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Nuruosmaniye Camisi, Osmanlı mimari geleneğindeki klasik çizgilerden uzaklaşmanın başladığı ancak temelde yine klasik normlara bağlı kalınarak hareket edildiğini gösteren bir geçiş dönemi örneğidir. Caminin ibadet mekânını oluşturan harimin, dört büyük askı kemeriyle taşınan tek kubbeyle örtüldüğü benzer örnekler Osmanlı mimarisinde daha önce de görülmüştür. Bunun yanında harim-avlu birleşiminin 15. yüzyıldan itibaren Osmanlı camilerinde uygulanıyor olması yerleşim prensiplerinin korunduğunu göstermektedir. Bu yönüyle, mimari geleneğin devam ettirildiği caminin, yarım oval plânlı avlusu, 18. yüzyılın ilk çeyreğinden itibaren Osmanlı mimarisinde görülmeye başlayan Batı menşeli sanat akımlarının, cami plânına tesirini gösteren ilk somut örneğidir. Avlunun yarım oval formuyla Barok dönemin eliptik uygulamalarını hatırlatması, Avrupa’daki Barok üslupla ilişkilendirilmiştir. Geleneksel ve batılı uygulamaların bir arada kullanıldığı Camide benzer bir durum, taçkapılar için de söz konusudur. Plân olarak geleneksel şemayı yansıtan taçkapılarda, süslemede, tamamen Barok karakterli örnekler tercih edilmiştir. Taçkapılardaki bu değişim, yüzyılın ikinci yarısındaki örneklerin plânlarına da etki ederek, bezemeci anlayışın daha ağır bastığı yeni tasarımlara yerini bırakacaktır.
The Nuruosmaniye Mosque is an example of a transition period in which the distraction from the classical lines in the Ottoman architecture tradition begins but is basically moved by keeping up with the classical norms. Similar examples of the harim, which forms the place of worship of the mosque, is covered with a single cube that is moved by four large hangbands, have been seen in the Ottoman architecture before. In addition, the harim-avlu union has been applied in the Ottoman mosques since the 15th century shows that the settlement principles are preserved. In this regard, the semi-ovalistic garden of the mosque, where the architectural tradition is continued, is the first concrete example of the western art flows, which began to be seen in the Ottoman architecture from the first quarter of the 18th century, showing its inclination to the mosque plan. The reminiscence of the garden's semi-oval form of the Baroque period's elliptical practices is linked to the Baroque style in Europe. Camide, where traditional and western practices are used together, is similar to the case for the crowns. In the roofs that reflect the traditional scheme as a plan, in the decoration, examples with a completely Baroque character were preferred. This change in the roofs will also affect the plans of the examples in the second half of the century, and will replace the new designs, which are weaker by the insightful understanding.
Nuruosmaniye Mosque, which was beginning to be built by the order of Sultan Mahmud I’s order and completed after his death by his brother Sultan Osman III, is the most important building of Ottoman Westernization Period architecture. Architects of the complex, which includes a mosque, a sultan’s pavilion, a madrasa, a library, a tomb, a sebil, a fountain, an imaret, and shops, are Mustafa Agha and his aide Simeon Kalfa. The mosque has a planning scheme formed by the square-planned prayer area covered with a single dome, the polygonal mihrab projection on the south wall, and the semi-oval courtyard to the north. The traditional scheme imposed on the main body of the mosque and the Baroque effect on the mihrab and courtyard wall; make the mosque an example that shows traditional and westerner applications together. Nuruosmaniye Mosque is a transition era example that started moving away from classical lines of Ottoman architectural tradition yet abide by classical norms. The architectural design of the praying area consists of a square planned section covered by a single dome carried by four great arches that had been seen in Ottoman architecture before. Moreover, the implementation of merging the praying zone with the courtyard since the 15th century shows that settlement principles were maintained. From this aspect, while the mosque continues to reflect the traditional architecture, the semi-elliptical planned courtyard of the mosque is the first concrete example of how art movements originated in the West from the first quarter of the 18th century onwards affected mosque plans. The semi-elliptical form of the courtyard that reminds the elliptical implementations of the Baroque era has been related to the Baroque style in Europe. A similar situation was observed on the portals of the mosque in which traditional and western practices are used together. While portals reflect the traditional scheme in planning, baroque characters are exclusively preferred in ornaments. The traditional scheme which was constituted with side niches located on both sides of the side wings and the intrados of the main niche is continued to be used. Although the plan is traditional, usage of baroque style ornaments solely shows that classical and western implementations were evaluated together. Horizontal moldings filled with baroque style ornamentations replaced intrados filled with muqarnas. This innovation seen in decoration shows itself in the context of architectural elements in the replacement of small columns by plasters corners on side niches of the main niche. Especially preferring not to place the main niche on the design of the inner court northern-side portal is a clear sign of change in the portal plans. In addition, placing independent decorative columns on the front side of the same portal shows that it had been influential on the other selatin mosques built after Nuruosmaniye Mosque. This change and transformation regarding portal designs and plans tell us that portals in Ottoman architecture were continued to be designed and implemented as they were treated in traditional styles until Ottomans meet western affected art movements. The aforementioned alterations started with Nuruosmaniye Mosque would affect other examples in the second half of the century and give a place to designs with more ornamental styles.
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