Step beneath a timeworn stone archway, its surface etched with the patterns of ages past, and find yourself gazing into a sun-dappled courtyard alive with color and sound. Framed on either side of the arch are two quaint storefronts: to the left, a narrow, weathered broom shop with bundles of hand-tied bristles spilling from its door; to the right, a cozy tea house exhaling curls of fragrant steam through a lattice window. Their charm is magnetic—beckoning city wanderers and travelers alike to pause, breathe, and perhaps linger longer than planned.

But behind the inviting façade, the neighborhood pulses with a lively unpredictability. Locals sip syrupy tea from ornate glasses, lounging cross-legged on floor cushions as tendrils of hookah smoke dance lazily into the air. Not far off, shadowy figures whisper in corners, exchanging coin and information—bounty hunters, smugglers, or simply desperate men with dangerous motives.

The air is thick with a mosaic of aromas: the heady sweetness of steeped mint, the rich tang of grilled lamb and spices charring on open flames, and the earthy haze of tobacco coals. Water trickles serenely from tiled fountains, offering a counterpoint to the chaos—the persistent haggle of merchants, the clatter of cart wheels, the hum of foreign tongues, and now and then, a shouted dispute breaking through the din.

This is no ordinary plaza. It's a cultural crossroads—an ever-turning kaleidoscope of Middle Eastern heritage, where stories unfold with every footstep and where city dwellers and passersby collide in a blur of incense, sweat, silk, and secrets.

This build is part of the Medina al Musawrah collaborative project, hosted by Michael Willhoit, George Hawes, and Tobias Whelan. My contribution frames a central courtyard, with the design anchored by a beautiful fountain created by Detroitika (Tanner). His fountain inspired the architectural decision to create an archway perfectly aligned on axis with the structure, allowing for visual connection and expanded sightlines at ground level.

Rather than constructing a single large building, I chose to divide the massing into two slender apartment blocks. This not only preserved open views into the courtyard but also conveyed a sense of vertical layering within the dense, Middle Eastern-inspired city block. By opening up the elevation above the courtyard, the design invites the viewer to peer into a more lived-in and communal space, enhancing the narrative of public life within a tight urban fabric.

The overall palette—built from gradients of tan, brown, and muted earth tones—serves as a quiet, unifying backdrop. Against this, pops of color like the red storefronts, the turquoise and dark blue arch details, and the fountain’s cool hues draw the eye without overwhelming the scene. These colorful elements are supported and elevated by the understated tones surrounding them, making the build feel grounded yet visually rich.

Lush green palms and a sandy, sun-faded base layer add depth and break up the otherwise neutral color field. Once the towers were completed, I had fun layering in retrofitted infrastructure details—adding air conditioning units and exposed wiring that reflect the organic evolution of real-world architecture in aging cities. This decision added both realism and an additional layer of challenge to the build, offering contrast between planned structure and adaptive reuse.

To introduce a subtle but striking point of contrast, I experimented with lavender elements, using them sparingly to accentuate the natural tones of tan and nougat common in the region. These touches serve as visual punctuation and reinforce the blending of the old and the new that defines the spirit of the Medina al Musawrah collaboration.