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Connect with the great outdoors without having to rough it out.

Behind the Masks of Photographers Iris Brooks and Jon Davis

There are many things to love about staying at La Tangerina, but the panoramic views from the roof terrace are at the top of my list. In this photo, the Strait of Gibraltar is visible under a cloudy sky. Standing at this viewpoint, if you turn a little to the right, you’ll see the busy Port of Tangier and endless beaches. Turn a bit further to the right, and you’ll enjoy a spectacular multilayer vista, with the White City’s historic Kasbah in the forefront, followed by an array of more modern buildings, with the Rif Mountains as a distant backdrop. The hotel is perfectly located at the highest point on the Kasbah and has been beautifully restored and decorated. We enjoyed large breakfasts and a quiet retreat from the hustle and bustle of the medina.

If you’ve been to Fès, chances are you’ll be familiar with the original Clock. This is the second in owner Mike Richardson’s growing empire, this time housed in a converted schoolhouse in the Kasbah. Like all of his projects, a keen eye for line, color, and detail has turned the space from utilitarian into eye-popping as Richardson invites local street artists to bring life and color to the walls; junkyard finds and vintage Berber cushions provide the decor. It’s a popular hangout for both young Moroccans and those traveling through, with regular cultural events, including its famous storytelling nights that spotlight the best raconteurs from the Djemaa el Fna, translated by youngsters learning the craft, to traditional cooking schools to Gnawa musicians giving it their all in tribal trance for Sunday sunsets. But, of course, no visit would be complete without sampling Cafe Clock’s signature, legendary camel burger.

In 1923, the artist Jacques Majorelle acquired a four-acre plot of land just outside the center of Marrakech. Inspired by numerous travels around the country to paint scenes of village life, and funded by painting more illustrious portraits such as that of Pasha Thami el Glaoui, Majorelle was able to build a small studio and house, with enough land to indulge his other passion: ethnobotany. As his career grew, he added a splendid villa, and the garden took on a life of its own, featuring innumerable exotic species from around the world; he added pools and fountains, and, of course, the now iconic, eye-popping Majorelle blue that was lavished on the architecture. The property became so expensive to maintain that the artist was forced to open it to the public until his death in Paris in 1962. The garden gradually fell into a state of disrepair and was slated for development by a hotel chain until French designer Yves Saint Laurent and his partner Pierre Bergé happened upon it during one of their many trips to the Red City. In 1980, they decided to buy it and restore it to its former glory, adding irrigation and doubling the number of plants and gardeners to look after it. They moved into the villa and set about transforming other buildings into what is now the legendary Berber Museum and a boutique. The latter is especially noteworthy for creative director Stephen di Renza’s commitment to reflecting Majorelle’s lesser-known passion for the decorative arts (which is manifest in the exquisite artisanal pieces, leather goods, and jewelry) and Saint Laurent’s inspired use of traditional Moroccan dress, such as the kaftan and djellaba, in haute couture fashion.

On this episode of Where to Go, Aislyn Greene and Yulia Denisyuk talk about Rabat’s festivals, food, and history, plus practical tips for planning a visit.