(If I Can’t Dance, Framer Framed, edition fink, 2024), which investigates France’s nuclear weapons program conducted between 1960 and 1966 in the Algerian desert. During those years, the French colonial regime detonated four atmospheric atomic bombs, thirteen underground nuclear bombs, and conducted other nuclear experiments in the Algerian Sahara. This secret, still-classified programme occurred during and after the Algerian War (1954–1962). Meticulously culled together from numerous sources, this publication’s wealth of materials documenting the violent history of France’s activities in the Algerian desert offers a rich repository for all those concerned with histories of nuclear weapons and engaged at the intersections of spatial, social, and environmental justice, as well as anticolonial archival practices.
(EN, gta Verlag, 2017; second printing, 2022), which was translated into French as 
(Edition B42, 2019). The book examines French colonial territorial transformations and spatial counterinsurgency measures in Algeria under colonial rule, especially during the Algerian Revolution (1954–1962). It received numerous prestigious awards, including the 2020 Spiro Kostof Book Award by the Society of Architectural Historians, the 2018 Silver Book Award by the Festival International du Livre d’Art et du Film (FILAF), and the 2018 Best Book Award in Theory of Art by the FILAF. The French translation was part of the 2019 Architecture Books Selection by L’Architecture d’Aujourd’hui and has received extensive media coverage, including Mediapart and Le Monde.
(Columbia Books in Architecture and the City, 2022) that questions colonial tendencies and remaps the representations, theories, histories, and stories of arid lands. The volume brings together poems in original languages, conversations with collectives, and essays by scholars and professionals from the fields of architecture, architectural history and theory, curatorial studies, comparative literature, film studies, landscape architecture, and photography. These different approaches and diverse voices draw on a framework of decoloniality to unsettle and unlearn the desert, opening up possibilities to see, think, imagine it otherwise. The manuscript includes contributions from Saphiya Abu Al-Maati, Menna Agha, Asaiel Al Saeed, Aseel AlYaqoub, Yousef Awaad Hussein, Ariella Aisha Azoulay, Danika Cooper, Brahim El Guabli, Timothy Hyde, Jill Jarvis, Bongani Kona, Dalal Musaed Alsayer, Observatoire des armements, Francisco E. Robles, Paulo Tavares, Alla Vronskaya, and XqSu.
: gta papers n. 2 (gta Verlag, 2018). The book exposes the design of the militarization of cities since World War II, specifically after the events of 11 September 2001. The volume includes contributions from Nora Akawi, Silvia Berger Ziauddin, Jean-Louis Cohen, Ismae’l Sheikh Hassan, Léopold Lambert, Asja Mandic, Eva Schreiner, Felicity D. Scott, Stanislav von Moos, Alfredo Thiermann, and Daniel Weiss.
, in collaboration with If I Can’t Dance I Don’t Want to be Part of Your Revolution and Framer Framed, which was held between 8 October 2023 and 14 January 2024 at Framer Framed in Amsterdam. Samia also participated in the exhibition Traits d’union.s curated by Alya Sebti, Katerina Chuchalina and Stefan Kalmarat at Manifesta 13 in Marseille (August–November 2020) with two installations: 
at the Museum of Marseille History and 
at Grobet-Labadié Museum in Marseille. Both installations expose and juxtapose the remedy and/or poison that the presence or absence of dwellings engender in Marseille’s neighbourhoods. She has participated in other shows, including at the Twelve Gates Arts in Philadelphia, the Kunsthal Aarhus, the Museum of Yugoslav History in Belgrade, the Canadian Centre for Architecture in Montreal, and the Chung-Shan Creative Hub in Taipei.
deconstructed French propaganda audio visual records and displayed how the French army forcibly relocated thousands of Algerians in Algeria’s rural areas during the Algerian Revolution. The exhibition was first shown at the gta Exhibitions, ETH Zurich, and then it traveled to the New Institute in Rotterdam, the Archive Kabinett in Berlin, The Graduate School of Architecture, University of Johannesburg, La Colonie in Paris, the VI PER Gallery in Prague, and AAP Exhibitions at Cornell University, and the Twelve Gates Arts in Philadelphia. She is the co-organizer of the gta Films at the gta Institute, an exhibition that dissects the production and use of motion picture as a way of documenting, teaching, promoting, and understanding architecture.Ramificaciones coloniales
This publication brings together five texts by Samia Henni, translated into Spanish for the first time. Through cases ranging from urban planning and architecture to legislation, and from ecology to the militarisation of territories, Henni reveals how colonialism is not a closed chapter of the past, but an active system of governance, classification and violence.
The book is also an invitation to reconsider the ways in which the processes of colonisation and globalisation have been included in—or omitted from—histories, including those of architecture and art, and to acknowledge their implications so that these histories may be reconstructed using different tools.
From French colonial assimilation to the radioactive deserts created by the major nuclear powers and Donald Trump’s current stylistic directives for the White House, these essays trace an uncomfortable yet necessary genealogy.
