In the immediate aftermath of Tanzimat, the newly transformed bureaucracy found its architectural representation in imposing, monumental, kargir (stone and brick construction) structures with their visibly Beaux-arts blueprints. The household preferences of its members, however, turned towards light and heavily surface-treated pavilion constructions. The typologies of these timber domestic structures resembled not only the ur-form of the Ottoman house-type that balanced out the harem and selaml?k quarters evenly around a sofa (an anteroom), but in their rapid construction methods and prop-like appearances they participated in the world of international exhibitions. The fad for a novel house, built quickly and each with its unique patternbook expression – and indeed, chosen from among these globally circulating catalogues — not only begun the trend for country estates in various Istanbul neighborhoods, but also spoke of stylistic competition as a measure of status and affluence among the bureaucrats and the palace elite in an increasingly volatile political era. Rapidly changing styles and access to these trends were the measure for urban class distinction. This paper will investigate the late-nineteenth century Ottoman taste for ephemeral architecture. It will attempt to place the development of and preference for this particular taste within an urban culture used to debilitating fires as well as earthquakes. It will also try to understand how Ottoman builders used novel modes of prefabrication as techniques for fast building as not only the homes but their garden accoutrements such as orangeries to miniature pleasure pavilions evidence such practices. The sources for these largely non-extant garden complexes will range from equally novel photographs and architectural catalogues as well as intriguing newspaper advertisements and Ottoman memoirs.