No. 045
MM Villa
ResidentialIrqah, Riyadh674 m²2025Architecture, Interiors, Lighting, Landscape
MM Villa takes the courtyard required by the Wadi Hanifa code down into the basement, making the basement the centre of the house rather than its annex.

One Frontage
The plot is 12 metres wide and 25 deep, with one frontage and neighbours on both sides. The code requires an internal courtyard, a direct connection to the boundary wall and stepped masses. A strip this narrow cannot hold a full family programme above ground, and light reaches it from one side only.




The Descending Courtyard
The courtyard runs from the basement to the second floor, with the family living room, kitchen and pool gathered around its base. The basement covers 77% of the plot. Above it, the floors move from public to private: guests on the ground floor, children's suites on the first, and the parents' suite with its own courtyard on the second.






The Najdi Face
Stepped cubic masses rise to 12.4 metres, finished in textured paint in a deep clay tone. The openings carry walnut rawasheen, a stand-in for traditional tamarisk wood, built from hollow squares framing Najdi triangles. They block the view and admit the light, while Riyadh stone runs from the ground-floor base down into the basement.

A closed Najdi face, as the code requires, and a family life held in the depth, around the courtyard.
Facts
- Project
- MM Villa
- Type
- Residential
- Scope
- Architecture · Interiors · Lighting · Landscape
- Year
- 2025
- Location
- Irqah, Riyadh
- Site area
- 300 m²
- Built area
- 674 m²
- Status
- Under construction
- Plot
- 12 × 25 m, a single southeast front on a 15 m street
- Code
- Wadi Hanifa urban code: an internal courtyard, attachment to the boundary wall, stepped masses
- Programme
- Basement: family living room, kitchen, pool · Ground floor: guests · First floor: children's suites · Second floor: parents' suite with its own courtyard
- Materials
- Textured paint in a deep clay tone · walnut rawasheen · Riyadh stone
Drawings


“I believe in an emotional architecture.”




