Introduction: Some notes on the Beyoğlu passages
Walking down İstiklal Avenue is more than just walking down a street from one end to another. Thanks to narrow doors, small courtyards and interconnected streets on the two sides of the main axis, you step into a second Beyoğlu world. Sometimes a narrow corridor where a couple of shops are lined, sometimes a multi-story housing complex, sometimes a building blended with a theater or cinema hall…
A significant part of this architectural world was shaped when Pera became an important hub of trade, entertainment and residential living in the 19th century. Inspired by the European passages but adapted to Beyoğlu’s sloping topography, narrow streets and multicultural daily life, these structures created new ways connecting İstiklal Avenue to its back streets. Masonry construction that gained momentum after the 1870 Great Beyoğlu Fire (also known as Harik-i Kebir) also contributed to the development of today’s passages.
Yet, we are not referring to “passages” in the classic sense by “Beyoğlu passages”. On this route, there are also courtyard urban khans like Narmanlı Han, old hotels like Tokatlıyan, structures like Atlas that transformed into a cultural complex, and buildings that were centers of social life like Cercle d’Orient. What they share in common is that they create a different urban fabric behind the visible facet of İstiklal Avenue.
You can check out our guide to İstanbul’s districts to explore Beyoğlu beyond its passages to discover its neighborhoods, squares, and diverse urban layers.
From Tünel to Taksim: Passages in Beyoğlu
Tünel Pasajı: The Starting Point of the Route
In the second half of the 19th century, the area around Tünel Square transformed into one of the most bustling hubs of transportation and commerce in Beyoğlu. According to the Istanbul Metropolitan Municipality’s (IBB) inventory of historic commercial buildings, the Tünel Pasajı dates back to 1886. When considered together with the surrounding streetscape of Tünel, the structure provides a useful starting point for understanding how passages functioned not merely as shopping spaces, but as urban passages connecting different streets.
Heading towards İstiklal Avenue from here allows you to follow a route that shows not chronologically but spatially the architectural transformation the Beyoğlu passages went through in almost half a century.
Narmanlı Han: From the embassy building to the artist’s courtyard
Narmanlı Han’s history dates back to 1831. Having housed the Russian diplomatic mission for a long time, it was acquired by the Narmanlı Family in 1933. The fact that artists and authors like Ahmet Hamdi Tanpınar, Aliye Berger and Bedri Rahmin Eyüboğlu lived or had their workshops here in the following years made this building one of the most important stops in Beyoğlu’s cultural history.
After the restoration work from 2015 to 2018, the inner courtyard was re-opened for commercial and social use. Its spacious inner courtyard—situated just a few steps away from the crowds of İstiklal Avenue—ensures that Narmanlı Han stands out easily from the other buildings on the route even today.
If you want to follow a more local route for Tünel, Şişhane and Galata, you can find different recommendations on the triangle of Galata-Şişhane-Pera in our Local Side of İstanbul guide.
Şark Pasajı: One of the oldest passages in Beyoğlu
Also known as Passage Oriental or Aynalı Şark Pasajı (Oriental Passage with Mirror), this passage dates back to the 1840s and is considered one of the earliest examples of Beyoğlu’s passages. Connecting İstiklal Avenue to Asmalı Mescit Street, it originally consisted of shops and multi-story khan blocks. Some of its parts were changed in 1866, but it survived the 1870 Great Beyoğlu Fire.
One of the features that makes Şark Pasajı special in the history of Beyoğlu is its patisserie culture. Iconic Pera patisseries—such as Lebon and, later, Markiz—flourished in the vicinity of this building. Thus, the passage became part of a long social history spanning from 19th-century commerce to the literary and artistic circles of the Republican era.
Suriye Pasajı: A small town where three buildings meet
Suriye Pasajı’s construction began in 1901 and was completed in 1908. And it was designed by architect Demetre Th. Bassiladis. Starting from Istiklal Avenue, the passage opens out towards Gönül Street and Orhan Adli Apaydın Street. It actually consists of three sections that were originally designed separately but were connected to one another over time.
The division of the building into commercial spaces on the ground floor and residential units on the upper floors made the Suriye Pasajı a characteristic example of the mixed-use structures in Beyoğlu at the time. The building’s relationship with cinema dates back to the era when Beyoğlu was first introduced to this new form of entertainment. One of the first public film screenings in İstanbul was in Sponeck Birahanesi (Sponeck Pub) in Galatasaray Square in 1896. Cine Central, or Santral Sineması, which was opened in Suriye Pasajı in 1911 ensured this early cinema culture would continue in the passage. That’s why the building is important not only for its mixed-use architecture but also housing an early film theater in Beyoğlu.
Due to the branches of the passage opening in various directions, as you walk through it, you might feel as if you are moving through a small network of streets rather than a single building.
Petit-Champs Pasajı: From graveyards to an entertainment venue
Passage Petit-Champs, Fresko Passage, or Pinto-Fresko Passage. The structure once connected Istiklal Avenue with Tepebaşı. It derived its name from the fact that the Tepebaşı area was historically known as Petits Champs des Morts—meaning “small burial grounds.”
It is known that the structure was originally built by the Pinto family and later was acquired by banker Arslan Fresko. Situated amidst residential blocks, the passage became a hub for restaurants, cafes, and entertainment venues, particularly during the late 19th and early 20th centuries. Although it has lost much of its original character as a passage, the name “Passage Petits-Champs” lives on at the site today, which now hosts spaces dedicated to art, architecture, gastronomy, and events.
Elhamra Han: Tracing the history of cinema and entertainment
Elhamra Han, located in front of the Church of Saint Anthony of Padua on İstiklal Avenue, was built by businessperson Şerif Adapazarlı in 1920-1922. In Beyoğlu, it is one of the most prominent examples of the First National Architectural Movement from the 20th century. On the façade, arch, corbel, and decorative elements derived from Ottoman and Seljuk architecture were combined with Western architectural details. Considered modern for its time, the building was distinct for having a reinforced concrete structure, elevator, and central heating system. The connection between the parcel of land of the Elhamra and the performing arts dates back even further. The Kristal Tiyatrosu—one of the era’s renowned entertainment venues—had previously stood on the same spot.
Elhamra Sineması which was opened with the khan became one of the most important cinema halls in Beyoğlu from the 1920s. The İstanbul Encyclopedia (by Reşad Ekrem Koçu) records the hall as one of Beyoğlu’s most renowned cinemas between 1922 and 1940. The building’s relation with performing arts continued in later years: In the 1960s, the same section was used by the Istanbul Theater.
Although it’s known as a “passage”, it is not one of the classic passages that connect two streets. The enclosed section, entered from İstiklal Avenue, made it possible to move around within the building and gave access to the cinema hall. In this respect, Elhamra Han demonstrates that the concept of the “passage” in Beyoğlu represented not merely a form of passageway, but a broader urban culture that brought together the functions of commerce, cinema, and entertainment under a single roof.
Hazzopulo Pasajı: An inner courtyard hidden in the crowd
Extending between İstiklal Avenue and Meşrutiyet Avenue, Hazzopulo Pasajı opened on April 15, 1871. Referred to as Hacopulo in the sources, this building consists of three different masonry blocks and a large inner courtyard between them. The open courtyard, accessible via narrow, covered entrances from İstiklal and Meşrutiyet Avenues, is the passage’s most distinctive architectural feature. Featuring shops on the ground floors and residences on the upper ones, the structure is a characteristic example of the 19th-century Pera passages that combined commerce and daily life within a single complex. It also has a way leading towards the Panayia Isodion Greek Orthodox Church.
Its importance is not limited to its architecture. The shop no. 13 in the passage runs Ahmet Mithat Efendi’s printing press, which was printing the İbret newspaper chief-edited by the renowned intellectual and writer Namık Kemal. İbret, which began publication in 1872, became one of the influential publications regarding the political and intellectual debates of the Tanzimat (Ottoman Reorganization) era. This connection makes Hazzopulo a significant landmark not only in the commercial life of Beyoğlu but also in the history of the Ottoman press and intellectual thought.
Throughout history, the shops surrounding the passage’s courtyard have housed a variety of businesses, ranging from tailors and hairdressers to restaurants and other commercial establishments. With a design that opens from a narrow passageway into a spacious inner courtyard, Hazzopulo creates the feeling of a small public square amidst the dense urban fabric of İstiklal Avenue. This spatial characteristic is one of the key features distinguishing the passage from other historic passages in Beyoğlu, such as the Avrupa, Çiçek, and Suriye passages.
Aznavur Pasajı: Art Nouveau influences
Aznavur Pasajı, located on İstiklal Avenue, is said to date back to 1893 in most sources. There used to be eateries and cafes like Café Commerce and Café de Pera where the passage stands now. Hovsep Aznavuryan—whose work can be seen in many significant buildings across İstanbul—is credited as the architect of the structure. Its narrow façade opening out to İstiklal Avenue, Art Nouveau-like decorations and cast iron gate, it is one of the most striking examples of late 19th century Beyoğlu architecture.
At the beginning, Aznavur was a “half passage” where one was able to enter it from İstiklal Avenue. In 1924, another entrance was opened from Meşrutiyet Avenue, and the structure became a passageway connecting the two avenues. Due to the difference in elevation between the two avenues, the connection towards Meşrutiyet Street was accessed via stairs. This second entrance was closed in later years, and the passage’s historic design was altered.
The passage housed various groups of shopkeepers, ranging from tailors to watch sellers, from shoemakers to sellers of musical instruments. The fact that Café Commerce was frequented by the Servet-i Fünun (an avant-garde journal) circle shows that Aznavur Pasajı has had a strong connection not only with commerce but also with the social and cultural life of that time.
Avrupa Pasajı: Among mirrors and statues
Connecting Meşrutiyet Avenue and Sahne Street, the Avrupa Pasajı is one of the significant commercial structures of Pera, an area redeveloped after the 1870 Great Beyoğlu Fire. Designed by architect Domenico Pulgher in the Neo-Renaissance style, the passage was built in 1874. Before the fire, in the area there had been Jardin des Fleurs (Garden of Flowers), a venue for balls and various performances. Once the passage was constructed, this venue was replaced by a commercial arcade with shops lined side by side.
The reason why it is also known as “Aynalı Pasaj” (Passage with Mirrors) is its architectural design. In the time before electric lighting, mirrors were installed behind the gas lamps within the passage to amplify their light. The stores lining both sides of the glass-and-iron-roofed passage were not merely retail spaces; they also featured their own cellars and upper levels. Sculptures of female figures placed into niches along the interior façade, along with ornate medallions, arches, and decorative motifs, are among the passage’s most distinctive features.
In the late 19th century, there were a variety of businesses in Avrupa Pasajı, such as hairdressers, tailors, watch sellers, fashion houses, lamp sellers, and piano makers. This variety shows that the passage was not merely a connection between two spots but also an important shopping center in the daily life of Pera at the time. The structure, which underwent restoration in the late 20th century, became a bazaar primarily featuring shops selling antiques and tourist souvenirs.
Çiçek Pasajı: From a theater to Cité de Pera
The history of culture and entertainment at the corner where Çiçek Pasajı stands predates the construction of the passage itself. In the 19th century, this site was home to the Naum Theater, one of Istanbul’s most important performance venues. The theater—where Italian operas were staged and which attracted the interest of the Ottoman court circle—was completely destroyed in the 1870 Great Beyoğlu Fire. Then, Hristaki Zografos Efendi, a banker from Galata, purchased the plot and commissioned the Italian architect Cleanthy Zanno to design a new structure inspired by the European passages of the era. Completed in 1876, the complex featured 24 shops on the ground floor and 18 apartments on the upper floors. The entire structure was known as Cité de Pera, while the section comprising the shops was referred to as Hristaki Pasajı.
In the early years of the passage, different types of businesses (tobacco sellers, patisseries, tailors, fur sellers, bakeries, florists and meyhanes) were run. This mixed use made Çiçek Pasajı more than just a passage, a center of shopping and social life in 19th-century Pera. When Grand Vizier Said acquired it in 1908, it began to be known as Sait Paşa Gelid (Said Pasha Passage).
The name it holds today became popular in the first half of the 20th century. It is known that there were flower-selling women among the White Russian immigrants who arrived in Istanbul after the October Revolution, and that, over time, the florists of Beyoğlu became concentrated in this area. After Cité de Pera house flower auctions, it was first called Çiçekçiler Pasajı (Florists’ Passage) and later Çiçek Pasajı (Flower Passage). Starting from the 1950s, meyhanes and restaurants gradually replaced the florists, and the passage started to take on its current character as a dining and social hub.
In Çiçek Pasajı’s architecture, what attracts attention is not just the series of shops on the ground floor, but also arched openings, balconies, sculptural decorations on the upper floors, and elaborate ornamentation on the main façade. This design that combines both commercial and residential purposes is a prominent example of the passage architecture developed in the late 19th century Pera.
Tokatlıyan: A reminder of Pera’s grand hotel era
Tokatlıyan’s story began with a cafe and restaurant run by Mıgırdiç Tokatlıyan in the mid-1890s in Beyoğlu. Tokatlıyan first opened a cafe-restaurant called Splendide in a plot owned by the Three Horan Armenian Church Foundation. Trade records from 1895 mention Tokatlıyan’s restaurant and accommodation businesses in Beyoğlu. In 1897, his hotel—comprising a few rooms—began serving under the name Hotel Splendide. However, its major expansion happened during the early years of the 1900s. New construction, which began in 1908, was completed towards the end of 1909.
In this three-story hotel featuring about 160 rooms, the main entrance consisted of a reception, stairs and an elevator. Inside, there were halls for balls, cocktail parties, engagement ceremonies, and banquets, as well as dining and coffee rooms overlooking İstiklal Avenue. Thanks to its central location, restaurant and social spaces Tokatlıyan was more than just a hotel serving its guests, but also an important meeting spot in Pera. It is said that literary figures such as Abdülhak Hamit, Süleyman Nazif, and Yakup Kadri Karaosmanoğlu came together here, and that the hotel also hosted figures like Trotsky, Josephine Baker, and Lawrence of Arabia at various times.
Mıgırdiç Tokatlıyan handed over the business to his son-in-law, Nikola Medoviç, in 1920. The hotel was renamed the Konak Hotel in 1945. In 1958, the property owner (i.e. the Three Horan Armenian Church Foundation) converted the building into a commercial complex. Thus, Tokatlıyan became a significant landmark that allows one to trace, through a single structure, the various phases of Beyoğlu’s history—spanning from the luxury hotel and restaurant culture of the late 19th century to the commercial complexes of the Republican era.
Atlas Pasajı: From mansion to cinema and theater center
The core of Atlas Pasajı is the winter residence of Agop Köçeyan, a banker and businessperson. It is known that Köçeyan built a new mansion across from his former house burned down in the 1870 Great Beyoğlu Fire. Referred to as the Köçeyan Mansion in the sources, it dates back to the 1870s, and it is defined as a monumental residence that was inspired by Palazzo Farnese in Rome. Its Neoclassical-influenced façade, ceiling decorations, plaster reliefs, and marble fireplaces are among the structure’s distinctive architectural features. The building, used as a courthouse by British occupation forces between 1918 and 1922, was later taken over by the General Directorate of the PTT.
Its character as a center of culture and entertainment started developing in the 1930s. Following the renovation carried out in 1932, the complex gained entertainment and arts functions. Atlas Sineması opened in 1948 with a capacity of 1,860, becoming one of the largest movie theaters in Beyoğlu at the time. In 1951, the “Küçük Sahne” (Small Stage)—established on the building’s first floor—raised its curtain with a production of Of Mice and Men directed by Muhsin Ertuğrul. Thus, Atlas transformed into a significant cultural hub where cinema and theater converged within the same complex.
Handed over to the Ministry of Culture and Tourism in 1992, the building underwent an extensive restoration process in 2019. Following the restoration, in 2021, Atlas 1948 İstanbul Cinema Museum opened. Housing a collection ranging from posters about Turkish cinema to personal belongings and digital archives, Atlas Sineması also serves as a venue for film premieres, film screenings and stage performances. From this point of view, Atlas is one of Beyoğlu’s most multi-layered cultural landmarks, continuing a story that began with a 19th-century residence by evolving into a hub for cinema, theater, and museology.
If you want to add other culture stops to your route, check our blog post Istanbul’s most comprehensive museum guide.
Anadolu Pasajı: Ragıp Pasha’s Asia
Situated next to Atlas Pasajı and opposite Halep Pasajı, Anadolu Pasajı was built by Ragıp Pasha—one of Sultan Abdulhamid II’s chamberlains—between the late 19th and early 20th centuries. The three commercial buildings built by Ragıp Pasha—Rumeli, Anadolu, and Africa, respectively meaning Rumelia, Anatolia, and Africa— alluded to the territories of Ottoman. The five-story masonry building has Neoclassical features. Shops lined both sides of its linear passageway, which extended from İstiklal Avenue toward Alyon Street, while the upper floors were used for residence.
Anadolu Pasajı was particularly known for its shops selling furnishings, textiles, and decorative products. The Lazzaro Franco shop at the entrance was among the businesses that sold foreign embassies textiles. Thus, the commercial character of the passage reflected the cosmopolitan shopping culture of late 19th-century Beyoğlu, which served not only to local customers but also to diplomatic circles.
When it comes to the passage’s social life, one of the most famous spots was Brasserie de l’Orient run by Niko Valavanis Balabani. Acquired by someone else in 1934, the business continued its operations. It was frequented by famous figures such as the novelist Peyami Safa, the painters Elif Naci and İbrahim Çallı. Anadolu Pasajı gained a prominent place with its shops and residences as well as restaurants and cafes in Beyoğlu. Since there is a shop on its ground floor, it has lost its function of passageway.
Halep Pasajı: From circus to theater
The date 1885 appears above the entrance of the Halep Pasajı, located at İstiklal Avenue No. 62. The passage came to be known by this name because it was commissioned by a member of the Hacar family from Aleppo (Halep). In its early days, the section of the building facing the avenue housed beer halls, offices for bankers and merchants, musical instrument shops, and, for a time, the Italian Court. Originally built with four stories, an additional floor was later added to the structure. Human head reliefs, floral ornamentation, and a coat of arms adorning the Neo-Renaissance-style façade facing İstiklal Avenue are among the passage’s most striking architectural details.
What makes the Halep Pasajı distinctive in the cultural history of Beyoğlu was the presence of the Cirque de Péra, also known as the Pera Circus, which was located behind the complex. During the late 19th century, the venue hosted a variety of performances, including horse-riding shows, acrobatic demonstrations, and trapeze acts. According to entries in the İstanbul Encyclopedia, a valuable source about İstanbul’s past, several prominent acrobatic groups of the period performed in the enclosed venue situated within the Halep Çarşısı (Bazaar). After the circus hall burned down in 1904, the building was redesigned as a theater by architect Campanaki. The newly established venue initially operated under the name of Varyete Tiyatrosu (Vaudeville Theater) before later becoming known as Fransız Tiyatrosu (French Theater). In 1963, Dormen Tiyatrosu used the hall for its performances, while during part of the 1970s, the building functioned as a cinema.
The theatrical history of the venue entered a new phase in 1989, when Ferhan Şensoy’s Ortaoyuncular ensemble began using the space as its home. In the same year, Beyoğlu Cinema also opened in the passage. As a result, Halep Pasajı came to represent a long-standing cultural legacy that, despite periods of interruption, remained vibrant and evolved from the circus and variety performances of the 19th century into contemporary forms of theater and cinema. Earlier restoration work, carried out between 1984 and 1986, retained the building’s façade facing the street, while much of the passage structure located behind it was reconstructed.
Cercle d’Orient: The club of the Pera high society
Situated where İstiklal Avenue meets Yeşilçam Street, the Cercle d’Orient stands as an important architectural reminder of the social and cultural life of late 19th-century Pera. The building was commissioned by Abraham Pasha and designed by architect Alexandre Vallaury. Historical sources indicate its construction to be between 1882 and 1884, a date range supported by both the building’s façade and surviving archival records. Architecturally, the structure incorporates elements of both Neoclassical and Baroque design. Its original use brought together private residential space and the activities of a social club. Abraham Pasha kept part of the building for his own residence, while a considerable section of the upper stories was rented to the Cercle d’Orient, an exclusive social club associated with the period’s elite. Over time, the ground floor developed into a commercial area, accommodating upscale shops, tailors, and other businesses.
Cercle d’Orient was more than just a club. It served as an important gathering place for Ottoman officials, diplomats, Levantine communities, international merchants, and members of Pera’s upper social circles, who came together for dinners, formal meetings, and various social occasions. Although the club later continued its operations elsewhere under the name “Büyük Kulüp” (Grand Club), the name “Cercle d’Orient” remained inextricably linked to the building itself. Over time, the rear part of the complex also took on an important role in Beyoğlu’s entertainment history. After having been used for different purposes like a gymnasium and a circus in the early 20th century, Skating Palas opened here. With live orchestral performances accompanying skating sessions, the venue also hosted balls, theatrical and other performances, as well as hockey games, making it a popular destination for İstanbul’s upper-class society of the period.
After Skating Palas was closed, the same complex housed Yeni Tiyatro (New Theater). In 1924, Melek Sineması opened and later changed its name to Emek Sineması, which became one of the most recognizable institutions associated with Beyoğlu’s cinema culture. So, throughout its history, Cercle d’Orient and the structures around it have housed different types of entertainment, ranging from a social club to a skating venue, from theater to cinema.
To learn more about the journey of the skating craze in İstanbul—which began in the gardens of the Cercle d’Orient—as well as the skating balls at the Skating Palas and the hockey matches of that era, you can take a look at our blog article Istanbul’s skating culture: From past to today.
Rumeli Pasajı: The European leg of a three-continent project
Situated right next to the Ağa Mosque, the Rumeli Pasajı was commissioned by Sarıcazade Ragıp Pasha, who served as one of Sultan Abdülhamid II’s chief chamberlains, and was opened in 1894. The structure’s main entrance on İstiklal Avenue features its name in three languages: Rumeli Han in Ottoman Turkish, Cité Roumeli in French, and Agora Rumelias in Greek. The Hijri year 1312, inscribed in the same area, corresponds to 1894 in the Gregorian calendar. Along with the nearby Anadolu and Afrika khans, Rumeli Pasajı was part of a group of commercial structures commissioned by Ragıp Pasha. Their names collectively referred to the Ottoman Empire’s territories and geographical presence in Europe, Asia, and Africa.
Built in masonry, Rumeli Han was organized with residential spaces on the upper levels and commercial spaces on the ground floor. The passage was designed with five separate entrances, each providing access from different directions. Although the building generally reflects Neoclassical architectural characteristics, the principal entrance facing İstiklal Avenue is distinguished by decorative elements associated with the Baroque and Empire styles. The passage was once home to a variety of businesses, including haberdashery shops, carpet merchants, and bicycle stores. In 1895, Jean Cesar Reboul opened the Parisienne Eczanesi (Parisienne Pharmacy) there, a business that would eventually become known as Rebul. The building also housed Abdullah Efendi, a well-known İstanbul restaurant, which operated there from 1915 till the 1960s.
Rumeli Han is also notable for the historic tunnel located beneath the building. The passageway came to light again during restoration works that began in 2017, This restoration revealed a previously concealed layer of the structure’s architectural history. After the restoration, the underground space was adapted for cultural activities, including exhibitions, concerts, and other artistic events. The tunnel stands as evidence of an additional circulation layer beneath the passage and residential areas visible from İstiklal Avenue.
Afrika Han: The African leg of a three-continent project
The last stop of this route towards Taksim is Afrika Han. Part of a naming series that includes Anadolu Pasajı and Rumeli Pasajı, the building is one of Ragıp Pasha’s investments in Beyoğlu that allude to three continents.
Dating back to approximately 1905-1906, Afrika Han stands between Büyükparmakkapı and Küçükparmakkapı Streets. In contrast to many of the surrounding structures, the building does not extend along a broad frontage directly facing İstiklal Avenue. Its most distinctive architectural characteristic is the centrally positioned, cross-shaped courtyard. The building itself consists of four individual blocks arranged around this central open space.
The residential units within Afrika Han were distinctive for their period as well. Rather than the spacious apartments commonly associated with Beyoğlu’s apartment buildings, the structure contained compact living spaces almost like modern studio flats. The lower floors, by contrast, were used by businesses.
After undergoing an extensive restoration, Afrika Han entered a new phase in 2025. The historic structure now functions as a hotel operating under the name Moxy Istanbul Beyoğlu. Marriott’s announcement for the opening clearly states the building is Afrika Han.
In this way, Ragıp Pasha’s three major buildings—Anadolu Han, Rumeli Han, and Afrika Han—can be understood as interconnected landmarks along the same route.
For a broader perspective on the architectural legacy of the late Ottoman era in Istanbul, you can also explore our guide Ottoman architecture in Istanbul.
What makes the passages in Beyoğlu special is not just their age or ornate façade, but the fact that they make it possible to move from a former Russian diplomatic structure to a 19th-century shopping passage, a newspaper printing press, a horse-riding arena, or from a big Pera hotel to a cinema museum just in a couple of steps. Moreover, each of these buildings tells a different story. Some have lost their function as passageways, some have been completely reconstructed, some have been repurposed, and others still connect two streets. This is where Beyoğlu’s true richness reveals itself: The city makes not only its monuments visible but also its transformations. On your next walk along İstiklal Avenue, look beyond the shop windows to the narrow entrances between the buildings. A significant part of Beyoğlu’s urban memory—spanning nearly two centuries—still resides behind those entrances.
Frequently asked questions
How many historic passages are there in Beyoğlu?
There is not a single answer to that as the definition of a “passage” changes from source to source. The inventory of the İstanbul Metropolitan Municipality notes that there are more historic commercial buildings on İstiklal Avenue and in its surroundings. Some academic maps consider khans, hotels, and complexes alongside actual passages. The 17 stops featured in this blog article are based on the line of historic passages and connected structures stretching from Tünel to Taksim.
Is Anadolu Pasajı and Afrika Han the same building?
No. Anadolu Pasajı and Afrika Han are two different buildings. Both of them are parts of a structure group that alludes to the three continents. This group of structures was commissioned by Ragıp Pasha, one of Sultan Abdulhamid II’s chamberlains. Anadolu Pasajı alludes to Asia, Rumeli Han (Rumelian Khan) to Europe, and Afrika Han (African Khan) to Africa. Their locations and plans are different from each other.
Which is the oldest passage in Beyoğlu?
Among the buildings featured here in this route, Şark Pasajı is one of the earliest examples, dating back to the 1840s. Hazzopulo Pasajı dates back to 1871, Avrupa Pasajı to 1874, and Çiçek Pasajı to 1876. Although Narmanlı Han is older than them, it’s not a passage in the classical sense, but a khan complex with an inner courtyard.
Are all the passages in Beyoğlu in their original state?
No. The original building of Aznavur Pasajı was demolished and rebuilt in the late 1980s. Significant sections of Halep Pasajı—except for its street-facing façade—were also reconstructed during that decade. Çiçek Pasajı was restored after a big collapse. Consequently, the passages of Beyoğlu showcase not only 19th-century architecture but also the ways in which Istanbul’s historic structures are preserved and repurposed.
What is the best starting point to visit the passages in Beyoğlu?
Walking from Tünel Square to Taksim makes it easier to understand the relative positions of the historical buildings. A reverse route is also fine. Those starting from Taksim can continue to Galata via Galip Dede Street after finishing the walk at Tünel.
