The ABCs of Contemporary Design

Author(s): Hal Foster

Source: October, Vol. 100, Obsolescence (Spring, 2002), pp. 191-199
Published by: MIT Press
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 The ABCs of ContemporaryDesign*

HAL FOSTER

Autonomy:Aestheticautonomyis the notion that cultureis a sphere apart,with

each artdistinct,and it is a bad wordformostof us raised on postmodernistinter-
disciplinarity.We tend to forget that autonomy is always provisional, always
defined diacriticallyand situatedpolitically,alwayssemi.Enlightenmentthinkers
advocated political autonomyin order to challenge the vested interestsof the
ancienregime, while modernistartistsadvocated aesthetic autonomyin order to
resistillustrationalmeanings and commercial forces. Like "essentialism,"then,
"autonomy"is a bad word,but it maynot alwaysbe a bad strategy, especiallyat a
moment when postmodernist interdisciplinarity has become routine: call it
"strategicautonomy."

Bonaventura:In his seminalanalysisof postmodernspace, "The CulturalLogic of

Late Capitalism,"FredricJamesonused the vastatriumof the BonaventuraHotel
in Los Angeles designed byJohnPortmanas a symptomof a new kind of architec-
turalsublime:a sortof hyper-spacethatderanges the human sensorium.Jameson
took this spatial delirium as a particular instance of a general incapacity to
comprehend the late capitalist universe,to map it cognitively.Strangely,what
Jamesonofferedas a critiqueof postmodernculturemanyarchitects(FrankGehry
foremostamong them) have takenas a paragon:the creationof extravagantspaces
that work to overwhelmthe subject, a neo-Baroque Sublime dedicated to the
glory of the Corporation (which is the Church of our age). It is as if these
architectsdesigned not in contestationof "the culturallogic of late capitalism"
but accordingto itsspecifications.

Carcassonne: Carcassonne is a touristdestinationin southernFrance, a medieval

cite'replete with chateau, church, and fortifications.
Viollet-le-Ducrestored its
towersand turretsin the nineteenthcentury,and the siteretainsan unreal sheen:
it is a historicaltownturnedinto a themepark,withitswallswhitenedand capped

* This textwas writtenin October 2001 as a supplement(part glossary,part guide) to myDesign

and Crime(and Other
Diatribes)(London and NewYork:Verso,2002).

OCTOBER 100,Spring2002,pp. 191-199. ? 2002 Hal Foster

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192 OCTOBER

like TV-starteeth. At least Americans make their Disneylandsfromscratch,or

they once did so. More and more this Carcassonnization-the canonization of
the urban carcass-is at workin American cities as well. For example, the cast-
ironbuildingsof SoHo nowgleamwiththe shineofartifacts-become-commodities.
Like Viollet-le-Duc, developers undertake these face-liftsin the name of
historical preservation,but the purpose is financialaggrandizement.And like
victimsof cosmetic surgery,these facades may mask historicalage but advance
mnemonic decay.

Design: Today everything-from architecture and art to jeans and genes-is

treatedas so much design. Those old heroes of industrialmodernism,the artist-
as-engineer and the author-as-producer, are long gone, and the postindustrial
designernow rules supreme.Todayyou don't have to be filthyrich to be designer
and designed in one-whether the productin question is yourhome or business,
yoursaggingface (designersurgery)or laggingpersonality(designerdrugs),your
historicalmemory(designermuseum), or DNA future(designerchildren).Might
this "designed subject" of consumerism be the unintended offspringof the
"constructedsubject" of postmodernism?One thing seems clear: today design
abets a near-perfect
circuitof productionand consumption.

Environment:The worldof totaldesign is an old dream of modernism,but it only

comes true, in perverse form,in our pan-capitalistpresent. With post-Fordist
production,commoditiescan be tweakedand marketsniched, so thata product
can be massin quantityyetappear personalin address.Desire is not onlyregistered
in products today,but is specified there: a self-interpellationis performedin
catalogs and on-linealmostautomatically.
In large partit is thisperpetualprofiling
of the commoditythat drives the contemporaryinflation of design. Yet what
happens when thiscommodity-machine breaksdown,as marketscrash,sweatshop
workersresist,or environmentsgiveout?

Finitude:An earlyversion of total design was advanced in ArtNouveau, withits

will to ornament. This Style1900 found its great nemesis in Adolf Loos, who
attackedit in severaltexts.One attacktook the formof an allegoricalskitabout "a
poor littlerich man" who commissioneda designerto put "artin each and every
thing":"The architecthas forgottennothing,absolutelynothing.Cigar ashtrays,
cutlery, light switches-everything, everything was made by him." This
Gesamtkunstwerk did more than combine art,architecture,and craft;it commingled
subject and object: "the individualityof the owner was expressed in everyorna-
ment, every form, every nail." For the Art Nouveau designer the result is
perfection:"You are complete!" he exults to the owner.But the owner is not so
sure; ratherthan a sanctuaryfrommodernstress,he sees hisArtNouveau interior
as anotherinstanceof it. "The happyman suddenlyfeltdeeply,deeplyunhappy....
He was precluded fromall futurelivingand striving,developingand desiring.He

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TheABCs ofContemporary
Design 193

thought,thisis whatit means to learn to go about lifewithone's own corpse.Yes

indeed. He is finished.He is completef'
For theArtNouveau designersuch completion
reunited art and life,withall signs of death banished. For Loos this triumphant
overcomingof limitswas a catastrophicloss of the same-the loss of the objective
constraintsrequired to define any "futureliving and striving,developing and
desiring."Far froma transcendenceof death, thisloss of finitudewas a death-in-
life,living"withone's own corpse."

Gesamtkunstwerk:After September 11, metaphorical talk of corpses seems

misbegotten,and confusionsbetween art and life worse. Recall the remarksof
KarlheinzStockhausenon the WorldTrade Centerattack:"Whathappened there
is-they all have to rearrangetheirbrains now-is the greatestworkof art ever:
thatcharacterscan bringabout in one act whatwe in musiccannot dream of,that
people practicemadlyfortenyears,completely,fanatically, fora concertand then
die. That is the greatestworkof art for the whole of the cosmos. I could not do
that. Againstthat we composers are nothing."Yet this reading of avant-gardism
cannot be simplydisavowed:with the simplestmeans the terroristsrocked our
symbolicorderlike nothingbefore.But thisreadingalso revealsthe graveproblem
of such avant-gardism:here its confusion of art and life abets a conflation
between symbolictransgressionand mass murder.It is long past time to forego
crypto-fascistideas of sublimity.

High-Rise:In DeliriousNewYork(1978), a "retrospective manifestoforManhattan,"

Rem Koolhaas published an old, tintedpostcardof the cityskylinefromthe early
1930s. It presentsthe Empire State,Chrysler, and otherlandmarkbuildingsof the
timewitha visionarytwist-a dirigibleset to dock at the spireof the EmpireState.
It is an image of the twentieth-centurycityas a spectacle of new tourism,to be
sure, but also as a utopia of new spaces-of people free to circulate fromthe
street,through the tower,to the sky,and back down again. (The image is not
strictlycapitalist:the utopian conjunction of skyscraperand airship appears in
revolutionary Russiandesignsof the 1920s as well.) The attackon theWorldTrade
Center-the twojets flowninto the two towers-was a dystopianperversionof
this modernist dream of free movement through cosmopolitan space. Much
damage was done to this greatvision of the skyscrapercity--and to New Yorkas
the capital of thisold dream.

Indiscipline: Several of these notes circle around a single thesis: contemporary

design is partof a greaterrevengetaken byadvanced capitalismon postmodernist
culture-a recouping of its crossingsof artsand disciplines,a routinizationof its
transgressions.We know that autonomy,even semi-autonomy,is a fiction,but
periodicallythis fictionis useful,even necessary,as it was at the high-modernist
moment of Loos and company one hundred years ago. Periodically,too, it can
become repressive, evendeadening,as itwas a fewdecades ago whenlatemodernism

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194 OCTOBER

had petrifiedinto medium-specificity and postmodernismpromisedan interdisci-

plinaryopening. But thisis no longer our situation.It is time to recapturea sense
of the politicalsituatednessof both autonomyand its transgression, a sense of the
historicaldialecticof disciplinarity
and itscontestation.

JewelBox: No termis more importantto modernarchitecturethan "transparency."

For SiegfriedGiedion this transparencywas predicated on technologiessuch as
steeland glassand ferro-concrete thatalloweda thoroughexpositionofarchitectural
space. For Laizlo Moholy-Nagy,it allowed architecturein turn to integratethe
differenttransparenciesof other mediums,such as photographyand film.Less
concerned withspace than light,Moholy saw thisintegrationas fundamentalto
the "new vision"of modernistculturein general.Yet thisvision did not farewell
afterthe war.In "Transparency:Literaland Phenomenal" (1963), Colin Rowe and
Robert Slutzkydevalued literal in favorof phenomenal transparency,in which
"Cubist"surfaces"interpenetrate withoutoptical destructionof each other."This
revaluationmarkedthe momentwhen,once more,articulationof surfacebecame
as importantas thatof space, and the understandingof skinas importantas that
of structure.In other words, it marked the discursive advent of postmodern
architecturein its two principal versions: first,architectureas a scenographic
surfaceof symbols(as in pastiche postmodernismfromRobertVenturion) and,
later,architecture as an autonomoustransformation of forms(as in deconstructivist
postmodernismfromPeterEisenmanon). Todaymanyprominentarchitects,such
as Koolhaas, Herzog and de Meuron, and Richard Gluckman,do not fitneatly
into either camp: they hold on to literal transparencyeven as they elaborate
phenomenal transparency withprojectiveskinsand luminousscrims.Sometimes,
however,these skins and scrims only dazzle or confuse, and the architecture
becomes an illuminatedsculpture,a radiantjewel. It can be beautiful,but it can
also be spectacularin the negativesenseused byGuyDebord-a kindofcommodity-
fetishon a grandscale, a mysterious object whose productionis mystified.

Kool House: "Thisarchitecture relatesto the forcesof the Groflstadt

[the metropolis]
like a surfer to the waves," Koolhaas once remarked of the skyscrapers of
Manhattan. With his recent interventionsin the global city,the same mightbe
said of his own architecture,and it mightnot sound like praise.Whatdoes it mean
for an architectto surf the Grofstadt today-to perfectits curve, to extend its
trajectory? Even ifan architect
is empoweredenough to make the attempt,can he
or she do more thancrash on the beach?

Life Style: In Life Style(2000), a compendium of his work,Canadian designer

Bruce Mau asks us to thinkdesign as "lifestyle"in the philosophicalsense of the
Greeks,Nietzsche, or Foucault, that is, as an ethics. But the styleof LifeStyleis
closer in spirit to Martha Stewart-a folding of the "examined life" into the
"designed life." Such style does not boost our "character,"as Life Styleclaims;

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TheABCs ofContemporary
Design 195

rather,it aids the contemporaryconflation of the realization of self with the

consumptionofidentity.

Mediation: "Mediation"used to mean the criticalattemptto thinkthe totalityof

the social world beyond its fragmentationand disconnection. Now it tends to
referto a social worldgivenover to electronicmedia-and to an economic world
retooled around digitizingand computing.In this mediation,the commodityis
no longer an object to be produced so much as a datum to be manipulated-
designed and redesigned,consumed and reconsumed.This is anotherreason why
design is inflatedtoday,to the point where it is no longer a secondaryindustry.
Perhapswe should speak of a "politicaleconomyof design."

Nobrow:One aspect of thismediatedworldis a mergingof cultureand marketing.

For some commentatorsthishas effecteda new kindof "nobrow"culturein which
the old distinctionsof highbrow,middlebrow,and lowbrowno longer apply.For
fans of thisdevelopment"nobrow"is not a dumbingdown of intellectualculture
so much as a wisingup to commercialculture,whichbecomes a source of statusin
its own right.Today,thisargumentruns,we are all in the same "megastore,"only
in different
aisles,and thatis a good thing-thatis democracy.
Yetthisis a conflation
of democracy with consumption, a conflation that underwritesthe principal
commodityon sale in thismarketplace:the fantasythatclass divisionsare thereby
resolved.This fantasyis the contemporarycomplementto the foundationalmyth
of the United States:thatsuch divisionsneverexistedhere in the firstplace. This
delusion allows millionsof Americansto vote against theirclass interestsat least
everyfouryears.

Outmoded: "The older media, not designed for mass production,take on a new
timeliness:thatof exemptionand of improvisation.Theyalone could outflankthe
united frontof trustsand technology."So writesTheodor Adorno in Minima
Moralia (1951) on the criticaluse of outmoded media in a capitalistcontextof
ceaseless obsolescence. Here, of course, Adorno draws on WalterBenjamin, for
whom "the outmoded"was a centralconcern. "Balzac was the firstto speak of the
ruins of the bourgeoisie," Benjamin wrote in his ArcadesProject."But only
Surrealismexposed them to view.The developmentof the forcesof production
reduced the wish symbolsof the previous centuryto rubble even before the
monuments representingthem had crumbled."The "wishsymbols"in question
are the capitalistwonders of the nineteenth-century bourgeoisieat the heightof
its confidence,such as "the arcades and interiors,the exhibitionsand panoramas."
These structuresfascinatedthe Surrealistsnearlya centurylater-when further
capitalist development had turned them into "residues of a dream world" or,
again,"rubbleeven beforethe monumentswhichrepresentedthemhad crumbled."
For the Surrealiststo hauntthese outmoded spaces, accordingto Benjamin,was to
tap "the revolutionaryenergies"thatwere trapped there. But it is less utopian to

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196 OCTOBER

saysimplythatthe Surrealistsregisteredthe mnemonicsignalsencryptedin these

structures-signals that might not otherwise have reached the present. This
deployment of the outmoded can query the totalistassumptions of capitalist
culture,and its claim to be timeless;it can also remindthiscultureof its own wish
symbols,and its own forfeiteddreams of liberty,equality,and fraternity. Can this
mnemonic dimensionof the outmoded stillbe mined today,or is the outmoded
now outmoded too-another device of fashion?

Post-Fordism:The object world of modern cities was born of a Fordisteconomy

thatwas relativelyfixed:factoriesand warehouses,skyscrapers and bridges,railways
and highways.However,as our economy has become more post-Fordist,capital
has flowedever more rapidlyin search of cheap labor, innovativemanufacture,
financialderegulation,and new markets;and the lifeexpectancyof manybuildings
has fallen dramatically.(Many cities are now hybridsof the two economies,with
Fordiststructuresoftenretrofittedto post-Fordist needs.) Thisprocessis pronounced
in the United States,of course, but it is rapacious wheredevelopmentis even less
restricted."His task is trulyimpossible,"Koolhaas writesof the architectin this
condition,"to expressincreasingturbulencein a stable medium."In a post-Fordist
context,whatcan the criteriaof architecturebe?

Quarantine:For Koolhaas, the skyscraper is the cruxof the "cultureof congestion"

of the old Manhattan,and he sees it as a matingof two emblematicforms-"the
needle" and "the globe." The needle grabs "attention,"while the globe promises
"receptivity,"and "the historyof Manhattanismis a dialectic between these two
forms."Since September11 the discursiveframeof thisManhattanismhas shifted.
New fearsclingto the skyscraper as a terroristtarget,and the values of "attention"
and "receptivity"are rendered suspicious. The same holds for the values of
congestion and "deliriousspace"; theyare overshadowedby calls forsurveillance
and "defensiblespace." In short,the "urbanisticego" and culturaldiversitythat
Koolhaas celebratesin DeliriousNewYork are under enormouspressure.Theyneed
advocates like never before; for,to paraphrase the Surrealists,New York Beauty
willbe deliriousor willnot be.

Running-Room: As much as interdisciplinarityis crucialto culturalpractice,so too

are distinctions,as Karl Kraus insistedin 1912: "AdolfLoos and I-he literallyand
I linguistically-have done nothing more than show that there is a distinction
between an urn and a chamber pot and that it is this distinctionabove all that
provides culture with running-room[Spielraum].The others, the positive ones
[i.e., those who fail to make this distinction],are divided into those who use the
urn as a chamberpot and those who use the chamberpot as an urn.""Those who
use the urn as a chamberpot" wereArtNouveau designerswho wantedto infuse
art (the urn) into the utilitarianobject (the chamber pot). Those who did the
reversewere functionalistmodernistswho wantedto elevate the utilitarianobject

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TheABCs ofContemporary
Design 197

into art. For Kraus the two mistakeswere symmetrical-bothconfuseduse-value

and art-value-and both riskeda regressiveindistinction:theyfailed to safeguard
"the running-room" necessaryto liberalsubjectivityand culture.Note thatnothing
is said about a natural"essence" of art,or an absolute "autonomy"of culture;the
stake is simplyone of "distinctions"and "running-room," of proposed differences
and provisionalspaces.

Spectacle: Clearlyarchitecturehas a new centralityin culturaldiscourse.Although

this centralitystemsfromthe initial debates about postmodernismin the 1970s,
whichwere focused on architecture,it is clinched by the contemporaryinflation
of design and displayin all sorts of spheres-art, fashion,business,and so on.
Moreover,to make a big splash in the global pond of spectacle culturetoday,one
has to have a big rock to drop, maybe as big as the Guggenheim Museum in
Bilbao; and here architectslike Gehryhave an obvious advantage over artistsin
othermedia. In TheSociety oftheSpectacle (1967), Debord definedspectacleas "capital
accumulated to the point where it becomes an image."With Gehryand company
the reverseis now true as well: spectacle is "an image accumulated to the point
whereit becomes capital."Such is the logic of manyculturalcenterstoday,as they
are designed,alongsidethemeparksand sportscomplexes,to assistin the corporate
"revival"of the city-that is, in its being made safe forshopping,spectating,and
spacingout. This is the "Bilbao-Effect."

Tectonics:For all the futurismof the computer-assisted designsof architectslike

Gehry, his structuresare oftenakin to the Statue of Liberty,witha separate skin
hung over a hidden armature,and with exterior surfaces thatrarelymatchup with
interiorspaces. With the putative passing of the industrialage, the structural
transparencyof modern architecturewas declared outmoded, and now the Pop
aesthetic of postmodern architecturelooks dated as well. The search for the
architectureof the computerage is on; ironically,however,it has led Gehryand
followers to nineteenth-centurysculpture as a model, at least in part. The
disconnectionbetweenskinand structurerepresentedbythisacademic model has
twoproblematiceffects.First,it can lead to strainedspaces thatare mistakenfora
new kind of architecturalsublime. Second, it can abet a furtherdisconnection
betweenbuildingand site.I am notpleadingfora returnto structural transparency;
I am simplycautioningagainsta new Potemkinarchitectureof conjured surfaces
drivenbycomputerdesign.

Unabombers: From the handler of the terroristin The SecretAgent(1907), by

Joseph Conrad: "Pay attentionto whatI say.The fetishof todayis neitherroyalty
nor religion. Therefore the palace and the church should be leftalone .... A
murderousattempton a restaurantor a theatrewould suffer.., fromthe sugges-
tion of a nonpoliticalpassion .... Of course thereis art. A bomb in the National
Gallerywould make some noise. But itwould not be serious enough. Arthas never

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198 OCTOBER

been theirfetish.... But thereis learning-science. Anyimbecile thathas got an

income believesin that.He does not knowwhy,but he believesit matterssomehow.
It is the sacrosanctfetish.... The whole civilizedworldhas heard of Greenwich....
Yes, the blowingup of the firstmeridianis bound to raise a howl of execration."
The terroristsof September 11 picked out our "fetishesof today"withprecision:
the architecturesof "finance"and "defense."

Vernacular:Postmodernarchitecturepretended to revivevernacularforms,but
forthe mostpartit replaced themwithcommercialsigns,and Pop imagesbecame
as important as articulated space. In our design world, this development has
reached a new level: now commodity-image and space are oftenmelded through
design. Designers strivefor programs"in which brand identity,signage systems,
interiors, and architecture would be totally integrated"(Bruce Mau). This
integration depends on a deterritorializingof both image and space, which
depends in turnon a digitizingof the photograph,itslooseningfromold referential
ties,and on a computingof architecture, itslooseningfromold tectonicprinciples.
As Deleuze and Guattari(let alone Marx) taughtus long ago, thisdeterritorializing
is the path of capital,not the avant-garde.

WithoutQualities: Design is all about desire, but todaythis desire seems almost
subject-less,or at leastalmostlack-less:designseems to advance a kindof narcissism
thatis all image and no interiority-anapotheosis of the subjectthatmaybe one
withits disappearance. In our neo-ArtNouveau worldof totaldesignand Internet
plenitude, the fate of "the poor little rich man" of Loos, "precluded fromall
futurelivingand striving,developingand desiring,"is on the vergeof realization.
RobertMusil,a Loos contemporary, also seemed to anticipatethisStyle2000 from
the perspectiveof Style1900. "A worldof qualities withoutman has arisen,"Musil
wrotein TheMan Without Qualities(1930-43), "of experienceswithoutthe person
who experiences them,and it almostlooks as thoughideallyprivateexperience is
a thing of the past, and that the friendlyburden of personal responsibility is to
dissolveinto a systemof formulasof possible meanings.Probablythe dissolution
of the anthropocentricpoint of view,whichforsuch a long time consideredman
to be at the center of the universebut which has been fadingfor centuries,has
finallyarrivedat the 'I' itself."

Xed: Two theoreticalmodels structuredcritical studies of postwarart above all

others:the oppositionallogic of the "post-,"of an interdisciplinary
postmodernism
opposed to a medium-specific modernism,and the recursivestrategyof the "neo-,"
of a postwarneo-avant-gardethatrecoveredthe devicesof the prewaravant-garde
(e.g., the monochrome, the readymade, the collage). Today, however,these
models are played out; neithersufficesas a strongparadigmforpractice,and no
other model standsin theirstead. For manythisdouble demise is a good thing:it
permitsartisticdiversity;"weak"theoryis betterthan strong;and so on. But our

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TheABCs ofContemporary
Design 199

paradigm-of-no-paradigm can also abet a stagnantincommensurability or a flat

indifference, and this posthistoricaldefaultof contemporary art and architecture
is no improvementon the old teleologicalprojectionsof modernistpractices.All
of us (artists,critics,curators,amateurs)need some narrativeto focusour practices-
situated stories, not grands ricits.Without this guide we are likely to remain
swampedin the double wake of post/modernismand the neo/avant-garde.

Yahoos: ...

Zebras: In Americanfootballthe refereeswho wear stripedshirtsare derided as

"zebras,"but the game is difficultto playwithoutthem.Criticsonce had a similar
status in the sports of art and architecture,but more and more often theyare
banishedfromthefield.Overthelasttwodecades a nexusofcuratorsand collectors,
dealers and clientshas displaced the critic;forthesemanagersof artand architec-
turecriticalevaluation,let alone theoreticalanalysis,is of no use. They deem the
critican obstruction,and activelyshun himor her,as do manyartistsand architects.
In this void returnsthe poet-criticwho waxes on about Beauty as the moral
subject of artand architecture,withSensation held overas a funsideshow,or who
combines the two in a pop-libertarianaesthetic perfectfor marketrule. This
development needs to be challenged, if it is not too late, and "running-room"
securedwhereverit can be foundor made.

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