He explores the different symbolism the walls hold for occupier and occupied, their two-sidedness at once temporary and permanent, how they transform and are transformed in "the military production of social space."
Ironically, then, whereas cities were once about the establishment of vehicular infrastructure to help speed up the culture of production, the blast wall is response to a culture of car bombs aimed at defeating the predation of a global system that’s hijacked the city. Baghdad has long been an open sky library for volumes of political violence and architectural memory.
If Dubai’s towers represent neoliberal stockpiles of currency in spatial form on one side of the spectrum, then the endless paging of blast walls might represent the equivalent architectural cache of neoliberalism's militaristic expansion on the other side that’s been needed to secure its vertical gated communities that stretch half a mile high.
It's an absorbing example of how an obsessive focus, combined with a far-reaching imagination, can illuminate the mudane and connect it to politics, art, economics, war, design, psychology and history.