Style Moroccan

Medina architecture — the labyrinthine medinas of Fez (oldest), Marrakech, and Meknes; exterior walls blank and fortress-like; all ornament turned inward; the ornate street door (bab) is the only outward signal of interior richness.

Islamic art principles — aniconism (theological prohibition on depicting living beings) led Islamic artists to unparalleled mastery of three decorative languages: geometric pattern (infinite tessellations reflecting divine order), calligraphy (Quranic verse as ornament), and arabesque (vegetal scroll, infinite and self-renewing).

Philosophical foundations: Islamic theology — geometric pattern reflects divine order; infinite repetition = divine infinity; Andalusian refinement — poetry, music, philosophy as design context from the expelled Nasrid civilization; Berber craft tradition — woven textiles, kilim rugs, pottery as the ancient indigenous base; Water symbolism — fountain at center of riad = Paradise garden (Quran: "gardens beneath which rivers flow").

Core Characteristics

1. Zellige tilework (زليج) — hand-cut fired clay mosaic in complex geometric patterns; lower walls; Fez production center
2. Carved stucco (gebs جبس) — white plaster carved into arabesque and geometric relief; middle wall band
3. Carved cedar (zouaq) — painted and carved Atlas cedarwood; upper walls and coffered ceilings
4. Central courtyard fountain (shadirwan) — riad's defining feature; cooling through evaporation; meditative sound of water
5. Muqarnas (مقرنصات) — three-dimensional stalactite/honeycomb vaulting; transitions between wall and ceiling
6. Tadelakt plaster (تادلاكت) — smooth lime plaster; waterproof through black soap polishing; traditional hammam finish; silky surface
7. Islamic geometric patterns — infinite repeat tessellations based on star polygons (6, 8, 10, 12-point stars)
8. Arabic calligraphy — Quranic verses as decorative frieze band in carved stucco or tilework
9. Colored glass lanterns (fanous فانوس) — pierced metal with colored glass; hanging; cast star-polygon shadow patterns
10. Beni Ourain rugs (بني وراين) — undyed ivory wool with black geometric motifs; Atlas Berber tribe; globally iconic
11. Leather poufs (hassock) — hand-stitched camel or goat leather; floor seating clusters in 3–5 pieces
12. Mashrabiya screens (مشربية) — carved wood lattice projecting bay window; privacy and ventilation simultaneously
13. Low banquette seating (banquette marocaine) — built-in perimeter bench with bolster cushions; lines room edges
14. Hammered brass and copper — lanterns, tea trays (siniya), tea sets; warm metallic accent throughout

Materials

Color Palette

Furniture

Banquette marocaine (built-in seating) — L-shaped or perimeter bench built into the room; timber or masonry base; cushioned with fabric-covered foam; bolster cushions stacked at ends and back; the primary seating form replacing individual chairs entirely; defines the Moroccan salon.

Poufs (hassock) — hand-stitched leather; floor seating; clusters of 3–5 in various sizes; traditional colors: camel yellow, cobalt blue, emerald green, ox-blood red; the single most exported Moroccan design object globally.

Carved cedar sideboard (commode) — Fassi (Fez) tradition; geometric bone inlay on drawer fronts; hammered brass hardware; heavy Atlas cedar construction; dark finish.

Siniya (tea tray table) — large round hammered brass tray (often 60–80 cm diameter) on folding cedar base; used for the ceremonial tea service and as coffee table; the center of Moroccan hospitality.

Moucharabieh screen (mashrabiya) — freestanding or built-in latticed wood screen; double function of privacy and air circulation; geometric pattern based on circle-and-polygon construction; can be single panel or full room divider.

Mosaic table (table zellige) — round or octagonal table; zellige mosaic top in complex geometric pattern; wrought iron base; indoor/outdoor use; iconic Moroccan piece found globally.

Lighting

• Fanous lanterns (فانوس) — pierced brass or iron; stained glass inserts in star shapes; hanging from ceiling in clusters; project star-polygon shadow patterns onto surrounding surfaces — the defining Moroccan lighting signature that transforms any room
• Berber candles — large altar candles in brass holders; warm ambient light; essential for evening atmosphere
• String lights through mashrabiya — modern addition; warm LED threaded through carved wood screen creates complex moving shadow when air moves
• Hammam diffused light — star-shaped ceiling apertures (shamsiyat) cast dramatic light shafts; traditional hammam light quality transferred to bathrooms
• Courtyard midday zenith — central riad courtyard designed to receive direct midday sun onto fountain; surrounding rooms remain cool and shaded; the thermal engine of the riad
• Modern — brass pendant lanterns with warm Edison bulbs; colored glass for deep-toned ambient rooms; 2200–2700K throughout; star shadow projection as non-negotiable feature

Textiles & Fabrics

Architectural Elements

Riyad (central courtyard) — the soul of the house; paved in zellige mosaic; central fountain (shadirwan شادروان); orange or lemon trees in corners; all room openings face inward; sky visible above; air conditioning through thermal convection; the Paradise garden made architectural.

Iwan — vaulted open-fronted reception niche; arched opening; elaborately decorated interior with all three decorative layers; seat of honor placed inside; the formal receiving space.

Bab (decorated door) — the street door is the only facade ornament; Atlas cedar; carved geometric and arabesque; hammered brass knockers (often Khamsa form); proportions follow Islamic geometric principles.

Three-layer wall system:

1. Bottom: zellige wainscoting (100–150 cm height)
2. Middle: carved stucco arabesque band (to 250 cm height)
3. Top: painted/carved cedar frieze and coffered ceiling

Arched openings — horseshoe arch (Moorish); multifoil arch; pointed arch; always ornamented at keystone with muqarnas cluster or calligraphic band.

Hammam (traditional bath) — sequence of cold (bayt al-barid), warm (bayt al-wastani), and hot (bayt al-harara) rooms; tadelakt surfaces throughout; star ceiling apertures (shamsiyat); steam; integral to traditional Moroccan house or neighborhood.

Decorative Arts

• Zellige mosaic art — Fez mallem (master craftsmen); complex 8-point star (khatam) patterns as foundation; 6-point, 10-point, and 12-point stars also standard; centuries-old geometric traditions transmitted by apprenticeship; each tile hand-cut
• Fassi pottery (Fez blue) — cobalt blue painted on cream ground under clear glaze; Fez city tradition for 1,000+ years; floral arabesque and geometric patterns; kiln workshops still active in the medina
• Safi pottery — bright multicolor; fish and geometric motifs; more rustic and graphic than refined Fez blue; Atlantic coastal city tradition
• Khamsa (Hand of Fatima / خمسة) — five-fingered protective amulet; used as door knocker, wall plaque, and jewelry; both Islamic and Berber traditions claim it; protection against the evil eye
• Berber jewelry — silver with amber, coral, and enamel; Amazigh (Berber) tribal origin; displayed in frames or on surfaces as art; fibula (tizerzai) brooches
• Calligraphy panels — Quranic verses in Kufic or Thuluth script; framed and hung; sacred text as visual art

Room-Specific Applications

Entry (driba درب) — right-angle bent entry corridor preventing direct view into courtyard from street; zellige floor; ornate door; transition from street chaos to interior calm; the spatial decompression sequence.

Salon (reception room) — banquette perimeter seating lining all walls; siniya tea table at center; zellige or tile floor; fanous pendant lanterns; carved stucco walls; Beni Ourain rug as floor anchor; the complete Moroccan room.

Bedroom — low bed with carved cedar headboard; Moroccan velvet cushions stacked; embroidered pillows; tadelakt accent wall; fanous bedside lamp; rich textile layers on bed; intimate and enclosed.

Courtyard — zellige fountain at center; terracotta pots with lemon and orange trees in corners; low banquette along wall; candles in the evening; the heart of the riad experience.

Hammam (bathroom) — tadelakt surfaces on all walls and floor; round hammered brass basin; star-aperture ceiling light shaft; warm steam; bench seating in wet area; richly atmospheric.

Modern Interpretations (2024–2025)

• Riad boutique hotel — the global luxury hospitality benchmark: antique tiles, maximalist textiles, candlelight, and courtyard fountain; the Marrakech riad hotel defined contemporary luxury travel
• Moroccan minimalism — single zellige-tiled accent wall; one Beni Ourain rug; one fanous lantern; restraint as a counterpoint to the tradition's maximalism
• Monochrome zellige — entire bathroom or kitchen in single color zellige (all white, all terracotta, all cobalt blue); color saturation through material density
• Global boho — Moroccan pouf + kilim rug + brass lantern as the foundation of Western eclectic interiors; Moroccan as the international bohemian baseline
• Tadelakt surfaces everywhere — bathroom, kitchen backsplash, and bedroom feature wall in contemporary homes worldwide; waterproof plaster as luxury material
• Dark Moroccan — midnight blue or black zellige; brass lanterns at low intensity; maximalist cushions; deep candlelit atmosphere

AI Rendering Keywords

Moroccan riad courtyard fountain, zellige tile mosaic geometric, carved stucco arabesque gebs,
fanous brass lantern star shadow projection, Beni Ourain rug ivory geometric,
tadelakt smooth plaster hammam, Moroccan banquette perimeter seating, hammered brass siniya tea tray,
mashrabiya carved wood screen, medina arched doorway horseshoe, muqarnas ceiling honeycomb stalactite,
Fez blue pottery cobalt, leather pouf cluster, Islamic geometric star pattern,
Marrakech riad interior, Atlas cedar coffered ceiling, kilim textile wall hanging,
terracotta courtyard orange tree, Khamsa hand of Fatima, ornate cedar door bab,
three layer wall zellige stucco cedar, bone inlay cabinet, Berber Amazigh jewelry silver

Cultural Sensitivity Notes

• Quranic calligraphy as decorative element requires respect — do not distort, rotate, or use as mere pattern; the text carries sacred meaning
• Khamsa (Hand of Fatima خمسة) is a religious protective symbol, not mere decoration; render as a meaningful protective amulet
• Aniconism in Islamic art means no figurative painting on walls — ornament is abstract/geometric/calligraphic by theological principle; do not add human or animal figures to traditional wall treatments
• Distinguish Moroccan from generic "Middle Eastern" — Morocco's Berber-Andalusian tradition is unique and distinct from Arab Gulf, Turkish, or Iranian aesthetics
• Traditional Moroccan spaces are gender-divided: public salon (open to guests) vs. private family spaces; this spatial organization is culturally meaningful

Complementary Styles

• Persian — shares Islamic geometry, muqarnas, calligraphic tradition, and tile work; differs in color palette (Persian uses more turquoise/lapis) and the central importance of the Persian carpet
• Turkish/Ottoman — related through Islamic design vocabulary; Moroccan is more Andalusian and Berber; Ottoman is more symmetrical and imperial in scale
• Bohemian — global bohemian style has absorbed Moroccan elements (poufs, kilim rugs, brass lanterns) as its primary exotic vocabulary; a natural pairing
• Indian Mughal — shares Islamic geometric vocabulary and luxury craft materials; both traditions descended from the same Persian source