Control and the loss of the ‘narrative stroll’

‘Now I want to say a few words about escalators and elevators. Given their very real pleasures in Portman’s architecture – particularly these last, which the artist has termed ‘gigantic kinetic sculptures’ and which certainly account for much of the spectacle and the excitement of the hotel interior, especially in the Hyatts, where like great Japanese lanterns or gondolas they ceaselessly rise and fall – and 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 something a little more meaningful 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 fulfil 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 not only do 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 whole 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. 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.’

Extract from Frederic Jameson’s ‘Postmodernism and Consumer Society’.