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Tableau signé Omar Mourabih

Tableau signé Omar Mourabih

L'artiste gadiri a représenté un guerrier berbère ouvert sur le monde, qu'il regarde avec une loupe, tandis qu'il porte l'Afrique sur son dos et que son corps a la forme du Maroc. Si l'on supprime le Sahara marocain, il ne parvient plus à marcher

Le Jardin et la villa

Le Jardin et la villa

Les losanges symbolisent la maison, la femme, la protection. La porte fenêtre et la fenêtre donnent sur la suite Marrakech

Suite Tiznit

Suite Tiznit

Trois ouvertures en hauteur, une niche, une frise dans le tadelakt, une porte sculptée de motifs berbère, une couverture tissée à Agadir, un tam-tam sénégalais en guise de table de nuit, un lit de couleur vert berbère

Escalier menant à la suite Marrakech

Escalier menant à la suite Marrakech

En terres cuites vernissées et bejmats de Fès, avec lampes halogènes au sol

Galerie Souss

Galerie Souss

Terres cuites aux motifs d'étoiles, de soleil et de palmiers-dattiers, plaque en cuivre portant le logo du Jardin aux Etoiles et verre bleu enserré dans la porte fenêtre

Le Jardin aux Etoiles, charming villa

We have devoted great care to the architecture, symbols and colors of our rental riad. The best of Moroccan craftsmanship and works of art embellish the premises. Ultimately, the Jardin aux Etoiles is a charming villa,in agreen setting

​The architecture of the Star Gardens is inspired by the great Berber tradition. The riad looks, all windows open, towards the north, to seek freshness, while the south facade is completely deprived of openings, in order to preserve the freshness inside, respectively a certain sweetness in winter.

The four doors of the north facade are in the form of a so-called mosque, which is itself taken up in the configuration ofthe swimming pool.


Berber symbols are omnipresent on the facades. The triangles and their point at the top represent the ancestral tent of the nomads, the house, the woman too. As for the diamonds, they refer to the eye, which protects, and which universally signifies the perception of the world.

Furniture, especially the tables, as well as the doors take up the Berber symbolism and the logo of the Jardin aux Etoiles, whose name is translated into Tifinagh.

Arts and crafts

​The dominant color is red, which triumphantly exteriorizes on the exterior walls. It is found in many combinations indoors.

The exterior windows have adopted the color water green and all the interior woodwork is ivory. The tadelakt that covers all the interior walls, including the Souss gallery, where they are raw, come in different shades of brown, red and go downright white in the kitchen and Tiznit gray inthe Salon Cinq mondes.

​The best of Moroccan craftsmanship is found in carpets, which also come from the Middle East. It is also noticeable in the wooden tables inside and those in varnished zelliges from Fez outside. 

The lamps are also fine examples of the work of Moroccan craftsmen and the diversity of styles used. Quantities of trinkets, grouped for example in the light cabinet of theAtlas Lounge, also express a know-how transmitted from generation to generation. 


​Our riad gives a very large place to art, in particular pictorial. This button appears as soon asthe entrance gate of the riad, finely carved with Berber motifs and the logo of the Jardin aux Etoiles. It is confirmed in the elements of embossed copper and terracotta which decline the identity of the riad.


The Souss Gallery exhibits sculptures by the young Berber artistKhalid Assalami. A finely carved stone mask from the Atlas adorns the back of the gallery, above a chest with necessarily Berber motifs.


Inthe Atlas Lounge throne a composition of the artist Omar Mourabih representing a Berber warrior full of symbols. There is also a copy of a work byJacques Majorelle dedicated to the kasbahs of southern Morocco.


The Five Worlds Fair is full of artistic testimonies from the five continents. In particular, there is an oil ofMarco Richterich representing London, works celebratingLake Neuchâtel, a composition of Greek nudes from the island of Santorini and an original tissue paper dedicated to thetaoism. On the wooden desk are exhibited a royal head from Ancient Egypt and a sculpture celebrating the Cambodian temples of Angkor. On the ceiling, a Murano crystal chandelier.

At the entrance ofthe Tiznit suite, we fall in admiration in front of a monumental oil by Abdu Amenukal, painted especially for this place and which is inspired by a much smaller canvas by Jacques Majorelle entitled "The Kasbah of Anemiter" (sometimes spelled Anmiter or Animiter), which still exists, but much reduced today. Between the Berber green double bed and the window, note in passing a flamboyant and abstract composition of theSwiss painter Angi.


The Marrakech bathroom exhibits two compositions ofIvan Moscatelli on the theme of the palm tree and the deep south.

The Taroudant room alone exposes a dotted array representingthe palm grove of Tiout, a goatskin patchwork from the tannery ofTaroudant, a large carpet in the grand style in the spotlight at Taznakht, as well as a giant red and white slipper in the shape of a wink.


The kitchen is not left out! Just before the staircase that leads to the first floor hangs a notable work, that of the Moroccan Amina, whose watercolor under glass represents a medina in difficult construction, an image of Morocco itself.

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