The Tulip Era has a distinctive position in Ottoman Architecture in many ways. A partial liveliness took place in public construction activities that had become stagnant in the second half of the 17th Century due to increasing political crises and economic problems, as Ahmed the IIIrd rose to the throne. Observed more clearly when NevşehirliDamat İbrahim Pasha was assigned Grand Vizier, this development was especially apparent in the capitol of the period Istanbul. In as much as many public construction works were destroyed as a result of the PatronaHalil Uprising in the period capitol; the buildings that survived to the present day, information received from the period sources and in fact description in poems of the popular poets of the period indicate that several implementations that were different compared to previous eras took place in Ottoman Architecture during the Tulip Era years. Reflections of this change that became evident in Istanbul are also seen in Anatolia, albeit in limited numbers. Damat İbrahim Pasha’s transformation of his hometown Muşkara into a metropolis and Kaymak Mustafa Pasha’s performance of similar public reconstruction and improvement works in Babakale, are important details in Ottoman urbanism. This situation points out that certain implementations took place during Tulip Era years on a cityscale. Rather than plan features and architectural elements of buildings, the style of the Tulip Era is evident in ornamentation programs. The general tendencies of the age, the naturalist flower compositions coming out of the vase, appear in Anatolia less frequently than similar examples in the capitol. In the social complex that Damat İbrahim Pasha had built during 1727 at Nevşehir, the ornaments seen in the mosque and classroom of the madrasah are comparable to examples at the capitol. It becomes apparent due to style features that the above ornamentations were created by master workers coming from the capitol. At that time, such styles of ornamentations were not frequently used yet on religious structures even in Istanbul. The impact of Damat İbrahim Pasha, who was open to innovations, is seen in ornamentation programs encountered in the mosque and madrasah classroom. In early dated samples of the age such as Kayseri Hasinli Mosque (1714), Kayseri Ali Hoca Mosque (1708) and NiksarHalilEfendi Fountain (1710) flower-in-vase compositions suited to the style of the Tulip Era are observed. Inscribed on stone, these compositions are simpler portrayals compared to examples in Istanbul. Although they were not very successful, the appearance of such portrayals on certain buildings in Anatolia is important as it demonstrated that the style newly sprouting in Istanbul is also being tried or imitated by masters in the hinterland. The flower-in-vase compositions were applied in Istanbul at early civilian buildings of the Century such as the HacıMehmedAğa Fountain (1708) and YeniValide Fountain (1710); in fountains that Ahmed the IIIrd had built in front of the Topkapı Palace and Üsküdar Pier towards the end of the period and built right after the Tulip Era; the AzapkapıSaliha Sultan Fountain (1732), Tophane Fountain (1732), Bereketzâde Fountain (1732) as well as Hekimoğlu Ali Pasha Fountain (1732), in addition to examples in Anatolia such as BolvadinAğılönü Fountain (1748) as more plastic descriptions. It is observed in these examples that different flower species such as rose, star flower and hyacinth were utilized, alongside tulips and carnations. In addition, a quest for perspective and space was sought in aforementioned compositions by setting vases on tables just as in the painting art of the period. The Tulip Era was defined as a period that became identified with Ahmed the IIIrd and Damat İbrahim Pasha. Many implementations unseen to that date are encountered in Ottoman Art and urbanization during that short time period where many new trials took place in a lot of areas. It is observed that different attempts were made especially in the ornamentation programs of civilian buildings compared to the classical age. The symbol of the Tulip Era, the flower-in-vase is at the center of the compositions. No alteration is seen in the plan and ornamentation features of buildings constructed in Anatolia at this time. However, the style of the era is displayed more clearly in structures financed by the Pashas and leading figures of the period. Ended by quite a tragic rebellion, the Tulip Era was a harbinger of the changes that took place in the final two centuries of Ottoman Art. Preparations of the style changes that became evident in both architecture and ornamentation in Anatolia especially towards the second half of the 18th Century were carried out during Tulip Era years. Keywords: Tulip Era, III. Ahmed, Nevşehirli Damat İbrahim Paşa, Embellishing