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new ways of building came, like so much else, from the West, first through colonial administration and then through foreign “advisors,” often taking advantage of the insecure land-law of the region, introduced by the Ottoman land code of 1858. By the time France had been granted the mandate to govern Syria in 1923, modernist building types, the mania for roads and motorized “circulation,” the idea that cities should be disaggregated into “zones”—residential, commercial, industrial, and so on—and the obsession with hygiene had all made their destructive mark on the urban fabric

As in Russia and Germany, the arrival of the totalitarian state was prefaced by the arrival of totalitarian architecture

a modern city, another piece of anywhere

Architectural modernism fed into the Arab inferiority complex: concrete high rises, plazas, geometrical patterns, energy-intensive fenestration, sometimes with a mihrab or a dome stuck on in deference to a history that is no longer really believed in—all these have become part of the new vernacular of a hasty urbanization. The basic idea has been to abandon the great tradition of the Ottoman city, with its many communities in their tents of stone, and to “catch up” with the West

Rarely, in any of this, however, has provision been made for the migrants from the villages, who have been compelled to survive in unplanned and unregulated structures, heaped up around the cities with no thought for how they look or for the character of the public spaces beneath them

The old rabbit-warren city of the Middle East was a conflict-defusing device, a continuous affirmation of neighborhood and settlement. The new city of jerry-built concrete towers is a conflict-enhancing device, a continuous “stand-off” between competing communities on the edge of a place that does not belong to them and to which they in turn cannot belong.

in the 1990s there were many popular Syrian TV drama series about how people lived and interacted with each other in the neighborhoods of the old cities in Syria during the late 19th and early 20th century. They depicted the days when the Levant society as it existed in its centuries-old Ottoman era make-up, just prior to the transition into colonial and post-colonial modernity and showed how rich and poor lived together in the same neighborhood, it showed the old houses, the shops & the markets.

We should remember that the idea of replacing the organic city of customary styles with cleared spaces and blocks of concrete, while it originated among European intellectuals, was first tried out in the Arab world. Le Corbusier, who had attempted in vain to persuade the city council of Paris to adopt his plan to tear down the entire city north of the Seine and replace it with an assemblage of glass towers, turned his attention to the North African city of Algiers instead, which was at the time under French colonial administration. As architectural advisor to the French Vichy government during the war he was able to overrule the elected mayor of Algiers and impose his will upon the city—though the Allied victory abruptly put an end to his plans.

Le Corbusier’s scheme is still studied and even treated with reverence in modern schools of architecture. It involved erasing the old city from the map, replacing it with great square blocks that negate the Mediterranean coastline and the contours of the landscape, and surmounting the whole with streets along which automobiles fly above the population. No church or mosque has a part in the plan; there are no alleyways or secret corners. All is blank, expressionless, and cold. It is an act of vengeance by the new world against the old: not a project for settling a place, but a project for destroying it, so that nothing of the place remains

the glitzy restaurant style of Dubai, in which vast gadgets, belonging to no known architectural language but looking like kitchen tools discarded by some gigantic celebrity chef, lie scattered among ribbons of motorway

Care for one’s place is the first move towards accepting the others who reside there. The thoughts “this is our home,” and “we belong here” are peacemaking thoughts. If the “we” is underpinned only by religious faith, and faith defined so as to exclude its historical rivals, then we have a problem. If, however, a resident of Homs can identify himself by the place that he shares with his fellow residents, rather than the faith that distinguishes him, then we are already on the path away from civil war.

decisions are made by officials, and officials belong to the great system of Mafia-like corruption that is the true cause of the Syrian conflict, and which has encouraged the Syrian political elite in recent times to look to Russia as its natural ally

Capitalism’s “creative destruction” is the anti-conservative claim that nothing that exists could not be improved easily in a short time by fast, profitable and “efficient” total replacement.

architect Marwa al-Sabouni, whose book, The Battle for Home, tells the story of how the conflict in Syria has overwhelmed her own city of Homs. She shows that you cannot destroy the serene and unostentatious forms of the Levantine city without also jeopardizing the peace that they symbolized and which to a measure they also protected

Roger Scruton is romanticizing. He therefore completely misunderstands the expressive functional reality of ordinary homes and security by focusing on public architecture, which everywhere expresses elite ideals instead of common ones. Take Florence and the Italian Republics. Frequent wars and not infrequently with Muslim empires meant homes had to be defensible and closed off from streets. Only later, briefly, and elsewhere later like in Britain and the US were isolated farm villages open to welcome trade, or US farm homes isolated away from the necessity of group protections because genuine threats had become to rare to proactively defend against them. Similarly, the divide in the Muslim world is between open plans in port cities secured through trade by larger powers that could ensure protection, versus homes way from ports, deliberately closed off against strangers so as to be defensible against frequent invaders. Most of the Islamic world remains like unstable and insecure early Florence. And homes throughout MENA reflect their isolation and insecurity through closed plans, just as much as Spanish ones from Moorish times do, even in the New World.

the imperative to document and preserve the heritage of the Middle East, as it goes through another decade of dramatic aesthetic and political change. The stakes involved in these transformations are highlighted by the saddening example of Khaled Assad, director of antiquities at Palmyra Museum in Syria. Assad went to his grave in 2015 protecting the location of priceless artifacts under his care from ISIS

The ACOR Photo Archive also depicts the very forces threatening cultural heritage in the region. For example, it includes photographs of the archaeological digs of 1982 and 1983, in which the Ayn Ghazal statues – among the earliest large-scale depictions of human forms in the world (from the mid-7th millennia) – were unearthed in Jordan. As the photographs illustrate, the excavation site lay mere feet from the highway, highlighting the threats to physical cultural heritage posed by routine urbanization. Archeologist Gary Rollefson, a key member of the team that discovered the Ayn Ghazal statues, has participated in the digitization project, providing extensive background information on the digs catalogued in the archive.

By encouraging people to see their old family photographs as intimately connected to the public history of Jordan, Palestine, and the rest of the region, the archive aims to encourage citizens to take steps to preserve and digitize their own personal collections.

Salahi and countless non-Western others have long known and written about torture at Guantánamo or Bagram or any of the many places where it occurred. But it only becomes a literary, notable, and prize-worthy truth when it flows from the pen of a foreign correspondent at a prestige publication like The New Yorker.

“If you say that you are angry,” Salahi tells the two white men, “it is understood as an emotion. If I say that I am angry, it is seen as a threat to national security.”

Salahi’s words underscore the truth Taub has not told: that writing an article about torture that does nothing to disrupt a worldview that has left brown men forever suspect is not getting anywhere at all.

With all this rich, Maghrebi and Middle Eastern culture, aesthetic and historical references on display, once again I must ask: where are the significant MENA actors?

What an opportunity it would have been to cast the likes of Egyptian actor Amr Waked or French-Algerian actress Lyna Khoudri in these roles. Instead, we get Javier Bardem doing whatever the Arab version of Blackface is.

The rest of the Fremen - those whose faces aren't masked and have speaking roles - are made up of actors of Guyanese, West or East African heritage. This wouldn’t be a problem at all if there were at least some MENA actors to reflect the diversity of that region which Villeunueve claims to care so much about and admitted to using as inspiration: “I feel true that I’m right in doing it this way. It feels authentic, it feels honest and true to the book.”

We’re used to being vilified, maligned or erased on screen. We’re used to having most of our representation in Hollywood limited to plane hijacking or suicide bombing or perverted sheikhs or refugees or having non-MENA actors replacing us in our own stories. Like Dwayne Johnson who is playing Black Adam, the first MENA superhero character to get his own solo movie. Can you imagine the outrage if The Rock was cast as Black Panther? Or Shang-Chi? People wouldn’t stand for it.

But in a post-9/11 world where Arabs and Islam are still considered too dangerous and foreign to pass the racial profiling in studio boardrooms and casting call discrimination, too taboo to be given the same equal opportunities for positive or nuanced representation as other ethnic minorities are now slowly beginning to benefit from, must we continue to wait and bittersweetly watch films like Dune that take but do not give back?

Leaks reveal insiders’ growing uneasiness, which points to the elephant-in-the-room question: Will MBS’ grandiose venture bankrupt the kingdom?

Saudi private investors will also be encouraged to pitch in during a potential public listing of Neom in 2024. That raises questions about how consensual this private investment will be. Indeed, Saudi Arabia reportedly “bullied” several of the kingdom’s wealthiest families to become cornerstone investors out of “patriotic duty” in the IPO of Saudi energy firm Aramco in 2019.

a large chunk of Saudi money carefully set aside for decades to fund the transition to a post-oil era will pay for Neom's astronomical price tag. A bet on an unproven vision

60 skyscrapers that were built in Riyadh’s financial center are still standing largely empty.

Neom’s initial burst of economic activity, if unsustainable at a similar pace, would simply be "stealing" future economic benefits to create an illusion of growth right now

perhaps the motive is not sustainable growth at all, but creating what Pettis calls a "pyramid effect." This would be an attempt to copy monarchs of ancient Egypt who redistributed wealth to the population through jobs – paid laborers built Egyptian pyramids, not slaves. Although Saudi Arabia’s oil wealth is already redistributed to ordinary Saudis through public-sector jobs and subsidies, a large tranche is retained and stored in its sovereign wealth funds and U.S. Treasuries. In theory, flushing Saudi citizens with cash would stimulate the local non-oil economy. But in practice, the pyramid effect is likely to first and foremost cause economic leakages, as the kingdom imports most of what it consumes locally, including labor, despite the “Saudification” of the labor market being one of Vision 2030’s key priorities. Migrant workers account for about 77 percent of private sector jobs. At Neom, highly paid Western consultants are toiling to match MBS’ demands, and Asian low-income workers are building it, remitting Saudi money home.

Riyadh sweetened the project’s launch party with a flurry of social reforms, such as lifting the ban on women driving. (Saudi Arabia was the last country in the world to lift this kind of ban, and it didn’t do so as a principled stand on behalf of women’s rights.) The idea was not only creating a buzz among investors and the global public, but whipping up aspirational momentum among Saudis.

“Infrastructure spending is like doing lines of cocaine; you have to do bigger and bigger and bigger lines just to feel high,”

MBS, high on his visionary self-branding and his concentration of power, may have to pay the costs of bankruptcy – whether by admitting full responsibility or via a renewed deployment of decidedly imperious and despotic tactics to crush dissent. The latter path is, of course, what the late Shah of Iran chose, with notorious results.

a dangerous pattern

little has been constructed, but large sums have been paid to consultants and increasingly outlandish plans revealed. Yet Saudi authorities have sought to clear areas along 170km of Tabuk province of its residents, many of whom belong to the Howeitat tribe.

Since December, Howeitat tribespeople have reported the Saudi authorities' campaign to drive them from their land has escalated. New measures include cutting water and electricity supplies, and deploying surveillance drones above residences

among 150 Howeitat who have been imprisoned over their resistance to the Neom project

Abdul Rahim al-Howeiti, a 43-year-old Tabuk resident who was shot dead by Saudi special forces in April 2020 after protesting the government's eviction orders

drones are being flown regularly over Tabuk province, and that they believe their mobile phone and social media accounts are closely monitored.

water and electricity has been cut off from an estimated 15,000 people in an attempt to force them from the region

The new Saudi megacity - which organisers claim will be 33 times the size of New York City - is planned to include a 170km straight line city, an eight-sided city that floats on water, and a ski resort with a folded vertical village, among other grandiose and architecturally challenging projects.