Sebil is a public donation, for the distribution of cold drinking water, sweet drinks or fruit juice to passers-by in cups. Ottoman sebils has many different variations and form in time. Some are just huge water jar with a simple tap; some have a window with basin where water pours into; some are monumental buildings like a small kiosk with open and enclosed spaces. Sebil buildings, built in Ahmed III and Mahmud I period (1703-1754), are the buildings where change in 18th century Ottoman architectural style can be observed gradually. Examining these sebils shows that there were three different artistic approaches and architectural styles within the period. The first architectural period was between 1703 and 1718. The sebils built in this period, reflect the traditional Ottoman style as formed in the 16th and 17th century. These sebils are polygonal in plans, and has pointed arches above dispense windows. These sebils are generally “stuck” between row of buildings. The second period last from 1718 to 1740. This period is also called as “Tulip Age”, and some changes were occurred in sebils for the very first time in this period. First example in this period was the sebil built by grand vizier Ibrahim Pasha in 1720. These sebils are generally on the most dramatic corners of the city; they have circular plans; the facades are full of ornamental relief and they are more decorative in all sense. Sebils of this period are also elevated vertically, adorned with vertical pilasters. They have wide eaves projecting over all façades of the buildings; and domes with high drums. In this content, their design has similarities with Persian “kiosk” architecture and especially India-Mongol pavilion architecture. However, the architectural elements and details remain traditional. After 1740, in the last period, some radical changes appear on sebil buildings. The first example of this brand new approach is Emin Aga Sebil. The main common points of these buildings are symmetry in façade, baroque curves in plan, and more architectonic ornamentation instead of arabesque motifs. These changes are not only in the general design but also in the architectural details and vocabulary. Arches were transformed to the undulating ones as seen in Italian Baroque architecture; capitals were decorated with acanthus leaves or volutes recalling the Corinthian and Ionic capitals. The reasons behind the changes in Ottoman architecture of these periods are various. First, after a long time of “classical” Ottoman architecture period, which lasted since 1450s, the artists and patrons might seek for “novelty”. Initially, it seems that the source for novelty was in the East, especially Persia, India and even China. Later, Western influences were more dominant, especially architecture in Italian Peninsula and France of 17th and 18th century. Sebil buildings must have been seen as ideal buildings to put into practice the “search for novelty”. As non-religious buildings, they were free from limitation and conservatism of religious architecture. They are small buildings, compared to mosques, palaces, schools etc, so it was easy to apply new techniques and details. In addition, they could be built by small group of artisans instead of gross work of official architecture bureaucracy of that time. Probably, architecture books, illustrated catalogs and similar publications affected the Ottoman architects to build new building in new styles. Nevertheless, the changes stayed limited in sebil buildings until the end of the period. These sebils in their extra ordinary appearance were built side by side with mosques and other buildings that were very traditional in style. This contradictory phenomenon ended with Nuruosmaniye Building Complex, built in 1754 by Ottoman Sultan Mahmud I. In this huge complex every building, including mosque, reflects the new perspective of the 18th century Ottoman architecture that begun with the construction of sebils. The Ottoman culture produced its ideal spaces within the continuity of its artistic and social tradition. We can consider the 18th century, as a period of architectural innovations within the internal dynamic and potential of the Ottoman architectural tradition. The thematic repertory was enriched with fresh motifs end used with combination of old forms. The. The new model was built upon the collage of elements inspired from the architecture of both the Eastern and the Western cultures. This innovative modeling brought a prosperous new way to Ottoman architecture.