Unveiling three heritage hotels in Marrakech, this new hotel collection formed by father-and-son partnership Jalil and Youssef Benabbés-Taarji is giving the Moroccan riad new life.
As leaders of the family business Dar Taarji, the Benabbés-Taarjis are third-generation pioneers of luxury hospitality in Morocco. For AKAN, they have hand-picked heritage riads with authentic character, updating them with fresh design touches, artworks and visitor experiences. Each becomes a living museum to Moroccan culture and crafts. “Akan” is an Amazigh word that means “body” or “structure”, symbolising a unifying framework that connects the properties like “branches of a living organism”. “Each shares an authentic Moroccan soul,” explains Youssef Benabbés-Taarji. “At the heart of AKAN lies a discreet luxury that honours Morocco’s multifaceted heritage while embracing contemporary refinement.”
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Father and son are very hands-on and emotionally invested in their hotels, which they run alongside a carefully chosen team. The first property they acquired was La Villa des Orangers, a 1930s Moroccan riad hidden behind an unassuming façade at the edge of the Medina. “It stands out for its evocative fusion of traditional Moroccan-Andalusian architecture – symmetrical courtyards with ornate arches, vibrant patterned zellige tiles – and African colonial furniture that echoes sub-Saharan influences,” says Benabbés-Taarji of the 33-room venue. It also boasts a roof terrace with views of the Atlas Mountains and a fragrant garden. “It’s a serene escape where the city’s bustle fades into fountain whispers.”
In all three hotels, “heritage-sensitive” updates have been made to the interiors and grounds. “Think rooftop pools overlooking ancient courtyards, and energy-efficient systems hidden within earthen walls,” says Benabbés-Taarji. At La Villa des Orangers, there are two new suites, refreshed common areas with sustainable textiles in Andalusian patterns and a softened lighting scheme that highlights colonial furniture.
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At the second property, Les Deux Tours, interventions were more architectural: two new garden pavilions fusing Art Nouveau influences with eco materials, which were designed as tributes to the original Moroccan riad . The hotel was the vision of Tunisian-born architect Charles Boccara, who settled in Marrakech in 1970 after studying at the Beaux-Arts de Paris. “He left an indelible mark on the city through landmarks like the Theatre Royal and upscale residential neighbourhoods,” says Benabbés-Taarji.
Set in the Palmeraie, Les Deux Tours is a verdant retreat surrounded by palm trees and three hectares of parkland. Its interiors, which celebrate Moroccan craftsmanship in every detail, have been preserved by the architect’s son, Matthieu. “Boccara’s playful deconstruction of traditional forms blends Moorish-Andalusian elements that dissolve boundaries between indoors and outdoors with an eco-conscious use of local materials,” adds Benabbés-Taarji. “The interiors merge Art Nouveau curves with midcentury accents, including Murano-glass lighting inspired by Carlo Scarpa’s organic lines, and Sputnik-style chandeliers for a subtle cosmic flair.”
The third destination in the line-up is El Fenn, with Vanessa Branson serving as its cultural ambassador. As you might expect with this pedigree, it has a focus on the arts. The hotel is a network of 13 interlinked riads and 41 rooms and suites, and has one of Morocco’s most important contemporary art collections, featuring works by William Kentridge and Sir Antony Gormley alongside African artists. The most colourful hotel in the group, its rooms are decorated in saturated shades like fuchsia and teal, with unusual touches such as hand-stitched leather floors, stained-glass windows and cedarwood ceilings. “It drew us in with its funky identity, bridging African, Moroccan and European cultures in a special mix that feels alive and unscripted,” says Benabbés-Taarji.
El Fenn is a Moroccan riad with an open-air gallery vibe, modern artworks jostling with traditional architecture and vintage furniture. The Benabbés-Taarjis have also instituted an ongoing partnership with French-Moroccan artist Rita Alaoui, who has painted large-scale frescoes in the corridors and hosted exhibitions as part of the 1-54 Contemporary African Art Fair. “These efforts reflect the growing wave of artisan and creative revival in Marrakech,” says Benabbés-Taarji, who notes that AKAN hotels also plan to stage curated events for guests, such as Amazigh music sessions and fusion tastings.
AKAN is intended to grow organically to include more properties: Benabbés-Taarji likens it to a tree, “extending branches to showcase Morocco’s varied landscapes”. For now, the three heritage hotels in Marrakech serve as a gateway to the country’s soul. “In essence, we are nurturing a renaissance of Moroccan artistry, where each collaboration not only preserves skills but ignites new dialogues between past and present,” adds the hotelier. “AKAN is a project rooted in the future, and a tribute to past generations – to the homes, savoir-faire and culture that have shaped us.” @akan_amoroccancollection
