Located right on Istanbul's Taksim Square, a central transportation hub and popular tourist spot on the European side of the Bosporus, the Atatürk Cultural Center (AKM) used to be the pride of the Turkish Republic. It had been left to decay since 2008, but will finally get a makeover.

At the Architektur Galerie Berlin, architect Murat Tabanlioglu presented his model of the new AKM. A revived cultural icon for Istanbul, the venue's architecture and acoustics aim to attract world-class artists.

The original AKM was designed by Murat Tabanioglu's father, Hayati Tabanlioglu. It opened in 1969 with a performance of Verdi's Aida. At the time, it was the fourth-largest opera house in the world. It had to close for renovations after a fire in 1970 and reopened in 1978 before it was shuttered in 2008 and essentially became derelict.

The new AKM will integrate into its architectural concept some of the features of its predecessor such as the lamps, tiles, or an aluminum staircase typical of the 1960s. Tabanlioglu however aims to bring the space into the 21st century.

The former AKM once housed the Turkish State Opera and Ballet as well as the Istanbul State Symphony Orchestra before it closed its doors in 2008. These high art institutions will return to become the new main hosts of the venue, explained Tabanglioglu.

The aesthetically controversial AKM, often compared to a concrete block, was once one of the most modern buildings in the Turkish Republic, and symbolized the country's western orientation. Citizens' initiatives and the Chamber of Architects therefore criticized its demolition. Tabanlioglu's design will allow it to be restored instead.

"It should become one of the best opera houses in the world," says Murat Tabanlioglu. His architectural signed impressive designs in the past, such as the Istanbul Museum of Modern Art and the Dakar Congress Center.

Istanbul is the world's most famous city to rest on two continents: Europe and Asia. Here tradition collides with modernity, religion with secular lifestyles like hardly anywhere else. Many say that is exactly what makes Istanbul so magical.

Istanbul looks back on more than 2,600 years of history, which has shaped the cityscape up to today. Various rulers fought to control it: Persians, Greeks, Romans, Ottomans. "Constantinople" was the center of the Byzantine and later the Ottoman Empire. The city was renamed Istanbul in 1930.

The Bosporus is the soul of Istanbul. The strait separates the European and Asian parts of the city. Every day ferries carry tens of thousands of people from one side to the other. Seagulls cry into the wind. Tea and "simit" — a circular bread with sesame seeds — are offered on board. It takes around 20 minutes to travel between Karakoy in Europe and Kadikoy in Asia.

The Galata Bridge is a good place to watch boats — and much more. Fishermen stand shoulder to shoulder here, hoping for a good catch. In their midst: merchants, tourists, shoeshiners, corn vendors. The first bridge was built here in 1845, when the city was called Constantinople.

"My name is Vefki," says one of the fishermen, waving us over. "I feel European. We want more freedom, which is why Turkey and the EU should come closer together again," he says. Vefki is a pensioner and fishing is his hobby — as well as an additional source of income. He sells 2 kilos (4.4 pounds) of fish for around €8 ($9.90) at the market, he says.

Building machinery hums on Taksim Square in the heart of the city. A new mosque is being built with lightning-speed — and a 30-meter high cupola and two minarets. It's meant to be completed in time for the general election in 2019. Critics say Turkish President Recep Tayyip Erdogan is imposing a new identity on the square: conservative Islamic and neo-Ottoman instead of secular and European.

Everyday life in Istanbul's Fatih neighborhood is rather more conservative, though it is located in the European part of the city. Many of those who live here came from Anatolia in search of work and a better life. Some call Fatih the "district of the pious;" this is where many loyal supporters of the Turkish president and his ruling AKP party live.

A market takes place on Wednesdays near the mosque in Fatih. People hustle and haggle over kitchen appliances, clothes, bed linens, fruit and vegetables. Prices are lower than elsewhere in town. So are rents. Nowadays many Syrian families live in Fatih. Turkey has taken in more than 3 million refugees since the war in Syria began in 2011 — more than any other country.

Fatih has in the meantime become known for its Syrian restaurants: Kebabs here come with extra garlic. The refugees are officially called "misafir," or "guests." Unlike in the EU, there is no such thing as being granted asylum here. Yet the government has promised Turkish citizenship to tens of thousands of Syrians. Critics see this as an attempt to win over additional voters.

Those who want to go out, party or drink alcohol must make their way to a different Istanbul neighborhood: to Kadikoy, on the Asian side, or to Karakoy (above), one of the oldest quarters, which has been gentrified through and through. Locals and tourists meet in its cafes, concept stores and galleries. Hardly anyone here can make much of the government's conservative Islamic policies.

"Istanbul has changed a lot," says Aysegul Saracoglu. She works in a designer store in the Galata neighborhood, which is popular among tourists. "So many European tourists came here on holiday just a few years ago." Now mainly Arab tourists come. "It's not good for our business," she says. "I hope that changes again soon."

The range of themes covered in the exhibition is huge: refugees, the war in Syria, police violence in the Kurdish areas of Turkey, the construction boom and gender issues. Kürşad Bayhan's photos of bottles that have been decorated by Kurdish women symbolize the war-like conditions in southeastern Turkey.

Magnum photographer Emin Özmen focuses on the conditions in the Kurdish regions of Turkey. "Turkey's Hidden Wars" is the title of his black-and-white series. His works show water cannons and tear gas being used by the police and he captures curfew hours. His photo from January 2015 (above) shows Kurds forming a human chain in Suruç to support Kurdish fighters battling the "Islamic State" (IS).

Thousands of people came to the Newroz new year's festival in Suruç in March 2015, which took place despite the war. Above, men take a break during their journey. Suruç became a symbol of resistance to the IS. Emin Özmen considers his work to be like a documentary: "In order to find solutions to the massive problems in our region, we need to have a detailed picture of what is happening."

In his series "Moving Portraits," Barbaros Kayan focuses on the fears of refugees from Kobane who were being housed in camps in Turkey. He wanted to find out what happens when these people return to their home countries. Kayan traveled to Syria and documented the destruction and devastation there.

Barbaros Kayan also photographed Syrians living in the Turkish refugee camps as part of the series. He placed their silhouettes on photos of their hometowns, creating compositions that confront the viewer with new visual themes.

Göksu Baysal mainly focuses on the construction boom and gentrification, especially in Istanbul, in his series "Istanbul Reloaded." The pictures depict violence against nature and highlight the rising demand for energy caused by the aggressive building boom.

Under the pretext of making the city safer against earthquakes, a program called "urban renewal" is replacing historic neighborhoods with gray landscapes built of concrete. The local population is often too poor to afford these new apartments and as a result is usually driven out of these areas.

What started as a protest against the building boom in Istanbul turned into the Gezi Park demonstrations of summer 2013. In his picture series called "Gezi," Kemal Aslan addresses the resistance of the population against the arbitrariness of the political system. For several weeks, thousands of people in Istanbul demonstrated for freedom and against oppression by institutions.

Since the Gezi protests, the role of civil society has become more prominent, and in particular the role of women. At the same time, however, violence against and murders of women continue to increase steadily. Emine Akbaba's series "Precious Blossom" focuses on women who are unable to free themselves from oppression.

In international comparison, violence against women is extremely high in Turkey. Every other woman reports that she has been harassed on at least one occasion. Between 2010 and 2016, more than 1,600 women were murdered in the country. Emine Akbaba, winner of several photography awards, tries to raise awareness through her work about women's rights, gender equality, and freedom of expression.

Turkey's LGBT movement has also gained more attention since the start of the Gezi protests. "Isn't it love?" is the title of the series that Ceren Saner produced, which highlights images taken at queer parties. In this photo compilation, Saner questions the nature of love - not sexuality. In Turkey, the series is only shown during the Pride Week or at private events.