By the advent of the Bauhaus, the notion of design did engage in a two-track operation. Without dissociating itself from themes central to the formation of the architectural discipline, the concept of design, on the one hand, had to recode and at times delete thematic that had attained visibility in the context of labour and skills that were not sustainable under the rising regime of mechanical reproducibility. On the other hand, design became interactive in a web of communication and consumption systems that were informed by the exigencies of a culture that in less than fifty years would be coined the culture-industry. The nemesis of design in contemporary situation marked by the globalization of capital and information, I will argue, demands a radical departure from design recipes, past and present, that do not engage critically with the present production and consumption conditions of architecture. Discussing the collective implicitly involved in tectonics, this paper highlights the paradox in the contemporary theorization of design. This involves a different praxis, one that would surpass the prevailing rapport between academia (history/theory) and profession (practice).