Todd Reisz, "Showpiece City: How Architecture Made Dubai" (Stanford UP, 2021)

Showpiece City: How Architecture Made Dubai (Stanford UP, 2020) by Todd Reisz is a critical historical account of Dubai’s transformation into a global urban spectacle. Reisz examines how architecture, master planning, and international expertise contributed to the construction of Dubai’s modern image, focusing particularly on the period between the 1950s and 1970s. Rather than narrating Dubai’s development as a spontaneous miracle of oil wealth, Reisz reveals it as a meticulously crafted project, shaped by deliberate strategies to project modernity, power, and cosmopolitanism.

Throughout the book, Reisz uses a wide range of archival materials, planning documents, interviews, and visual sources to trace how architecture and city-making became tools of governance and spectacle. He brings attention to the invisible labor—both technical and physical—that undergirded Dubai’s rise. Yet, the workers, planners, and advisors often remain shadowy figures behind the gleaming facades they helped erect.

One of the key figures Reisz highlights is British architect John Harris, whose firm was commissioned in the 1960s to create Dubai’s first master plan. Harris’s work embodied the desire to modernize without entirely erasing local culture. Yet, as Reisz notes, the imported modernist language of architecture often clashed with, or simply overrode, traditional urban forms. Dubai's early building boom was thus a hybrid project: shaped by Western notions of progress and functionality, but executed in a Gulf context where colonial histories and local aspirations intertwined.

Importantly, Showpiece City challenges narratives that paint Dubai as either a rootless fantasy or a neoliberal dystopia. Reisz treats Dubai’s history seriously, demonstrating that its urban form is the result of pragmatic decisions, diplomatic negotiations, and speculative gambles rather than mere vanity. He also critiques the romanticization of "traditional" Arab cities by showing that Gulf urbanism has long been dynamic, experimental, and globally connected. Showpiece City presents Dubai’s urbanization not as an inevitable product of oil wealth or as a superficial extravagance, but as a complex, calculated project of image-making and infrastructural ambition. Reisz’s work contributes to Middle Eastern urban studies by insisting that cities like Dubai deserve nuanced, historically grounded analysis rather than simplistic dismissals or celebrations.

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