The value that a roof, a tile, an eave, a wall, a door, or even a staircase possesses becomes clear when observing the visual memory of a city within the various spaces reflected on photographic surfaces for the purpose of study. Primary photographic urban images, each of which is a landmark, are understood to conceal an ancient urban fabric from the early to mid20th century. The fountains and wells that have been focused on as the primary photographic space organizers with reference to time, spread water and sound to every living thing from the center of the city to the countryside; while doing so, they also spread the codes of culture and civilization that they had accumulated up to that day in the city. Meanwhile, mosques and minarets have been determined to give the city a clear identify as an ancient city, while houses and streets added the time that had been accumulated through the streets and shops to the sounds and textures of the city. Phenomenal dead-end streets unviewable in photographic reality, as well as wells, fountains with troughs, wooden mosques, courtyard arrangements with kitchens, neighborhood relations, bazaars and markets, artisan morality, and peddlers’ shouts can appear in one’s memory based on existing photographic landmarks and can also be imagined using the phenomenological approach. This is similar to dreaming of the respect shown to a tree for centuries, the mercy felt toward a human being in a porter’s stone, or the mercy of birds in an ornamental fountain. This is even similar to dreaming of the shopkeeper’s conversations around a well, the solidarity of the neighborhood around a flowing fountain, the equitable meeting of animals in a trough, the excitement of children accumulating around a halvah or boza seller. Such images are valid for many cities as well as here. However, with the uniformization and homogenization of cities, much effort is now required to find and write a sentence about a feature that distinguishes one city from another. Witnesses from the periods of photographic images have suggestive slices of visual memory. On one hand, they allow such phenomenal dreams, while on the other hand, they open the door to empirical inferences. Accompanied by complementary phenomenological fantasies, they provide the opportunity here to identify the remnants of a lost civilization, the remains of a civilization of water and sound. Fountains and minarets alongside a clock tower describe the sounds, culture, and identity of a city. The harmony they produce together builds the sound and unchanging melody of the city, determines the life training as a harmony of movement for the citizens, and nourishes the minds and hearts of generations like the water of life. The metaphysics of a city are interwoven through its sounds, and its physics are interwoven through its architecture. These join the city with the sounds of minarets and clock towers, as well as with its architecture, with their vertical heights strengthening the central imagination. The center is visible from all sides; it is the great mosque, the most massive of all with its vertical height. The symbol of the center corresponds to the great mosque, while also referring to the nature of being an administrative, commercial, and judicial center. In this case, the great mosque of the city embodies the image of a universal world that completely embraces the city and, in a way, determines the qibla as the mihrab of the city. Such a richness of imagery, symbols, and function as a dense gathering place makes no one feel the need for a separate secular square in the center of the city. Establishing a symbolic structure in an urban space means creating a new sustainable imagination and leaving it to the collective memory of generations. Just like a secular square, a new avenue, or new street to be opened, the quest to expand the center will mean dissolving the physical and spiritual ties of the people who’d originally built the center, removing the city from its central identity or giving it a brand-new central identity, and building a brandnew central culture of life. Whether with the intention of creating new spaces or opening up and renovating or relaxing the central structures, purifying central structures from their surroundings transforms them into objects of spectacle, evolves them into a mediocre memory from the past, has them lose their grand narrative, cuts them off from their past or ancestry, and abandons them with their own story, isolating them as lonely structures. These will become anachronistic landmarks that have lost their cultural value. Renovating streets or renaming street names; changing cemeteries to create parks and recreation areas; displacing a bakery, cereal shop, or halvah or pastry shop to facilitate the passage of buses; and sacrificing a promoter, a counter, or a saddlery shop can all cause urban memory trauma. While leading to change and renewal, a city’s renovation, rehabilitation, or even degeneration will directly affect the codes of urban memory and at the same time cover the original city identity with new codes of memory, leaving a brand-new urban identity to be defined free from the old city’s identity. The new culture of urban life will rehabilitate the perception of the city and build a new urban memory that has changed its shell, namely a new urban person. Upon building the new urban memory, the original city’s photographs become the death certificates of almost non-existent cities or the records of the destruction of a lost city. However, they also continue to remind one of the existential debt to lost cities as the memory custodians of an urban discourse that cannot be redundant. The earlier a city met with photography, the more fertile its primary photographic visual memory, and the richer its function as a reminder of the primeval times they had accumulated. Cities that are not embodied in photographic spaces are worthy of being referred to as cities with missing visual memories or as cities with lost and scarred visual memories. The lost cities that can preserve their ancient imagination, stories, and symbolic references even on photographic surfaces are worth remembering as cities to be mourned in proportion to their charms. This article attempts to read the visual memory of a city and to understand and interpret its spatial structure based on primary photographic surfaces. The final analysis has revealed in the simplest terms through the witness of photographic places that cities are changed very frequently and alienated from themselves thoroughly. Cities have been determined to live in photographic spaces that can be seen as invisible cities, to whisper the city to life in today’s urban people, and to pronounce the image of a pleasant city.