The Brandenburg Gate is the last standing part of the western side of the Customs Wall that surrounded Berlin in the 18th century. It marks a monumental entry to Unter den Linden, the famed boulevard lined with lime trees that once led to the palace of the Prussian monarchs.

This neoclassical landmark was built between 1788 and 1791 during the reign of King Frederick William II of Prussia. Inspired by Roman triumphal arches and the classical Greek gateway to the Acropolis of Athens, the gate has twelve fluted Doric columns flanked by two pavilions originally occupied by guards, as well as five passageways, and reliefs depicting the Labors of Hercules. Its crowning glory is the bronze Quadriga sculpture – the goddess of victory atop a four-horsed chariot, originally regarded as a symbol of peace.

Throughout its history, the gate has played a crucial role in Germany's political narrative. In 1806, during the French occupation, Napoleon ordered its dismantling and transportation to Paris. However, upon its return in 1814, after Napolean's defeat, the gate was declared a symbol of victory, and the goddess was adorned with the Prussian eagle and iron cross, symbolizing triumph. The structure has stood witness to many pivotal events in Berlin's history, from military parades to the rise of the Third Reich and Hitler's ascent to power, upon which it was used as a Nazi propaganda symbol.

The Brandenburg Gate also holds memories of the Fall of Berlin and the Russian flag's raising in May 1945. After World War II, it stood damaged but intact and became part of the Soviet occupation zone. During the Cold War era, the gate – blocked by the Berlin Wall from 1961 until the fall of the Berlin Wall in 1989 – remained in no-man's land between East and West Germany. Back then, it served as a defining symbol of Berlin's and Germany’s division and their eventual reunification.

Today, the Brandenburg Gate is a venue for commemorations and public events. Apart from being a photo-op, its historical importance is just as good a reason to visit.

Tip:
Consider visiting at night when the gate is beautifully illuminated and less crowded, allowing for contemplation of its storied past and symbolic value.

Reichstag is one of Berlin’s most enduring symbols. Its stone walls have borne witness to the tides of history, mirroring Germany’s tumultuous political evolution: from imperial unification, through dictatorship and division, to a modern democratic republic.

Once referring to the legislative body of the German Empire, today, the word “Reichstag” more commonly denotes the iconic building housing the country's parliament, Bundestag.

Following the unification of Germany in 1871, plans were laid to construct a grand hall for the newly formed state (“Second Reich”). Completed in 1894, the Neo-Baroque structure was intended to reflect the strength and unity of the empire. In 1916, amidst a world at war and against the wishes of Emperor Wilhelm II, the inscription-"To the German People"-was carved into the frieze above the entrance. Just two years later, with the empire dissolved, it was within these very walls that the German Republic was proclaimed.

In 1933, a fire engulfed the Reichstag-a blaze which the Nazi regime would exploit to issue the infamous decree, suspending civil liberties and consolidating authoritarian power. Thereafter, the building was no longer used for parliamentary functions during the Nazi era and instead served various other roles throughout the war.

The Second World War left the Reichstag in ruins. During the Cold War, the fractured remains of the building stood on the western side of a divided Berlin. Though no longer a seat of government, it occasionally hosted exhibitions, ceremonies, and even concerts during the 1980s.

Then, on the historic night of October 3rd, 1990, the Reichstag reclaimed its national significance. Within its restored chamber, the ceremony marking the official reunification of Germany was held-attended by Chancellor Helmut Kohl and numerous statesmen.

In the mid-1990s, the British architect Sir Norman Foster was commissioned to redesign the building. His intervention preserved historical scars-including Soviet graffiti etched in 1945-while introducing a strikingly modern glass dome. Completed in 1999, the dome serves as a powerful architectural metaphor for democratic transparency. Open to the public, it allows visitors to peer down into the debating chamber below, while its 360-degree panorama reveals the vast expanse of the capital. A sun-tracking shield ensures natural light floods the space without overwhelming glare.

Tip:
Plan your visit in advance, as security measures require booking and a valid ID for entry.
For those wishing to skip the queue, reserving a table at the Käfer DACHGARTEN restaurant provides expedited access.
Dress warmly-while the dome offers breathtaking views, its open windows invite Berlin’s brisk winds.

The Friedrichstadt Palace boasts a striking façade adorned with multicolored glass tiles and a distinctive pink, plume-shaped neon sign. This massive theater complex, constructed in the early 1980s, is renowned for its extravagant, Vegas-style shows that feature large casts and elaborate special effects. With nearly 2,000 seats arranged around a vast podium, the venue is versatile, serving as a circus arena, a swimming pool, and an ice rink at different times. Additionally, there is a second large stage equipped with advanced technical capabilities, as well as a smaller cabaret theater accommodating 240 spectators.

The original and beloved palace suffered bomb damage during World War II and was subsequently replaced by the current structure. The previous building, originally a market hall, later served as a circus ring. In 1918, it transformed into the Grand Playhouse ("Grosse Schauspielhaus") and opened in 1919 with a memorable production of Aeschylus's 'The Oresteia,' directed by Max Reinhardt. The former structure was truly extraordinary, featuring a central dome supported by a multitude of columns and adorned with Expressionist, stalactite-like decorations. Its interior was equally fantastical, offering seating for 5,000 spectators.

Why You Should Visit:
Wonderful venue for shows, with absolutely breathtaking interiors: red carpets, crystal chandeliers, and all that jazz! The temperature and seating arrangements are comfortable, and the enormous stage, along with the impressive sound and special effects, ensures a top-notch entertainment experience. The Grand Shows presented here are reminiscent of productions seen in Las Vegas and by Cirque du Soleil.

Tip:
To secure tickets, it's advisable to book online well in advance, as most shows tend to sell out quickly. For the best viewing experience, opt for seats in the middle of the auditorium to fully appreciate the fabulous stage.

Now, this museum doesn’t just collect history-it reconstructs it, brick by ancient brick... With its crown jewel none other than the mighty Pergamon Zeus Altar (dating back to the 2nd century BC), this place is basically Europe’s VIP lounge for antiquities. Yes, it’s as jaw-dropping as it sounds, with life-sized architectural stunners casually sitting around like it’s no big deal.

Even if partially open, as during the scheduled makeover set to finish by 2026, this museum still has plenty to offer. Seeing everything it has in one go is a full-on epic quest, so bringing snacks is highly recommended.

The museum splits its magic into three power-packed sections. First, the star attraction: the Classical Antiquities Collection. Now, this isn’t just broken pottery and dusty statues. We’re talking the full Gate of Miletus, the legendary Pergamon Altar, and enough Greco-Roman artifacts to make an emperor jealous.

Then there’s the Islamic Art Museum and the Ancient Near East Museum. Picture the 8th-century castle facade from Jordan, the radiant blue Ishtar Gate, and the Babylonian Processional Way-basically ancient urban planning with flair. Add to it some of humanity’s earliest scribbles, delicate ceramics, ancient carpets, and even decorative windows, and you've got yourself a museum buffet.

And just when you think you’ve seen it all-surprise!-there’s the Pergamon Panorama, a separate bonus round just five minutes away on foot. Multi-level, immersive, and totally wild, it’s included in your ticket and might just make your inner history nerd do a happy dance.

Pro tip before you go: Skip the ticket line drama and book online with a time slot. You'll waltz right in like a VIP. And don’t forget the free audio guide-because decoding ancient marvels is way more fun when you’ve got an expert in your ear.

The crown jewel of Museum Island-the New Museum-has been back in action since 2009 and just begging for a deep dive. Not a literal one, of course-security frowns on that. We’re talking about four glorious floors packed with Berlin’s finest archaeological bling. Think global, think ancient, think seriously impressive: from prehistoric bits and bobs to full-on cultural blockbusters-Greeks, Romans, Nubians, and, of course, the ever-iconic Egyptians.

Now, speaking of the Egyptians-yes, the Nefertiti is here! She’s flawless. She’s got cheekbones that could cut glass and a gaze that’s been melting hearts for over 3,000 years. Believe it-you’ll want to admire her from every possible angle. (And no, sadly, selfies are not allowed.)

But don’t stop there-this place is full of surprises. One room even lets you summon ancient papyrus scrolls with the press of a button. It’s like Indiana Jones meets touchscreen tech. Keep an eye out for info cards, too-they’ll tell you which treasures survived World War II unscathed and which ones had a bit of reconstructive “tender loving care.”

On the second floor, there’s more Egyptian art to devour, and one level down is a temple. A whole courtyard. Basically, your inner explorer will be doing cartwheels.

And don’t even think about breezing past the Bronze and Iron Age exhibits. They’re not just pots and pointy sticks-these are ancient multitools, weapons, and mystical relics, served up with excavation pics and diagrams that make you feel like you’re right there in the dirt.

Oh, and then there’s the Golden Hat. Sounds fancy, right? It is. Shiny, mysterious, and probably used to predict eclipses, rule tribes, or host very exclusive dinner parties-no one’s entirely sure.

And if that doesn't impress you much, let the Berlin Green Head, a freakishly lifelike sculpture, stare into your soul. Or wander through rooms of mummies, sarcophagi, treasures from Troy, Nordic myth murals, and tiny blue animal-shaped faience from ancient tombs. It’s basically a time-traveling greatest-hits album.

Tip:
Arrive early. Really early. This place gets busy. A Berlin Card or museum pass will save your wallet and your patience. And when you enter, don’t go rogue-start at the top floor and descend like an archaeological royalty. An audio guide or tour is optional but highly recommended for full nerd-out potential.

Despite what its lofty name suggests, the Berlin Cathedral is... not a cathedral. Yep, never was. Because Berlin never had a Catholic bishop in the house.

Now, rewind to 1451, when Prince-Elector Frederick II-nicknamed "Iron-tooth" because, well, medieval PR was wild-built a castle chapel right here. It started out Catholic, then switched to Lutheran in 1539, and just to keep things spicy, went Calvinist by 1608.

The version we see today is a Neo-Renaissance stunner, built between 1894 and 1905 by order of Emperor Wilhelm II, who basically wanted his very own Protestant answer to the Vatican’s Saint Peter’s Basilica. And what a power move it was: 114 meters long, 73 wide, and 116 tall-this place made everything else in Berlin look like dollhouse furniture.

And it wasn’t just for show, either. The Hohenzollerns-Germany’s royal family-worshipped here and even used the crypt as their final resting place. That lasted until 1918, when Wilhelm II peaced out to the Netherlands after abdicating the throne.

Then came World War II, and let’s just say the cathedral did not come out looking its best. East Germany did some repairs-thanks, GDR-but also tore down the Memorial Church in 1975, which wasn’t their finest hour.

Fast forward to 1993, and voilà: the place got a full glow-up. It now has the majestic pipe organ, pristine acoustics, priceless art, and vibes so divine they practically echo. Today, it’s home to choirs galore, including the English Choir Berlin, which hosts monthly Choral Evensong in true Anglican style.

If you're feeling brave, you can climb the dome! There’s a roomy stairwell, plenty of landings to catch your breath-and yes, actual chairs if you need a moment. At the bottom, history buffs rejoice: the crypt holds 94 royal sarcophagi. It's like Prussian Netflix, but... quieter.

Tip:
Snag the audio guide-it’s a small fee for a big info boost. Or grab a printed guide if you're old school. And in the summer, feel free to stretch out on the lawn across the street, near the fountain. It's the perfect picnic spot, and the cathedral makes a dramatic lunch backdrop.

The Berlin Television Tower was built by East Germany in the late 1960s. Inaugurated on October 3, 1969, it is the tallest structure in Germany and the third-tallest in the European Union.

Designated as a monument in 1979, the tower attracts around 1.2 million visitors annually and is one of Germany’s top tourist attractions. It has an observation deck at 203 meters and the rotating restaurant “Sphere” at 207 meters, offering panoramic views of the city, extending up to 40 kilometers (or 25 miles) on a clear day.

The tower’s height increased from 365 to 368 meters in 1997 after a new antenna was added, making it the fourth tallest free-standing structure in Europe, surpassed only by Moscow's Ostankino Tower and TV towers in Kiev and Riga. If you have a mild fear of heights, fear not-the elevator whisks you to the top in a mere 40 seconds. You can also opt for a more adventurous ascent via 985 steps.

Inside, enjoy the authentic Sputnik-era ambiance complete with period-appropriate decor and finishes. If you have specific dietary preferences, particularly as a vegetarian, it's advisable to peruse the restaurant menu on their website before making a reservation. The dining experience itself is quite lovely otherwise, comprising a starter, main course, and dessert, plus a glass of sparkling wine and two glasses of red or white wine, along with unlimited water. Moreover, the restaurant rotates slowly, affording you a comprehensive view of Berlin, making it an ideal setting for photography. A full rotation takes about half an hour, offering ample opportunity to capture the city from a bird's-eye perspective while sipping a coffee.

Presently dubbed "the toothpick" by locals, the tower previously earned the nickname “Pope’s Revenge” because sunlight reflecting off its dome forms a Greek cross, which some saw as a rebuke to East Germany’s anti-religious stance, and was mentioned by the former US president Ronald Reagan in his 1987 “Tear down this wall” speech. For the same reasons, it was also jokingly called "Saint Walter" after Walter Ulbricht, leader of the Socialist Unity Party which governed East Germany.

Originally a symbol of Communist power, the TV tower is now a unified Berlin landmark and a cultural and tourist icon, hosting events like the Festival of Lights.

The German Historical Museum, known by the acronym DHM, describes itself as a place of "enlightenment and understanding of the shared history of Germans and Europeans." Often viewed as one of the most important museums in Berlin, it is also one of its most frequented. The museum is located in the Baroque-style Armory building, the oldest on the Unter den Linden, which was completed in 1706.

The DHM was established on 28 October 1987, to commemorate Berlin’s 750th anniversary, and was inaugurated inside the Reichstag. The idea for the museum was supported by Federal Chancellor Helmut Kohl, who considered it a national priority. A committee of historians developed the museum’s concept, emphasizing a multi-perspective approach to German history in an international context.

The DHM was originally planned to be built near the Reichstag. However, the fall of the Berlin Wall in 1989 changed plans, and the museum was moved to the historic Armory on Unter den Linden. This transition was completed in 1991. The Armory underwent extensive restoration from 1994 to 1998 and saw a new hall – for temporary exhibitions, spanning four floors – designed by Chinese-American architect I M Pei.

In addition to it, the museum also features a specialized research library with over 225,000 volumes, including rare books and museum catalogs, housed in a building that previously served as the Prussian Central Cooperative Bank and later a GDR state-run company. The museum’s cinema offers a program focusing on historical and film-historical themes through exhibitions and retrospectives. Since 2004, it has been a venue for the Berlin International Film Festival’s "Retrospective and Homage" screenings.

Inaugurated by Chancellor Angela Merkel in 2006, the museum's Permanent Exhibition remains a key institution for understanding Germany’s past in a global context. Comprehensive explanations for the exhibits are available in both German and English, making it worth a few hours' investment for those intrigued by in-depth German and European history.

Editor's Note:
The Armory is closed for essential renovations and the renewal of the Permanent Exhibition since June 28, 2021. It is expected to reopen to visitors at the end of 2025.

The Gendarmenmarkt is a square in one of the most beautiful parts of Berlin, showcasing the spectacular ensemble of three classical buildings: the so-called Fransözicher Dom (French Cathedral, named after the French Protestant community that sought refuge in Berlin from religious persecution in the late 17th century); the Deutsche Dom (German Cathedral, almost perfectly mirroring the first); and, in between, the Konzerthaus Berlin (Berlin Concert Hall).

Fabulously picturesque, the area looks much like part of the Imperial Capital and may even give Vienna a run for its money. A lovely fountain adorned with a monumental statue of Germany's renowned poet Friedrich Schiller graces the center of the square, often accompanied by musicians playing nearby. While many of the buildings in the area suffered extensive damage during World War II, they have since been meticulously restored, preserving numerous original elements.

Why You Should Visit:
There is quite a bit to take in, so you can wander around at your leisure. Luckily, there is no hard sell of tickets and touristy paraphernalia. While there are shops, bars and restaurants, they are discrete and upmarket, rather than tacky. A lovely place to sit and watch people for a while.

Tip:
Might be worth visiting at night when it's all lit up.

Officially named The Memorial to the Murdered Jews of Europe, this solemn expanse of concrete, situated near Berlin’s Brandenburg Gate, stands as a stark and enduring tribute to the millions of Jewish lives extinguished under the Nazi regime between the years 1933 and 1945.

Unveiled in 2005, the memorial was conceived by American architect Peter Eisenman. It spans nearly 19,000 square meters and consists of more than 2,700 concrete stelae-each of varying height and dimension-arranged in a strict grid across a subtly sloping field. The result is a landscape that is simultaneously orderly and disorienting.

Though the design is intentionally abstract and, according to its creator, devoid of explicit symbolism, its resemblance to a graveyard is unmistakable. Some interpret the sea of grey pillars as evoking unmarked graves or the cold efficiency of a bureaucratic system that facilitated mass murder. Others see in its rigid structure a metaphor for a state that lost its humanity behind walls of administration and ideology.

As one moves deeper into the memorial, the concrete blocks grow taller, eclipsing the cityscape and swallowing sound. The sensation is deliberate. It conveys isolation, loss of identity, and the disorienting fear that accompanied the systematic persecution of Jews under the Third Reich. The path dips downward, suggesting the slow descent into darkness that defined those years.

The unfinished quality of some surfaces serves as a quiet reminder: remembrance is not complete, and history’s wounds do not fully heal. The fragmentation of space may reflect the fragmented memories of survivors-and of those lost, whose stories were never told.

This memorial does not offer resolution or unity. It does not attempt to console. Instead, it confronts. It calls forth reflection-on individual memory, on collective guilt, and on the enduring responsibility to remember, in a world where forgetting is all too easy...