The palace complex is located on the Seraglio Point (Sarayburnu), a promontory overlooking the Golden Horn, where the Bosphorus Strait meets the Marmara Sea.

The palace is an extensive complex rather than a single monolithic structure, with an assortment of low buildings constructed around courtyards, interconnected with galleries and passages. Few of the buildings exceed two stories. Seen from above, the palace grounds are divided into four main courtyards and the harem. The first courtyard was the most accessible, while the fourth courtyard and the harem were the most inaccessible.

The terrain is hilly and the palace itself is located at one of the highest points close to the sea. During Greek and Byzantine times, the acropolis of the ancient Greek city of Byzantion stood here. After Sultan Mehmed II's conquest of Constantinople in 1453, Ottoman court was initially set up in the Old Palace (Eski Saray). Mehmed II ordered that construction of Topkapı Palace begin in 1459 CE.

circa 1450 CE- Present

Pre-Ottoman Period (Byzantine Era)
The site where Topkapı Palace stands was part of the Byzantine acropolis of ancient Constantinople. It occupied the easternmost tip of the city’s historic peninsula, near the point where the Hagia Sophia, the Hippodrome, and the Great Palace of Constantinople were located. Although the Great Palace served as the imperial residence of the Byzantine emperors, its structures were largely abandoned or in ruins by the time the Ottomans took the city in 1453 CE. The land chosen for Topkapı was cleared of remaining Byzantine buildings, though some materials were reused in early Ottoman construction.

Foundation
Topkapı Palace was commissioned (circa 1459–1478 CE) by Sultan Mehmed II after his conquest of Constantinople in 1453 CE. Construction began circa 1459 CE on the site of the old Byzantine acropolis, strategically positioned between the Golden Horn and the Sea of Marmara. The palace was initially called the “New Palace” (Yeni Saray) to distinguish it from the older palace in the city. By 1478 CE, it had become the official administrative and residential seat of the Ottoman sultans.

Classical Period
Topkapı reached its peak during the reigns of Sultans Bayezid II, Selim I, and especially Suleiman the Magnificent during the late 15th–16th century CE. Major expansions included the construction of the Harem, the Imperial Council Hall, and the palace kitchens. The architectural layout was formalized into four main courtyards, each reflecting increasing degrees of privacy and imperial authority. The palace served both as the center of government and as the sultan’s residence.

Early Modern Period
Although the administrative role of Topkapı remained intact through the 17th–18th century CE, later sultans hoever began spending more time in other waterfront palaces along the Bosphorus. Nonetheless, maintenance and periodic renovations continued. Additions in this period included European-influenced kiosks and pavilions, particularly under Ahmed III and Mahmud I. The palace’s ceremonial functions were preserved, especially for state rituals and religious relics.

Decline
In 1856 CE, Sultan Abdülmecid officially relocated the imperial court to Dolmabahçe Palace, which reflected a Western architectural style. Topkapı was largely abandoned for daily use but retained its religious and symbolic importance. It continued to house sacred relics and was occasionally used for special occasions.

Modern Period
After the abolition of the Ottoman sultanate and caliphate (1924 CE–present), Topkapı Palace was converted into a museum in 1924 CE by order of Mustafa Kemal Atatürk. It became the first museum of the Turkish Republic. The complex has since undergone multiple restoration campaigns and is managed by the Ministry of Culture and Tourism. It remains one of the most visited historical sites in Turkey.

circa 1450 CE- Present

The architecture of Topkapı Palace reflects a functional hierarchy and ceremonial logic rather than symmetry or monumentality. Constructed incrementally from the mid-15th century onward, the complex evolved as a modular assemblage of pavilions, courtyards, and service structures rather than a single unified plan. Its layout follows a linear progression through four successive courtyards, each increasingly restricted in access and purpose—beginning with public and administrative functions and culminating in the private residential quarters of the sultan and his family. The use of open spaces, gardens, and interspersed kiosks created a dispersed rather than centralized layout, in contrast to European palaces of the same period.

Buildings were typically one or two stories, organized horizontally, and constructed using timber, stone, and brick, with tiled interiors and wooden roofs. Architectural ornamentation was generally restrained, relying on tilework, calligraphy, and proportions rather than grand facades. Major components include the Imperial Gate (Bâb-ı Hümâyûn), the Divan Chamber, the Audience Hall, the Imperial Harem, the Enderun School, and the Pavilion of the Holy Mantle. Later additions under successive sultans introduced stylistic changes influenced by Persian, Arabic, and eventually Baroque and Rococo elements, yet the palace retained its inward-facing, spatially segmented character throughout its active use.