Festivals have always been used as carriers of meaning and propaganda tools. In the late 17th and 18th centuries, they were particularly employed in the service of absolutist courts. With increasingly innovative structures, the court architect aimed to captivate the eyes of subjects, spectators, and ambassadors, showcasing the grandeur of the ruler. To examine the role of architecture in this context more closely, a small emerging court in Northern Italy was chosen: Turin. At the beginning of the 18th century, a targeted reform policy increasingly aimed towards a centralist-absolutist state form. This was accompanied by foreign policy successes. Consequently, court protocol and festivals also had to be designed differently and, above all, more representatively. In this situation, Filippo Juvarra was called from Rome to Turin as a new court architect, who introduced new artistic accents and made Roman traditions familiar within the Savoy royal house. Wooden false architectures and fireworks structures were erected, covered with fabric and then artistically adorned with allegorical programs to provide the right framework for the festive occasions. Even in the aftermath of Juvarra, representative tendencies were maintained. However, given Turin's location halfway between Rome and Paris, one can observe an increasing inclination towards French forms in the 1770s. Through the examination of 13 weddings, fireworks, and mourning ceremonies of the Savoy royal house between 1713 and 1773 in Turin, all ephemeral building forms along with decorations are analyzed and placed in the context of Turin's urban structure. A detailed documentation catalog complements the study.