Jameson, excerpt from Postmodernism

Westin Bonaventure Hotel, Los Angeles

from http://www.eng.fju.edu.tw/Literary_Criticism/postmodernism/jameson_text_complete.htm


V

Now, before concluding, I want to sketch an analysis of a full-blown postmodern building--a work which is in many ways uncharacteristic of that postmodern architecture whose principal proponents are Robert Venturi, Charles Moore, Michael Graves, and, more recently, Frank Gehry, but which to my mind offers some very striking lessons about the originality of postmodernist space. Let me amplify the figure which has run through the preceding remarks and make it even more explicit:
I am proposing the notion that we are here in the presence of something like a mutation in built space itself. My implication is that we ourselves, the human subjects who happen into this new space, have not kept pace with that evolution; there has been a mutation in the object unaccompanied as yet by any equivalent mutation in the subject. We do not yet posess the perceptual equipment to match this new hyperspace, as I will call it, in part because our perceptual habits were formed in that older kind of space I have called the space of high modernism. The newer architecture therefore--like many of the other cultural products I have evoked in the preceding remarks--stands as something like an imperative to grow new organs, to expand our sensorium and our body to some new, yet unimaginable, perhaps ultimately impossible, dimensions.

The building whose features I will very rapidly enumerate is the
Westin Bonaventure Hotel, built in the new Los Angeles downtown by the architect and developer John Portman, whose other works include the various Hyatt Regencies, the Peachtree Center in Atlanta, and the Renaissance Center in Detroit. I have mentioned the populist aspect of the rhetorical defense of postmodernism against the elite (and Utopian) austerities of the great architectural modernisms: it is generally affirmed, in other words, that these newer buildings are popular works, on the one hand, and that they respect the vernacular of the American city fabric, on the other; that is to say, they no longer attempt, as did the masterworks and monuments of high modernism, to insert a different, a distinct, an elevated, a new Utopian language into the tawdry and commercial sign system of the surrounding city, but rather they seek to speak that very language, using its lexicon and syntax as that has been emblematically "learned from Las Vegas."

On the first of these counts Portman's Bonaventure fully confirms the claim: it is a popular building, visited with enthusiasm by locals and tourists alike (although Portman's other buildings are even more successful in this respect). The populist insertion into the city fabric is, however, another matter, and it is with this that we will begin. There are three entrances to the Bonaventure, one from Figueroa and the other two by way of elevated gardens on the other side of the hotel, which is built into the remaining slope of the former Bunker Hill. None of these is anything like the old hotel marquee, or the monumental porte cochere with which the sumptuous buildings of yesteryear were wont to stage your passage from city street to the interior. The entryways of the Bonaventure are, as it were, lateral and rather backdoor affairs: the gardens in the back admit you to the sixth floor of the towers, and even there you must walk down one flight to find the elevator by which you gain access to the lobby. Meanwhile, what one is still tempted to think of as the front entry, on Figueroa, admits you, baggage and all, onto the second story shopping balcony, from which you must take an escalator down to the main registration desk. What I first want to suggest about these curiously unmarked ways in is that they seem to have been imposed by some new category of closure governing the
inner space of the hotel itself (and this over and above the material constraints under which Portman had to work). I believe that, with a certain number of other characteristic postmodern buildings, such as the Beaubourg in Paris or the Eaton Centre in Toronto, the Bonaventure aspires to being a total space, a complete world, a kind of miniature city; to this new total space, meanwhile, corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hypercrowd. In this sense, then, ideally the minicity of Portman’s Bonaventure ought not to have entrances at all, since the entryway is always the seam that links the building to the rest of the city that surrounds it: for it does not wish to be a part of the city but rather its equivalent and replacement or substitute. That is obviously not possible, whence the downplaying of the entrance to its bare minimum. But this disjunction from the surrounding city is different from that of the monuments of the International Style, in which the act of disjunction was violent, visible, and had a very real symbolic significance--as in Le Corbusier’s great pilotis, whose gesture radically separates the new Utopian space of the modern from the degraded and fallen city fabric which it thereby explicitly repudiates (although the gamble of the modern was that this new Utopian space, in the virulence of its novum, would fan out and eventually transform its surroundings by the very power of its new spatial language). The Bonaventure, however, is content to "let the fallen city fabric continue to be in its being" (to parody Heidegger); no further effects, no larger protopolitical Utopian transformation, is either expected or desired.

This diagnosis is confirmed by the great reflective glass skin of the Bonaventure, whose function I will now interpret rather differently than I did a moment ago when I saw the phenomenon of reflection generally as developing a thematics of reproductive technology (the two readings are, however, not incompatible). Now one would want rather to stress the way in which the glass skin repels the city outside, a repulsion for which we have analogies in those reflector sunglasses which make it impossible for your interlocutor to see your own eyes and thereby achieve a certain aggressivity toward and power over the Other. In a similar way, the glass skin achieves a peculiar and placeless dissociation of the Bonaventure from its neighborhood: it is not even an exterior, inasmuch as when you seek to look at the hotel’s outer walls you cannot see the hotel itself but only the distorted images of everything that surrounds it.

Now consider the escalators and elevators. Given their very real pleasures in Portman, particularly the latter, which the artist has termed "gigantic kinetic sculptures" and which certainly account for much of the spectacle and excitement of the hotel interior--particularly in the Hyatts, where like great Japanese lanterns or gondolas they ceaselessly rise and fall--given such a deliberate marking and foregrounding in their own right, I believe one has to see such "people movers" (Portman’s own term, adapted from Disney) as somewhat more significant than mere functions and engineering components. We know in any case that recent architectural theory has begun to borrow from narrative analysis in other fields and to attempt to see our physical trajectories through such buildings as virtual narratives or stories, as dynamic paths and narrative paradigms which we as visitors are asked to fulfill and to complete with our own bodies and movements. In the Bonaventure, however, we find a dialectical heightening of this process: it seems to me that the escalators and elevators here henceforth replace movement but also, and above all, designate themselves as new reflexive signs and emblems of movement proper (something which will become evident when we come to the question of what remains of older forms of movement in this building, most notably walking itself). Here the narrative stroll has been underscored, symbolized, reified, and replaced by a transportation machine which becomes the allegorical signifier of that older promenade we are no longer allowed to conduct on our own: and this is a dialectical intensification of the autoreferentiality of all modern culture, which tends to turn upon itself and designate its own cultural production as its content.

I am more at a loss when it comes to conveying the thing itself, the experience of space you undergo when you step off such allegorical devices into the lobby or atrium, with its great central column surrounded by a miniature lake, the whole positioned between the four symmetrical residential towers with their elevators, and surrounded by rising balconies capped by a kind of greenhouse roof at the sixth level. I am tempted to say that such space makes it impossible for us to use the language of volume or volumes any longer, since these are impossible to seize. Hanging streamers indeed suffuse this empty space in such a way as to distract systematically and deliberately from whatever form it might be supposed to have, while a constant busyness gives the feeling that emptiness is here absolutely packed, that it is an element within which you yourself are immersed, without any of that distance that formerly enabled the perception of perspective or volume. You are in this hyperspace up to your eyes and your body; and if it seemed before that that suppression of depth I spoke of in postmodern painting or literature would necessarily be difficult to achieve in architecture itself, perhaps this bewildering immersion may now serve as the formal equivalent in the new medium.

Yet escalator and elevator are also in this context dialectical opposites; and we may suggest that the glorious movement of the elevator gondola is also a dialectical compensation for this filled space of the atrium--it gives us the chance at a radically different, but complementary, spatial experience: that of rapidly shooting up through the ceiling and outside, along one of the four symmetrical towers, with the referent, Los Angeles itself, spread out breathtakingly and even alarmingly before us. But even this vertical movement is contained: the elevator lifts you to one of those revolving cocktail lounges, in which, seated, you are again passively rotated about and offered a contemplative spectacle of the city itself, now transformed into its own images by the glass windows through which you view it.

We may conclude all this by returning to the central space of the lobby itself (with the passing observation that the hotel rooms are visibly marginalized: the corridors in the residential sections are low-ceilinged and dark, most depressingly functional, while one understands that the rooms are in the worst of taste). The descent is dramatic enough, plummeting back down through the roof to splash down in the lake. What happens when you get there is something else, which can only be characterized as milling confusion, something like the vengeance this space takes on those who still seek to walk through it. Given the absolute symmetry of the four towers, it is quite impossible to get your bearings in this lobby; recently, color coding and directional signals have been added in a pitiful and revealing, rather desperate, attempt to restore the coordinates of an older space. I will take as the most dramatic practical result of this spatial mutation the notorious dilemma of the shopkeepers on the various balconies: it has been obvious since the opening of the hotel in 1977 that nobody could ever find any of these stores, and even if you once located the appropriate boutique, you would be most unlikely to be as fortunate a second time; as a consequence, the commercial tenants are in despair and all the merchandise is marked down to bargain prices. When you recall that Portman is a businessman as well as an architect and a millionaire developer, an artist who is at one and the same time a capitalist in his own right, one cannot but feel that here too something of a "return of the repressed" is involved.

So I come finally to my principal point here, that this latest mutation in space--postmodern hyperspace--has finally succeeded in transcending the capacities of the individual human body to locate itself, to organize its immediate surroundings perceptually, and cognitively to map its position in a mappable external world. It may now be suggested that this alarming disjunction point between the body and its built environment--which is to the initial bewilderment of the older modernism as the velocities of spacecraft to those of the automobile--can itself stand as the symbol and analogon of that even sharper dilemma which is the incapacity of our minds, at least at present, to map the great global multinational and decentered communicational network in which we find ourselves caught as individual subjects.

But as I am anxious that Portman’s space not be perceived as something either exceptional or seemingly marginalized and leisure-specialized on the order of Disneyland, I will conclude by juxtaposing this complacent and entertaining (although bewildering) leisure-time space with its analogue in a very different area, namely, the space of post-modern warfare, in particular as Michael Herr evokes it in Dispatches, his great book on the experience of Vietnam. The extraordinary linguistic innovations of this work may still be considered postmodern, in the eclectic way in which its language impersonally fuses a whole range of contemporary collective idiolects, most notably rock language and black language: but the fusion is dictated by problems of content. This first terrible postmodernist war cannot be told in any of the traditional paradigms of the war novel or movie--indeed, that breakdown of all previous narrative paradigms is, along with the breakdown of any shared language through which a veteran might convey such experience, among the principle subjects of the book and may be said to open up the place of a whole new reflexivity. Benjamin’s account of Baudelaire, and of the emergence of modernism from a new experience of city technology which transcends all the older habits of bodily perception, is both singularly relevant and singularly antiquated in the light of this new and virtually unimaginable quantum leap in technological alienation:

He was a moving-target-survivor subscriber, a true child of the war, because except for the rare times when you were pinned or stranded the system was geared to keep you mobile, if that was what you thought you wanted. As a technique for staying alive it seemed to make as much sense as anything, given naturally that you were there to begin with and wanted to see it close; it started out sound and straight but it formed a cone as it progressed, because the more you moved the more you saw, the more you saw the more besides death and mutilation you risked, and the more you risked of that the more you would have to let go of one day as a "survivor." Some of us moved around the war like crazy people until we couldn’t see which way the run was taking us anymore, only the war all over its surface with occasional, unexpected penetration. As long as we could have choppers like taxis it took real exhaustion or depression near shock or a dozen pipes of opium to keep us even apparently quiet, we’d still be running around inside our skins like something was after us, ha ha, La Vida Loca. In the months after I got back the hundreds of helicopters I’d flown in began to draw together until they’d formed a collective meta-chopper, and in my mind it was the sexiest thing going; saver-destroyer, provider-waster, right hand-left hand, nimble, fluent, canny and human; hot steel, grease, jungle-saturated canvas webbing, sweat cooling and warming up again, cassette rock and roll in one ear and door-gun fire in the other, fuel, heat, vitality and death, death itself, hardly an intruder.


In this new machine, which does not, like the older modernist machinery of the locomotive or the airplane, represent motion, but which can only be represented in motion, something of the mystery of the new postmodernist space is concentrated.