was to introduce and symbolize the ideology of the Republic to the public.

Bronze and Italian marble were used as the primary materials in the sculptures. The monument, which stands 11 meters tall, features on its northern façade a depiction of the military figure of Mustafa Kemal Atatürk along with men and women of various ages, symbolizing the Turkish War of Independence.

On another side of the monument, Mustafa Kemal Atatürk is portrayed in civilian attire, accompanied by soldiers and members of the public. Among the figures, İsmet İnönü, Fevzi Çakmak, and two Russian officers can also be seen. A figure of an urban woman is also noticeable among the sculptures.

Beyoğlu / Galata – Pera

The historical roots of Pera and Galata are as old as Constantinople itself. Settlements and communities have existed on the northern shore of the Golden Horn since ancient times. The origin of the name “Galata” is unknown, but “Pera” is quite clear: in Greek, pera means “the other side” or “beyond.” Initially, it was used to refer to the opposite shore of the Golden Horn. Later, it described medieval Galata, and eventually only the upper part of Galata.

Over time, these names were replaced with their Turkish equivalents: Pera officially became Beyoğlu, and Galata became Karaköy. However, longtime residents of the city still refer to these areas by their old names.

Galata largely acquired its present form during the Genoese period. After Constantinople was recaptured from the Latins in 1261, the Byzantine emperors granted the area to the Genoese as a semi-independent colony, governed by a podestà appointed by the Senate of Republic of Genoa. The Genoese quickly began surrounding the district with walls and, over the course of a century, expanded their territory while continuing the construction of fortifications. Sections of these walls and bastions still survive today.

Following the Ottoman conquest in 1453, the walls were partially demolished, and the area became the main residential quarter for Europeans in the city. Foreign merchants had their houses and shops here, and European states built magnificent embassies in the district. Over time, Galata grew crowded, and its boundaries became insufficient. Consulates and wealthy merchants began moving to the hills and vineyards beyond the walls.

There, foreign states constructed palace-like mansions surrounded by gardens along both sides of the avenue that would later be known as the Grand Rue de Péra (today’s İstiklal Avenue). Nevertheless, until the 18th century, the area was still largely considered outside the city. Contemporary sources often referred to it as Les Vignes de Péra (“The Vineyards of Pera”).

As Pera expanded, it also became vulnerable—like the rest of the city—to frequent fires. The great fires of 1831 and 1871, in particular, nearly destroyed the district’s buildings.

Beyoğlu / Galata Tower

Many people are unaware that Galata Tower served for a long time as a fire watchtower and was known as the Galata Fire Tower. The tower provided this service for approximately 250 years. As you climb its stairs, you can almost imagine hearing the cries announcing a fire.

Originally built for defense and surveillance, the tower later functioned as a warehouse, a prison, an observatory, a fire watchtower, and eventually as a tourist restaurant. Today, it operates as a museum.

Although it no longer serves a military purpose, Galata Tower was carefully restored and preserved for centuries by the Turks. Its height made it ideal for fire surveillance, which helped save it—unlike some other historic structures—from neglect and ruin. The conical roof of the tower, covered in lead, burned down in a nearby fire on July 25, 1794, but it was later rebuilt even more beautifully than before. From the tower, the entire city of Istanbul and its surroundings can be seen, and for this reason, guards would watch the city from there at night to detect fires.

The first organized firefighting unit, the Dergâh-ı Âli Tulumbacı Ocağı, was established in 1720, and it is believed that systematic fire surveillance from Galata Tower began around this time. To signal a fire, flags were raised during the day and lanterns at night. To alert distant neighborhoods, a large kettledrum called a kös was played. After the construction of the Beyazıt Fire Tower in 1828, the drum was abandoned, and flags and lanterns alone were used for communication.

The origin of the name “Galata” is uncertain. One view suggests it derives from the Greek word gala (milk), meaning “milkmen” (Galatas). Another theory links it to the Genoese dialect of Italian word Caladdo, meaning “slope.”

The Byzantines called the tower Megalos Pyrgos (Great Tower), while the Genoese referred to it as Christea Turris or Torre di Cristo (Tower of Christ). Various accounts exist regarding its construction. One claim states that it was first built in 507 by the Eastern Roman Emperor Anastasius I as a lighthouse tower, and later enlarged by the Genoese. The more widely accepted view, however, is that after the Genoese arrived, they constructed the Galata walls in 1348 to protect their district, and Galata Tower served as the main tower of these fortifications.

The tower was once protected by large and small moats, which were later filled in during urban development. The Genoese placed a large cross at its summit. When Mehmed II conquered Istanbul in 1453, he ordered the cross removed and had the tower’s cone shortened by about ten arşın (approximately 7.6 meters).

During the reign of Suleiman the Magnificent, the tower was used as a dungeon for Christian prisoners of war (known as forsa) who worked at the Kasımpaşa Shipyard. It was later converted into a storage depot for the shipyard.

Galata Tower stands 425 meters from the sea and 35 meters above sea level. It is entered through a narrow door on the southern façade, reached by a ten-step staircase. Built on rocky and clay ground, the structure consists of massive stone masonry walls. The top can be reached via a staircase of 146 steps with five landings. The walls are 3.75 meters thick; the interior diameter at ground level is 8.95 meters, and the exterior diameter is 16.45 meters. After the fourth floor, loopholes characteristic of the Ottoman period appear, and on the fifth floor there are openings where cannons were once placed. The tower’s height is 62.5 meters from ground to the tip of the cone, and 70 meters including the flagpole. It has 14 windows, each opening onto a different view.

It is also accepted that the first observatory in Istanbul operated in Galata Tower. The astronomer Taqi al-Din began observations there in 1574. With the support of Hoca Saadeddin Efendi and Sultan Murad III, he received permission, funding, and space to establish an observatory. Because his instruments were too large to fit inside the tower, a separate observatory building was constructed between Galata and Tophane, while smaller instruments continued to be used in the tower.

After the conquest, the tower suffered several earthquakes and fires. It was severely damaged in the 1509 earthquake and was repaired under the supervision of Architect Murad Agha during the reign of Bayezid II. The first major fire within the tower itself occurred in 1794, when even its cone burned. In another restoration completed in 1862, an octagonal hall was added to the top.

Having served at one time as a restaurant and nightclub, Galata Tower is today open to visitors as a museum.

Galata Bridge

Galata Bridge is one of the best places to truly experience the spirit of Istanbul. By the mid-19th century, trade and maritime transportation had become increasingly concentrated in Eminönü and Karaköy, making it inevitable to construct a bridge connecting these two districts.

In 1845, following the Hayratiye Bridge built between Unkapanı and Azapkapı, a wooden bridge was constructed here and named Cisr-i Cedid (New Bridge). About twenty years later, a new Galata Bridge was built. In 1912, a 467-meter-long steel bridge constructed by a German company was put into service and remained in use for 80 years.

With people fishing from the top using rods, it became one of the liveliest symbols of Istanbul. When this historic bridge burned down for reasons that remain unclear, the current metal bridge was built in 1994. The repaired old bridge was later relocated to the shores of Balat along the Golden Horn.

Karaköy

The Karaites (Karay/Karaim Jews), who are said to have arrived in Constantinople in the 11th century, were settled in this area. Toward the end of the 16th century, when the construction of the New Mosque (Yeni Cami) began, the residents living there were forced to relocate. As a result, some of the Jewish population moved to Hasköy, while others migrated across to Karaköy.

It is believed that the name “Karaköy” likely derives from the Karaites—meaning “the village of the Karays” (Karayköy).

Kadıköy – Anatolian Side of Istanbul

Kadıköy, historically known as Chalcedon, hosted a significant event for the Christian world in 451 CE: the Fourth Ecumenical Council, which convened at the Church of Saint Euphemia (Aya Evfimiya). Saint Euphemia is the patron saint of Chalcedon. According to some sources, after being martyred in 303 CE for her faith, she was buried in a family cemetery outside the city. When religious freedom was granted in 313 CE, a church was built near her grave, and her relics were later moved to a palace in Sultanahmet Square, which had been converted into a Martiriona (shrine for martyrs). Today, her relics are housed in the Church of Saint George / Aya Yorgi Patriarchate in Fener. The current Aya Evfimiya Church, built in the 1830s, is located in Kadıköy Market. Another Greek Orthodox church in Kadıköy, Aya Triada Church (Holy Trinity), is on Hacı Şükrü Street.

Archaeological findings indicate that Kadıköy’s history dates back to around 5000 BCE. In 1352/53, it came under full Ottoman control. After the conquest of Constantinople, the area was granted to the Istanbul judge (kadı) Hıdır Bey, and its name was changed to Kadıköy. At that time, Chalcedon had already lost much of its former prominence and had become a summer settlement. Early Turkish neighborhoods developed around Osmanağa Mosque, which originally stood on the site of a small mosque commissioned by Sarı Kadı Efendi. This mosque was restored in 1863 and later renovated several times. Another mosque from this period is the Pier Mosque, built by Sultan Mustafa III.

Kadıköy gained prominence during the Tulip Era in the 18th century, attracting Turks, Greeks, and Armenians. The first Armenian church was built during this period on Muvakithane Street; after the old church was demolished, the current Surp Takavor Armenian Church was constructed in 1814, with the existing building dating from 1858. Additionally, the Surp Levon Armenian Catholic Church, built in 1911, is located on Ali Suavi Street.

The rapid development of Kadıköy in the second half of the 19th century can be attributed to two key factors: the start of regular ferry services within the city in 1857, and the Haydarpaşa–Izmit railway. These developments increased Kadıköy’s connections with Üsküdar, the Princes’ Islands, and other settlements along the Bosphorus, creating a two-way population flow and boosting the district’s economy. By the late 19th century, Kadıköy attracted non-Muslim and Levantine populations, while prominent officials of Sultan Abdul Hamid II’s reign built mansions in the Bostancı area.

Another notable development was in the Windmill area, where four windmills were built during the reign of Abdul Hamid I to meet flour needs. Kadıköy’s first post office opened in 1845 in this neighborhood, and nearby, a Catholic nuns’ school, a German school, and a Greek school were established. By the early 20th century, Kadıköy continued to expand along the railway, maintaining its identity as a summer district. Even after the Republic, Kadıköy remained a popular seaside destination for Istanbul residents until the 1970s.

Beylerbeyi Palace

Beylerbeyi Palace is located just below the Bosphorus Bridge on the Asian shore of Istanbul. In antiquity, the area was known as Stravros or İstavroz. Near the pier stands the mosque commonly called Beylerbeyi Mosque / Hamid-i Evvel Mosque. Its inscription notes that it was built in 1778 by Sultan Abdul Hamid I as part of a large complex, though the other buildings of this complex were situated around the Yeni Mosque in the Old City rather than the Beylerbeyi area.

The mosque, designed by architect Mehmet Tahir, is an elegant example of Baroque style. Its domes and arches are arranged in an octagonal pattern, creating a visually striking effect both inside and out. The protruding apse features a mihrab adorned with motifs influenced by Chinese art from different periods between the 16th and 18th centuries. Both the wooden minbar and pulpit, carved in ivory relief, are exceptionally refined. The mosque has two minarets, the second of which was added by Sultan Mahmud II.

The name “Beylerbeyi” comes from the Ottoman provincial administrative system: the Beylerbeyi was the governor of a province (eyalet) and its highest-ranking military commander, representing the Sultan in all official matters. During the reign of Sultan Murad III, Mahmut Pasha, the Rumeli Beylerbeyi, built a mansion here. Though that mansion no longer exists, the area retained the name Beylerbeyi.

The current Beylerbeyi Palace was constructed between 1861 and 1865 for Sultan Abdülaziz by Sarkis Balyan paintings by prominent artists such as Ivan Aivazovsky.

Kuzguncuk – Anatolian Side

Kuzguncuk, located between Beylerbeyi and Paşalimanı on the Anatolian shore of the Bosphorus, has perhaps been one of the most cosmopolitan quarters of the Bosphorus.

Among its notable civil architectural landmarks are the Abdülmecid Pavilion, the Cemil Molla Mansion, and the Fethi Ahmet Paşa Yalısı.

Kuzguncuk was once an important center for the Jewish community. Its religious buildings include the Lower Synagogue (Kal de Abasho / Beth Yaakov, 1878), the Upper Synagogue (Virane / Kal de Ariva, dating from the 1840s), the Ayios Panteleimon Church, the Ayios Yeoryios Church, and the Surp Krikor Lusavoriç Church.

With its colorful wooden houses, flower-lined streets, and peaceful atmosphere opening onto the Bosphorus, Kuzguncuk is one of the most romantic and nostalgic neighborhoods in the city. Throughout history, different cultures have lived together here; the presence of a mosque, church, and synagogue side by side has become a symbol of tolerance and multicultural life.

Its small cafés, art studios, and the famous Kuzguncuk Bostanı (community garden) offer visitors a calm, intimate, and picturesque experience.

History of Kadıköy

Kadıköy, formerly known as Khalkedon, was founded in 675 BCE by settlers from Megara, a city located slightly north of Athens. The Megarans settled in Kadıköy before establishing Byzantion (Istanbul). In 658 BCE, another group of Megarans led by Byzas founded Byzantion. According to the Delphi oracles, Byzas was instructed to establish the city opposite the “Land of the Blind.” The term “blind” referred to the people of Khalkedon who chose to settle in Kadıköy instead of a more advantageous location like Sarayburnu. The reason Khalkedon was preferred was because of its calmer climate.

Throughout its history, Kadıköy faced several attacks: in 513 BCE, forces of the Persian king Darius plundered Khalkedon. During the Peloponnesian War (431–404 BCE), it played a strategic role due to its position on the grain route of the Bosphorus. In 409 BCE, the Athenian Alcibiades captured Byzantion and Khalkedon, gaining control of the Bosphorus. In 405 BCE, Byzantion and Khalkedon came under the control of Sparta. In 133 BCE, King Attalus of Pergamon seized Khalkedon, and in 74 BCE, Khalkedon became part of the Roman Empire.

During the reign of Emperor Valens (364–378 CE), the walls of Kadıköy were dismantled, and the stones were used in the construction of Constantinople’s baths and the Valens Aqueduct. In 451 CE, in order to resolve disputes in the religious sphere and confirm Orthodox beliefs, a church council was held in Khalkedon following the one in Ephesus in 431 CE.

Kadıköy Today

When you arrive in Kadıköy by ferry, the first thing you see is the magnificent Haydarpaşa Railway Station, built by the Germans and reflecting the architectural style of its era. Directly across from the ferry pier is the old market hall, constructed in the 1920s, which today houses the Istanbul Conservatory. Next to the old market hall stands a statue of Atatürk, commemorating the Alphabet Reform of 1928.

Kadıköy, home to a large student population, is very lively with its market streets, bar street, and nightlife. Today, all you need to do is wander into the back streets and enjoy the unique shops, charming restaurants, and bars that mostly cater to university students along the pedestrian-only streets.

Just like Wall Street in New York, Kadıköy also has a bull statue. It is located at Altıyol, at the entrance of the traffic-free Bahariye Street, which is named after General Asım Gündüz. Although the street was officially renamed, the old name Bahariye remains in everyday use. With a tram running through its middle, Bahariye Street is often compared to Istiklal Avenue on the Asian side of Istanbul.

The most striking building on the street is the Süreyya Opera House, gifted to the city in 1927 by Süreyya and Adalet Ilmen. As the first opera house in Anatolia, it operated as a cinema for many years before resuming its original purpose in 2007.

Kadıköy Bull Statue

The Bull Statue (originally called the Fighting Bull), Kadıköy’s most famous meeting point, actually has a dramatic history spanning about 160 years, from the battlefields of Europe to the Ottoman palaces.

French Display of Power Against Germany

The statue was created in 1864 in Paris by the famous French animal sculptor Isidore Jules Bonheur. Its purpose was not only artistic but also political: it symbolized French power and victory over Germany in the disputed Alsace-Lorraine region, a long-standing source of conflict. Designed as an aggressive, ambitious, and strong bull, it represented the “anger” and determination of the French.

Transfer to Germany as War Trophy

However, French pride did not last long. In the 1870 Battle of Sedan, the Germans defeated France decisively. When Alsace-Lorraine returned to German control, the bull statue—erected as a symbol of French strength and victory—was taken by the Germans to Berlin as a war trophy.

Arrival in Istanbul and Its “Traveler” Years

The statue’s journey to Istanbul is linked to the Turkish-German alliance during World War I.

1917: German Emperor Wilhelm II gifted the statue to the Ottoman Empire and the powerful figure Enver Pasha as a token of friendship.

First Locations: Upon arriving in Istanbul, the statue was first placed in the garden of Yıldız Chalet, then at Enver Pasha’s Bilezikçi Farm.

City Tour: In the following years, the statue seemingly toured the city: it stayed for a while in the garden of the Hilton Hotel, then in front of the Lütfi Kırdar Congress Center, and even at Taksim Gezi Park for some time.

Arrival in Kadıköy: Becoming a Symbol

The statue’s adventure on the Asian side began in the 1970s. It was first placed in front of the historic Şehremaneti building, now housing the Kadıköy History, Literature, and Art Library. After about 20 years in front of the Kadıköy Municipality building, it was finally moved in 1987 to its current location at Altıyol Square.

Interesting Facts About the Statue

In art history, it is known as the Fighting Bull. Bonheur produced several casts of this model; similar versions can be found in England, Belgium, Spain, and the USA.

Initially a symbol of French-German wars, today it represents Kadıköy’s energy, resilience, and, most importantly, its status as a meeting place.

The Bull Statue is not just an artwork; it is considered one of the liveliest parts of Kadıköy’s spirit and collective memory.

Kadıköy Crocodile

In Kadıköy Market, you can come across a plaque featuring a small bronze crocodile statue. The famous geographer Strabo, who lived in the first century, mentioned that people in Chalcedon (Kadıköy) used to keep crocodiles in a spring.

Kadıköy – Moda

By the late 19th century, non-Muslim and Levantine communities began settling in Moda and its surroundings, while prominent statesmen of Sultan Abdulhamid II’s era started building mansions in Bostancı and nearby areas. In Moda, notable structures include Moda Pier designed by Vedat Tek, the L’Assomption (Assumption) Church, the Anglican Saints Church, the Aya Katerina Ayazması (Holy Spring of Saint Catherine), and Saint Joseph French High School.

With views of the Marmara Sea and the Princes’ Islands, Moda has become a popular destination, attracting visitors with its stylish restaurants and bars. Many mansions were built here in the 19th century, but in the 20th century, these were replaced by apartment buildings. Today, Moda is one of Istanbul’s most important cultural and social centers, featuring art and cultural centers, shops, theaters, cinemas, cafes, restaurants, bars, and seaside promenades.