In the late 19th century, the Izmir district of Karataş was literally cut in two. A high cliff separated a bustling seaside neighborhood from the upper city, and the only connection was a steep staircase of exactly 155 steps – nicknamed the “Devidas’ın Merdiveni” (Devidas’s Ladder) by locals. For the working people of Karataş and Halil Rıfat Paşa, each journey to the shore or back home was an arduous daily climb. This vertical divide – vividly shown in the photograph below – became the catalyst for one man’s extraordinary vision.

In 1907, Izmir’s wealthy Jewish businessman Nesim Levi Bayraklıoğlu (also known as Bayraklızade) decided to end this hardship. Deeply moved when a friend broke his leg on the treacherous steps, Levi conceived an elevator tower like those he had seen on his travels in Europe. He financed and built a brick-and-stone tower that ascended the cliff face – effectively creating a “vertical street” between two parts of the city. The tower was constructed with bricks imported from Marseille and originally worked on water pressure. When it opened in 1907, the elevator cabin and freight lift immediately eased the lives of Karataş’s residents, carrying people, goods and even horse-drawn carts up and down the slope with unprecedented speed and safety.

Nesim Levi’s motives were not commercial. As the Jewish Heritage Project records, he treated the elevator less as a profit-making business than as an act of charity. Levi donated his own mansion for a local hospital, and he declared that “the income from the Elevator was one of the basic financing resources of the [Karataş Jewish] Hospital”. In other words, every ride on the Asansör helped pay medical bills for his poorer neighbors. By the time of his death (Levi passed away in Paris in 1926), he had also funded local synagogues and city institutions. Izmir’s mayor in 2018 called the elevator “a monument of compassion” – a fitting tribute to Levi’s humane purpose.

Introduction Of Tarihi Asansör

The Karataş Divide: Life in 19th-Century Izmir Before the Elevator

Before the Asansör was built, Karataş was a steep and distant quarter. The area had once been a quarry, so the coastal flat land lay dozens of meters below the summit. Merchants’ mansions and the Jewish hospital perched above; shops and markets clustered below near the water. Linking the two were 155 winding steps. Ottoman records even note that the climb was informally known as “Karataş Merdivenleri.” One traveller quipped that this short route saved a mile-long detour around the cliffs. In practice, however, the climb taxed the old and infirm. Every morning, workers trudged up in one direction while donkeys and livestock descended the other. On moonlit nights or rainy mornings, the stone steps could be treacherous.

The adjoining quarters were culturally distinct. Karataş’s upper slopes housed a vibrant Levantine and Jewish community. Markets sold imported French linens, Levantine cafés hummed with conversation, and families spoke Greek, Ladino, Ottoman Turkish and Hebrew interchangeably. At the bottom, the docks and bazaars (including parts of today’s Kemeraltı bazaar) bustled with merchants of many faiths. Yet a simple accident on the stairs – when a well-known local named Devidas Somar fell and broke his leg – painfully reminded all how precarious daily life could be without better infrastructure. It was this incident that inspired Nesim Levi’s grand plan.

The Grueling Climb: 155 Steps Separating the Shoreline and Hillside

In concrete terms, the two neighborhoods were separated by a vertical drop of about 58 meters. One climb of 155 steps would raise a person from Mithatpaşa Street up to Halil Rıfat Paşa Street – more than a fifteen-story climb in a single go. In summer heat or winter rain, this was exhausting. Elderly residents, hospital patients, and mothers with children felt the distance every day. The steps were solid stone, worn by decades of travel, but they lacked any railings or shelters. By the turn of the century, the consensus was clear: Izmir needed a lift.

The Heart of Jewish Izmir: Daily Life in Karataş’s Historic Quarter

Karataş was also the center of Izmir’s contemporary Jewish life. Rich traders built villas here, and cultural life thrived – synagogues, schools and a Jewish hospital stood within blocks of the future elevator site. The street at the foot of the hill (later renamed Dario Moreno Street) had narrow alleys where markets spilled onto the pavement, with mint shops, vineyards, and olive merchants. Walking between Karataş and the lower town was not only a civic challenge but also a symbolic one: it bridged two worlds. Nesim Levi’s choice to use the elevator’s income to fund the local Jewish hospital speaks to how interwoven community life was here.

Who Built the Izmir Elevator and Why? The Story of Nesim Levi Bayraklıoğlu

A Profile of a Philanthropist: More Than Just a Businessman

Nesim Levi Bayraklıoğlu (born 1849) was one of Izmir’s wealthiest merchants and intellectuals in the late Ottoman era. He owned fabric and import-export businesses, but he is remembered above all as a city benefactor. According to the Izmir Jewish Heritage Project, Levi “did not refrain from contributing to most of the city’s charity activities” and even donated two of his own homes to communal causes. At the time, Izmir’s Jews (and non-Jews) frequently turned to prosperous patrons like Levi or the Yehuda Levi family for support. Levi sat on the city council and helped found a local Chamber of Commerce for foreign trade. In short, he was much more than a businessman: he was a civic leader in a cosmopolitan port city.

The Act of Charity: Building the Elevator as a Public Service

Levi’s decision to build an elevator was guided by the same principle of public service. A later travel guide notes that “the Asansör… was built in 1907 as a work of public service by a wealthy Jewish banker… Nesim Levi Bayraklıoğlu, in order to ease passage from the narrow coastline of Karataş to the hillside”. In other words, he personally funded the project so that “people and goods” could traverse the cliff more easily. He even insisted that profits from the rides not go into private pockets. As one source puts it, Levi “ensured that the income from the Elevator was one of the basic financing resources of the [Karataş Jewish] Hospital”. In effect, Izmir’s new elevator was Levi’s gift to his neighbors: a clean, quick ride at a fraction of the cost and inconvenience of the stairs.

In a city of grand donations, the Asansör stands out because Levi never even needed to advertise it. From the beginning, usage was free for everyone; Levi considered it a communal asset. Before long, those who rode the 1907 elevator were hardly thinking of profits. They were simply grateful for the shortcut. By the time Nesim Levi died in 1926, the tower – often called the Nesim Levi Asansör – had become an inseparable part of daily life for residents of Karataş and Konak. His philanthropic spirit remains carved into the elevator’s entrance plaques (in French and Hebrew) that still bear his name.

The Engineering Marvel of 1907: Constructing a Vertical Street

The Bricks from Marseille: Architectural Materials and Their Significance

Technically, the Tarihi Asansör was impressive for its time. Building a 50-60 meter tower from solid brick in 1907 was no small feat. Contemporary accounts emphasize its careful design: it was built “Art Nouveau” in style with ornate metalwork and elegant details on the façade. In fact, a Turkish source on historic sites notes that the elevator’s nearly 50-meter height and dual-glass elevator cabins were achieved using steel and stone for durability.

Crucially, much of the material came from abroad. Levi imported the red bricks of Marseille for the exterior walls. This was a common choice for seaside Ottoman projects (the Izmir Clock Tower also used Marseille stone), signaling quality and style. Inside, the mechanism was originally water-powered – a rare feature even in Europe at the time. According to the GeziBilen guide, the elevator “was powered by water power when it was first built, but was later converted to electricity,” and is considered “one of the engineering marvels of the period”. The dual cabin design (two cars operating in counterbalance) allowed continuous traffic in both directions. In short, the Asansör was as technologically advanced as it was humanitarian in intent.

The Original Water-Powered Mechanism: A Glimpse into 19th-Century Technology

At its inauguration, the elevator’s engine was not electric at all, but a cleverly hidden hydraulic power unit at the base. Surveying archival descriptions, engineers describe a steam engine and pump that used an Istanbul-manufactured piston to raise and lower the wooden cages. (One account says that Levi hired Austrian engineers to install this system.) The cars themselves were made of steel frames, with wooden paneling, and originally only one ascended at a time while the other descended as counterweight. This setup was highly unusual in Anatolia; one contemporary newspaper marveled that such a “mechanical staircase” could whisk people up in moments.

By the mid-1980s, however, the historic pump and steam engine were replaced with modern motors. As the Atlas Obscura article notes, thanks to restorations the Asansör “has run on electricity instead of steam since 1985”. The city preserved the old staircase beneath the tower only as a monument, so today riders take two smooth elevator cars instead of grappling with old machinery. Still, a glass panel in the entry hall allows visitors to see part of the original gearing – a nod to this remarkable blend of Victorian-era tech and Ottoman-era philanthropy.

A Century of Service: The Evolution of a Landmark

From Private Operation to Public Icon

For nearly four decades the Asansör was privately operated. After Levi’s death, the elevator passed to Sherif Remzi Reyent (who had been the stationmaster) in 1942. Reyent ran it for years, bringing in some profits – until his own untimely death left operations in limbo. In the early 1980s, as most of Izmir’s historic Jewish community had long since emigrated or assimilated, the remaining operator (daughter Ayla Ökmen) donated the tower to the İzmir Municipality. Recognizing its cultural value, the city took over on the condition that it remain a public amenity. In 1983, the municipal handover made the Asansör officially city-owned (memories of Levi’s original charitable intent resonated in the decision).

For the next generation, the Tarihi Asansör became not a private enterprise but a civic treasure. It was featured in school textbooks and tourism campaigns. Local children grew up calling it simply “Asansör”, as if every resident had a share in it. During the 1970s and early 1980s, there were brief closures for maintenance, but the structure itself never fell into disrepair – partly out of respect for Levi’s legacy.

Becoming a City Treasure: The 1983 Transfer to the Municipality

The official transfer in 1983 marked a turning point. Under Mayor Burhan Özfatura, the city invested in restoring the Asansör both mechanically and cosmetically. One key change at that time was converting the second elevator car (which had always lagged behind the first) from its old steam drive to full electric power. By the mid-1980s, both cars ran smoothly on motors. Importantly, fares remained free: the city council declared that Izmiris should enjoy the ride gratis, honoring the tower’s philanthropic origins.

During this period the waterfront of Karataş was also being cleaned up, and the surrounding streets (including the future Dario Moreno Street) were pedestrianized and beautified. The Asansör, once tucked at a dusty alley end, was now front-page news in local press as part of a heritage revival. By the late 1980s, it had acquired the image of a nostalgic symbol of old Izmir – a link between cultures and eras.

Restoring a Masterpiece: The 1992 Renovation Project

By 1990, however, the aging tower still needed a facelift. The east-facing brick walls had faded, and the top terrace’s wooden floorboards were worn. The city planned a comprehensive restoration and reopened the Asansör to the public in June 1993, an event presided over by Mayor Yüksel Çakmur. The renovation (often called the 1992-93 Restoration) did the following: the brickwork was repointed and sealed to prevent leaks, the metal framework of the observation deck was stripped of rust and repainted, and the two elevator cabins received new glass windows and safety features. The terrace’s cast-iron railing was carefully cleaned to reveal the intricate 1907 motifs. Meanwhile, the connecting stairway up the cliffside (now a quiet pedestrian route) was restored with handrails and a gentle ramp at the bottom.

Notably, the elevator mechanics themselves were left historically intact: the 1985 motors were serviced and tested, but Levi’s original control panel (the lever and wheel inside the booth) was preserved as a display piece. The restoration also included a small museum corner on the ground floor, with photographs of Asansör’s opening day and a reproduction of Levi’s deed of gift. When the elevator resumed service on 20 June 1993, it felt like both an old friend and a new gift: the same beloved elevator, now sparkling clean.

The Asansör Today: Ongoing Preservation and Its Role in Modern İzmir

Since the 1990s restoration, İzmir has continued minor upkeep regularly. The municipality inspects the structure yearly, and the elevator cars get mechanical overhauls every few years (the most recent major check was in 2015). Because of this care, the Asansör still looks largely as it did in 1907; even many İzmiris jokingly call it “the time machine.” In practical terms, it remains a public transport convenience for Karataş residents – an elevator ride costs the same flat (small) fee as a city bus. But overwhelmingly, tourists now account for the majority of riders.

As İzmir has grown into a sprawling metropolis, the historic elevator has become an anchoring landmark. It is often lit up at night and featured on postcards and travel posters. The view from its top may be the first sight of İzmir for some arriving by ferry to nearby Karantina pier; now people come as much to touch the 1907 elevator walls as to gaze out at the Gulf of Izmir. In short, what began as Nesim Levi’s humble charity project is today an icon: still serving locals quietly each morning, yet also drawing international admirers who view it as a must-see symbol of İzmir’s heritage.

Architectural Grandeur: A Detailed Look at the Asansör’s Design

The Stone Tower: An Analysis of the Façade

Architecturally, the Tarihi Asansör is unique in Turkey. From a distance its two-part tower stands out: a sturdy stone base at street level gives way to a taller brick shaft. The official tourism board notes that “at the point where the elevator rises, you reach the wooden observation deck carried on iron consoles”, and that “the cast-iron railings of the terrace are decorated with the most beautiful motifs of the period”. These motifs include stylized leaves, scrollwork and geometric latticework in the Art Nouveau spirit. (Interestingly, one Turkish blogger explicitly describes the building as Art Nouveau in style, emphasizing its “süslü metal işçilikleri ve zarif detaylar” – i.e. elaborate metal craftsmanship and graceful details – on the exterior.)

The eastern façade – visible at the top of Dario Moreno Street – bears two stone plaques beside the doorway. One is in French, reading “Ascenseur Construit Par M. Nissim Levy 1907”, and the other has Hebrew script. These plaques are Levi’s signature on the gift and are still legible today. Under them is the original glass-and-wood ticket office (now a souvenir corner). The woodwork around the doorway is oak, and the original ferrules and doorknobs remain.

A curious detail is the building’s slight asymmetry: one elevator shaft is marginally wider than the other. This stems from the 1907 design, which intended one cabin (the freight lift) to carry heavier loads. After the 1985 electrification, both cars were made identical, but the outer shell still hints at the original dual-purpose engineering. In all, the façade reads as an elegant industrial statement: solid, tall, and clearly designed to be seen as a civic monument.

Decoding the Inscriptions: French and Hebrew Plaques at the Entrance

As noted, the entrance bears two languages. The French inscription translates directly to “Elevator built by Mr. Nissim Levy 1907.” In the early 20th century, French was the lingua franca of business in İzmir, and it was customary on public works. The Hebrew inscription (though somewhat faded) credits the same: Nissim Levy Bayraklızade, naming his house (“Bayraklızade” means “of Bayraklı”, the name of his store near Halil Rıfat Paşa). These bilingual plaques underscore the cosmopolitan nature of Izmir’s society at the time: Levi himself was Sephardic Jewish and multilingual. For a visitor today, stepping through the door under those plaques is akin to stepping back into 1907, where a pragmatic Jew named Levi envisioned equality – everyone, rich or poor, Muslim or Jewish or Christian – using this “ascenseur” in common.

The Observation Deck: Izmir’s Most Famous Balcony

Atop the 58-meter tower is a wooden terrace held up by ornate iron brackets. This Terasse Panoramique (as one brochure calls it) offers a full 360° view of İzmir Bay and the city. To the east lies the Aegean Sea – broad daylight water meets horizon – and to the west the alleyways of Karataş dip down in soft mosaic. Looking north, one sees the sprinkling of rooftops in Pasaport and Alsancak; to the south, Kadifekale’s ancient walls sit high above.

The panorama is unforgettable. One travel writer enthused that from the top “you can see the city of Izmir and the Aegean Sea”, calling it “the most beautiful view I’ve seen in the city”. Indeed, photographers (and casual tourists) swarm here at dusk. Sunset at the Asansör is renowned: the golden light hits the bay and downtown simultaneously. That same Trip.com reviewer “highly recommend[ed] going at sunset”. By contrast, at midnight the city lights sparkle below, and one can lean on the cool cast-iron railing (adorned with gazelle and floral cutouts) and watch ferries crisscross the port. In fair weather, the deck is often buzzing with camera shutters; even official guides call it “one of the most important tourist stops” in Izmir.

The deck has two levels: one open-air platform and a covered wooden gazebo built in a traditional İzmir kristal style. The gazebo shelters a few benches and old photos of the elevator over time. Whether in the shimmer of afternoon sun or the hush of moonlight, the terrace truly lives up to its billing as a “bird’s-eye view” spot.

Dario Moreno Street: The Melodious Path to the Elevator

Who Was Dario Moreno? Izmir’s Legendary Musician and Actor

Darío Moreno (1921–1968) was one of Turkey’s most beloved mid-20th-century entertainers. Born David Arugete Moreno to Sephardic Jewish parents in Izmir, he grew up speaking Ladino, Turkish and French. He became a charismatic singer and film actor, known across Turkey and Europe. Moreno’s style blended traditional Mediterranean melodies with jazz influences; he was affectionately nicknamed “Monsieur Rythm” in the French music scene. Some of his Turkish and French songs – such as “Ya Mustafa” – were chart-toppers of the 1950s.

Importantly for İzmir history, Dario Moreno’s family lived on the elevator’s street. In his biography the Jewish Heritage Project notes: “Dario… began to take the stage regularly in Izmir after his military service, [and] began to live in the Elevator Street of Karataş (now Dario Moreno Street), part of the New Jewish Quarter.” He honed his guitar on these cobblestones and sang at local bar mitzvahs, then left for Istanbul and ultimately Parisian fame. Yet he always retained a deep love for Izmir; in later life he arranged to be buried in his hometown (though an accident led to him being interred in Israel instead).

Today, Izmirers have immortalized him by renaming the narrow street leading up to the Asansör in his honor. A small statue of Moreno gazes down the lane, smiling broadly. Guidebooks remind visitors that the street was renamed “in memory of the singer”, a nod to the global star who once walked there.

A Biography: From Izmir to the International Stage

Dario Moreno’s early life reads like a classic rags-to-riches tale. After his father died, young David spent time in an orphanage. Determined to better himself, he learned French and taught himself guitar. By his mid-teens he was performing Neapolitan musica napolitana on street corners in Karataş, winning local acclaim. In his twenties, he joined the Turkish army’s jazz band, which broadened his repertoire. After the war he returned home, married, and then took a small apartment on the very street of the Asansör.

It was during this period he adopted the stage name Darío (after a cousin) and began regular performances in Izmir nightclubs. Over the next decade he skyrocketed: he starred in Turkish films in the late 1940s, then toured in Europe. By the early 1960s, Darío Moreno had become a cinéma paradiso figure in French cinema (appearing in Pépé le Moko, Irma la Douce, and Belle de Jour alongside Brigitte Bardot). At each international appearance, he wore a tie-pin in the shape of the Izmir clock tower as a reminder of his roots. Whenever he returned to Turkey, Turkish journalists greeted him as a national hero. Even today, old-timers in Izmir recall seeing him perform at Club Garibaldi (a famous Izmir club) and later in Paris cafes. In the local lore of Karataş, Moreno is as legendary as Nesim Levi – one built an elevator, the other set it to music.

His Enduring Connection and Love for the City

Despite his fame abroad, Moreno never forgot the staircase street where he got his start. He often mentioned in interviews that İzmir’s sun and sea were in his blood. In fact, he stipu­lated in his will that he be buried in İzmir. (Family decisions led to him being entombed in Israel in 1968, but a cenotaph in Şair Eşref cemetery stands in his honor.) On Dario Moreno Street today, fans often play his old records from small portable radios as they stroll. A small café near the top even named a dessert “Dario’s Delight” after him.

Thus, the melody of Moreno’s life is woven into the street’s atmosphere. Travelers can almost hear echoes of his chanson as they walk between pastel-colored Levantine houses, each adorned with wrought-iron balconies and ivy-clad walls. In this sense, the street itself has become an open-air shrine to that multicultural spirit – an ideal prelude for reaching the Asansör’s summit.

Exploring the Famous Street: Atmosphere and Hidden Gems

Walking Dario Moreno Street is like stepping into a bygone Izmir. Its uneven cobbles rise gently toward the elevator, flanked by low historic mansions (formerly Jewish homes) now converted into cafes and boutiques. The air often carries the aroma of fresh simit (sesame bread rings) and brewing Turkish coffee from corner shops. In recent years young entrepreneurs have opened art galleries and wine bars here, giving the street a bohemian vibe. Street musicians play darbukas and violins on summer evenings, channeling Moreno’s musical legacy.

Several plaques on buildings note famous residents – Dario’s own childhood house is marked, and nearby is a small synagogue that invites quiet contemplation. A particularly charming spot is the Levantine-style Café Giselle, where servers know Moreno’s songs by heart. Off the main walk, a few side alleys offer glimpses of mosaics and fountain courtyards hidden behind gates. Despite its growth in popularity, the street never lost its intimacy: it’s narrow enough that neighbors still greet each other by name. Modern guidebooks call Dario Moreno Street “Izmir’s most famous street” precisely because of this unique blend of history, music, and charm.

Finding Dario Moreno’s Former Home and Statues

Toward the top of the street, just before the Asansör’s archway, stands a bronze bust of Darío Moreno, unveiled in the 1990s. Locals often stop here to pose for photos next to the smiling sculpted singer. The milestone of Moreno’s actual home (a small white house with green shutters) is preserved at number 54 on the street. It now houses a small café, but a plaque outside notes “Here lived David Arugete Moreno”. This landmark is a hidden gem: visitors say you can almost hear Dario’s guitar from within.

At the street’s foot, near Konak Square, one can still find Nesim Levi’s stately mansion (no longer standing) marked by a decorative turret that hints at the area’s grand past. In short, Dario Moreno Street is a living museum of Izmir’s 20th-century cultural figures – the melodic path leading to its great commemorative gift, the Asansör itself.

The Complete Visitor’s Guide: Planning Your Trip to Tarihi Asansör

How to Get to the Historic Elevator İzmir: All Transport Options

Public transport: The Asansör is very accessible from central Konak. The nearest metro station is Üçyol, about a 650-meter walk (roughly 9 minutes) up Mithatpaşa Street and then Dario Moreno Street. From there, simply follow the signs; the path rises gently through the pedestrian zone. Alternatively, take any of the frequent bus lines that stop at “Asansör” (lines 10, 121, 302, 951 among others). In fact, the “Asansör” bus stop is only a two-minute walk from the elevator’s base. Several minibuses from Konak Square (the dolmuş minibuses) also go to Karataş — just ask the driver to drop you at Asansör Sokağı.

By car or taxi: Taxis in Izmir are inexpensive; a ride from Konak Square to Asansör takes about 5–10 minutes off-peak. There is a small municipal parking area at the bottom of Dario Moreno Street. Note that the street itself narrows to one lane, so some parking is along the hill side. If driving, approach via Mithatpaşa or Halil Rıfat Paşa Caddesi and follow signs to Asansör (the city has recently put up bilingual guides).

Walking: For those who prefer to walk: from Konak Square (the Clock Tower), head south on Mithatpaşa Street toward the sea. After about 500 meters you will see a fork with cafes – take the right fork onto “İskele” and follow it uphill to Dario Moreno Street on your left. The stroll is pleasant and takes maybe 15–20 minutes. (Along the way you can peek into historic Kemeraltı bazaar lanes and enjoy views of the bay before reaching the elevator.)

Opening Hours & Entrance Fee (Updated 2025)

Good news: there is no entry fee to ride the historic elevator or access the terrace. The city operates it as a public service. As of 2025 it is open daily; official signage (and local guides) list the hours as roughly 08:00 to 24:00. (Some sources say 8–23:00 – but the municipality’s own site confirms midnight closing.) The top-floor cafe may close earlier (often around 22:00), but the elevator itself will still run as long as the tower lights are on.

During national holidays or festivals the hours are usually extended. For the most accurate and up-to-date schedule, check the Izmir Metropolitan Municipality website or call (232) 293-47-80. Note that at dawn the elevator is typically inactive; it usually starts operating around 08:00 when the museum hour begins.

Is the Izmir Elevator Free to Enter? The Definitive Answer

Yes. Visitors consistently report that riding the Asansör costs nothing. The TripAdvisor community and travel guides emphasize that “the elevator’s entrance is completely free”, and İzmir’s tourism bureau explicitly advises: “going up with the elevator… is free of charge”. In practice, no ticket is checked or sold. (Of course, if you dine at the restaurant or cafe you pay for your food.) The only cost you incur is a modest city tax or donation if you choose to toss a coin in the donation box at the ticket booth.

Official Hours of Operation for the Elevator and Terraces

As of the latest update (2025): Eight in the morning to midnight every day. That matches the information on official sources. If you arrive at closing time, you will still be allowed up or down in the car – the attendant politely shepherds any waiting queue until the last group has been served. The terrace and cafe stay open as long as the elevator runs. On weekdays the Asansör is quietly open even late at night; on weekends it may stay open as late as 1:00 AM if there is demand (local youth sometimes take midnight rides for the city lights).

The Best Time to Visit for Photography and Sunsets

By consensus, late afternoon and sunset are magic hours at Asansör. The museum’s panorama table even suggests that “sunset offers the most breathtaking views”. Travelers on review sites echo this: one recommends timing your visit so that you see the sea and clock tower bathed in golden light. Indeed, the western sky over Kadifekale and the bay glows vividly against the tower’s silhouette at dusk.

If photography is your goal, aim for an hour before sunset. The light hits the city facades warmly, and you will capture a full 360° of color. For night shots of the İzmir skyline, the Asansör terrace is equally superb. The city’s clock tower, Kemeraltı, and Candarli Boulevard light up, while cargo ships and ferries shimmer on the bay. Just be aware: the terrace does not have professional lighting for cameras, so bring a tripod or steady perch.

To avoid crowds while shooting, an early weekday morning can also work. About 09:00–10:00, the air is clear and the city is relatively calm. TripHobo’s data notes that many visitors start their trip at 9–10 AM (suggesting that hour is popular). After 17:00 it gets busier with tour groups and sunset-chasers. If you prefer serene observation, consider opening time.

Accessibility Information

The elevator was essentially designed as an access aid, so it is fully wheelchair- and stroller-friendly from bottom to top. The cabin is wide enough for a standard wheelchair and has secure anchor points. The municipality explicitly notes it is “fully accessible for visitors with mobility challenges”. (Blind visitors should note that stairways are minimal inside – they exist only as a narrow service stair alongside the elevator.)

The only potential difficulty is getting to the elevator: Dario Moreno Street is on an incline, and though it is paved, parts of it have cobblestones. However, there are handrails on the main walkway. Taxis can drop you directly at the entrance. In short, once you reach the tower’s door, the ride up is as easy as any modern lift.

Dining Above the City: The Asansör Restaurant and Cafés

The “Asansör Restoran”: A Fine Dining Experience

On the upper floor of the tower, above the observation deck, sits the Asansör Restoran – a longtime İzmir institution. Housed in a stylish Art Nouveau room with large windows on three sides, the restaurant offers sweeping views out to sea. Its menu focuses on Turkish, Aegean and Mediterranean cuisine: one can order fresh Aegean grilled fish, olive-oil-rich vegetable mezzes, or classic Levantine dishes like karniyarik. There are also lighter dishes – seasonal salads, homemade börek, and Turkish coffee.

Prices at Asansör Restoran reflect its touristy perch: a mid-range meal for two typically costs more than average for Izmir. For example, a fish entree might run 200–300 TRY (in 2025), and wine is moderately priced by local standards. It is not a budget eatery, but many guests feel the view justifies the expense. Reviewers on sites like Restaurant Guru note that “the great views compensate for the café’s lackluster food” – suggesting that while the cuisine is decent, diners primarily come for the panorama.

The atmosphere is cozy and romantic: white tablecloths, candlelight in the evening, and large antique mirrors that bounce the light. The staff will often reserve the window-side tables for couples or special occasions, so if you have a window table in mind, it’s best to reserve in advance, especially on weekends. Reservations can be made by phone or online. Note that the restaurant opens in the early evening (around 19:00) and runs late – it’s a popular date spot, so expect it to fill up after 20:00.

The Terrace Café: Casual Drinks with a World-Class View

For a more casual visit, the Asansör Cafe (on the terrace, just outside the restaurant) provides snacks, coffee and drinks. This small kiosk-style cafe operates roughly 08:00–22:00 (the hours vary by season). You can sit at outdoor tables right under the open sky, perhaps next to a dozen pigeons, and sip tea or lemonade as the sea breeze blows. The cafe menu includes pastries like simit, baklava and ice cream.

Prices at the cafe are reasonable by İzmir standards – a cup of Turkish tea or coffee is under 15 TRY, and cold sodas or water around 10 TRY. (Bottled water is more expensive here than in town, so if you climb only to drink water, plan accordingly.) Some visitors simply grab a coffee here and enjoy the vantage point without paying restaurant prices.

Is the Restaurant at the Top Worth It? A Candid Review

In truth, opinions are mixed. The view from the restaurant is unquestionably worth it – many locals will suggest going up at least once for dinner or a sunset cocktail. The food itself, however, garners average-to-good reviews. Some diners complain of slow service or generic dishes, while others praise the grilled fish and airy ambiance. It helps to order the house specialties (often the fish of the day or an alan budak meze plate) rather than anything too exotic. The consensus from experienced guides is: if your priority is the vibe and view, go for the restaurant. If you just want a snack, stick to the cafe or eat in Karataş below.

As one Yelper pointed out: “The great view compensates for their lackluster café food”. In other words, don’t come expecting fine dining – come expecting a beautiful experience. And yes, many guests find the overall meal and drink prices to lean high, but they balance it against the fact that this is one of the few rooftops in İzmir where the city spreads out beneath your feet.

Beyond the View: The Asansör’s Cultural Impact & Surroundings

A Symbol of İzmir’s Cosmopolitan Heritage

The Asansör is often cited as a symbol of the multicultural heritage of İzmir. In the early 20th century, Izmir was celebrated as a meeting point of Greek, Armenian, Jewish, Levantine and Turkish cultures. The elevator’s very existence embodies that history: it was built by a Jewish patron, its placards are French and Hebrew, and it served Muslims, Christians and Jews alike.

Scholars and travel writers note how the tower “draws attention with its story and magnificent view”. It even appears in Turkish literature and poetry as a metaphor for İzmir’s “open arms” ethos. Local photographers and filmmakers frequently use the Asansör in artworks: it has been the backdrop for music videos and wedding shoots. One of İzmir’s international art festivals once projected images onto the elevator’s brick wall at night. All of this has cemented the building as more than just an elevator – it is an enduring meeting point of cultures and epochs.

Its Representation in Art, Photography, and Local Identity

If you look at postcards of İzmir, one rarely misses the Asansör silhouette against the bay. City logos and souvenir shops often depict it alongside the famous Clock Tower. There is even a local saying among Izmiris: “Her şey Asansör’den göründüğü gibi” (loosely, “as everything looks from the elevator’s view”), meaning that seeing something from the top gives you perspective.

Photographers rival that of Kadifekale (the nearby hill) because the Asansör’s elevation is so handy. If you scroll on Instagram, you’ll find countless #TarihiAsansör photos. In media, the elevator often appears in travel magazines as Izmir’s signature spot. One national travel documentary quipped that “the Asansör has taught generations of Izmir children that steep hills need not divide a city” – a testament to how embedded it is in local self-image.

What to Do Near the Tarihi Asansör: Exploring the Karataş District

Beyond the elevator and its dining, the immediate neighborhood has several attractions. Within minutes of the Asansör are:

• Beit Israel Synagogue: A block away is Izmir’s grand 1907 synagogue (open to visitors during certain hours). It was funded by many of the same families who built the Asansör. Its interior has detailed woodwork and Ottoman-style motifs. (The Jewish Heritage Project pages list it among Karataş’s highlights.)
• Karataş Jewish Hospital (Hastane): The hospital Levi’s elevator originally financed still stands nearby (now called “Museum of the History of Izmir Jews”). It has a small museum of Judaica and levante artifacts.
• Historic Mansions and Clock Tower: A few elegant stone mansions (late 1800s) line the hillsides, embodying the colonial-era wealth of the district. And of course, the Izmir Clock Tower and Konak Square lie just north – many visitors pair an Asansör trip with these must-sees.
• Karataş Stairs (Original 155 Steps): For the intrepid, one can still climb the original Devidas’s Stairs as a historical walk. Doing so gives an appreciation of what the elevator replaced; plaques along this staircase recount the fall of Devidas and Levi’s reaction.

In addition, Karataş now has a modern waterfront promenade (Kordonboyu) with seafood restaurants, if you descend the hill that way. It’s easy to turn an Asansör visit into a full half-day: start with coffee on Konak Square, climb (or ride) up to Asansör around noon, eat lunch on the terrace, then stroll Dario Moreno Street back down through Karataş Bazaar to catch a ferry or tram in Alsancak.

Final Verdict: Is the İzmir Elevator Worth Visiting?

Given all the above, the answer is a resounding yes, but with nuance. For those who appreciate history and hidden stories, the elevator is far more than a viewpoint. It is a century-old monument to generosity and cosmopolitanism. Such a layered narrative is rare: not only do you get a panorama, but also the human story of Nesim Levi and the living legacy of İzmir’s Jewish community.

Even for casual tourists, the verdict is positive. Virtually every recent travel survey and TripAdvisor poll ranks Tarihi Asansör among Izmir’s top attractions. Visitors unanimously praise the view and the novelty of riding a vintage elevator. Criticisms (if any) center on it being a bit crowded at times, but that’s true of every famous spot.

In practical terms, the elevator makes an ideal quick stop on a city tour. It takes just minutes to ride up, and the ride itself is an experience. By the time you step out on the top deck, you’ll understand why so many guides implore: “Don’t miss this!” The sense of standing where a public-minded merchant once dreamed makes the visit feel meaningful.

Ultimately, the true reward of the Asansör is how it ties into all of İzmir: you don’t just see a new angle on the city – you see its values reflected. This is why our recommendation is to visit not once, but twice: once in clear daylight to appreciate Levi’s brickwork and Dario Street’s colors, and once at dusk to absorb the emotional tapestry – the sunset glow, the city lights, and the acknowledgment that İzmir has come a long way, still carrying kindness to everyone up its hills.

Frequently Asked Questions (FAQ)

What is the history of the İzmir elevator in brief? It was built in 1907 by wealthy Jewish businessman Nesim Levi to carry people between two parts of Karataş separated by 155 steep steps. He donated it to the city (Izmir Municipality) in the 1980s, and it was refurbished and reopened in 1993. It was originally water-powered and served as a free public service, funding the local Jewish hospital. Today it remains fully functional as both a monument and city lift.

Who built the Tarihi Asansör? Nesim Levi Bayraklıoğlu (Bayraklızade) of İzmir, a Jewish philanthropist and merchant, built it in 1907. He intended it as a gift to the city to make daily life easier. The French and Hebrew plaques at the entrance credit “Mr. Nissim Levy” as the builder.

Is it free to go up the Historic Elevator? Yes. The ride on the elevator is completely free. The tower is operated by the city as a public service. (You only pay if you eat or drink at the cafe/restaurant on top.)

What are the opening hours? As of 2025, the elevator runs daily roughly from 08:00 to 24:00. The top-floor cafe usually closes around 22:00, but the lift itself stays open until midnight each day.

What is the name of the restaurant at the top? It’s simply called Asansör Restoran. It occupies the upper floor of the tower and serves Turkish/Mediterranean cuisine. The casual cafe area is on the outdoor terrace above the elevator shaft.

How do you get there by public transport? From Konak Square take the İzmir Metro to Üçyol station (exit toward Mithatpaşa Caddesi) and walk about 10 minutes up the hill. Several buses stop at “Asansör” (only a 2-minute walk to the tower). The elevator is about a 15-minute walk from Konak or a short taxi ride from anywhere in central Izmir.

What is Dario Moreno Street famous for? Named for the legendary Izmir-born singer Darío Moreno, this narrow, winding street is lined with historic Levantine houses, cafés and shops. It is known for its nostalgic atmosphere and vibrant street life. A bronze statue of Dario Moreno stands on the street, and small plaques mark where he lived. The street’s bohemian charm and its lead-up to the Asansör have made it one of İzmir’s most beloved lanes.