Souk Waqif´s name dates from the time when Doha was a village split by a regularly flood wadi. The merchants were therefore forced to sell their wares on the banks of the wadi with no room to sit down. Although Souk Waqif, the “standing market”, dates back at least a hundred years, it was restored only recently after years of neglect back to its original glory. After an extensive field study, a plan was developed to rehabilitate the area of the old suq. Suq Waqif was to be made of local materials to rejuvenate the memory of the place and to embody the spirit of the Gulf. In complete contrast to the other heritage theme parks that have become common in the region, Souk Waqif is both a traditional open-air public space and a working market that is frequented by different social groups (residents, tourists, merchants) alike. Souq Wakif has only just turned into a meeting place and culinary hotspot, hosting art galleries and events. Due to its authentic appearance and broad acceptance, the revitalisation project was nominated for the Aga Khan Award for Architecture in 2010. Heritage projects such as Suq Waqif are primary examples of how the old (“badawa”) and modern (“hadara”) aspects of Gulf culture are intertwined in architectural design of public spaces and have become symbolic of modernity, urbanization, and individualism. According to Cooke (2010), Suq Waqif “is the emblematic working out of the tribal modern”. The architectural revival of Souq Waqif is thereby another example of the growing heritage industry and one of the various ways in which the Gulf tribal is being expressed. This paper discusses the newly interpreted role of “the old suq” – a traditional place of importance for intensive economic and social interactions – regarding its mission as a heritage and business place alike, and investigates the (post-)modern variety and style of visitor’s actions and interactions.