by Alex Marshall - articles and essays

Trading Places -

The City and the Suburb

[Excerpt From Chapter Four]

"The sloughed-off environment becomes a work of art in the new invisible environment."
-- Marshall McLuhan in a conversation with William Irwin Thompson; quoted in Thompson, Coming into Being

"The bloodthirsty national merchants and the Chamber of Commerce have pretty well gutted the place I remember and taken and hucked the town's original character into the overall commercial park. The center of town, which when I was a kid hadn't changed much in the century, and was pleasingly timeworn and functional, has now either been torn down or renovated for artificial preservation as an example of itself."
-- description of Lexington, Kentucky, from Richard Hell's autobiographical novel, Go Now2

The King William neighborhood in San Antonio is an elegant place of huge turreted Victorians sitting on expansive lots. German immigrants built the homes in the mid--and late nineteenth century, after they had grown rich industrializing the city. In San Antonio then, you were as likely to hear German on the streets as English or Spanish. An old photograph from the 1880s shows a sign on a bridge warning people to walk their horses. The notice is given in three languages--English, German, and Spanish.

Like many beautiful old neighborhoods, King William now mixes entrenched urban homesteaders with tourism. In one count there were more than seventy bed and breakfasts in the neighborhood, and tour buses cruising the streets have been regulated. It's ironic, because in the 1960s, the neighborhood was nearing abandonment, with the huge old homes falling into disrepair. But a wealthy believer bought and renovated a handful of homes, and suddenly a reverse exodus was on.

The tourism load is heavy in part because the neighborhood sits just a stone's throw from downtown and the city's famous River Walk, the winding subterranean path along water's edge now lined with restaurants, stores, and souvenir stands. Aboveground are the city's largely turn-of-the-century streets and buildings, which also include the ancient Alamo Mission and the modern shopping mall built a few years back. The mall gives armies of conventioneers another place to spend money.

I stayed in King William in 1997, in one of the ubiquitous bed and breakfasts. I was there on a magazine assignment, and I began my morning around the dining table with two couples who were there on vacation. They were from New Orleans, but the husbands knew San Antonio well because they traveled there frequently on business.

Knew the suburbs, that is. Like most businesspeople in the area, they conducted the bulk of their business out in the peripheries of the metropolitan area, in an environment of sprawling highways, office parks, and shopping centers that was casually called, no kidding, "Loopland." The name came from the beltway that encircled the metropolitan area and spawned the subsequent sprawl. It was a maddening, unholy place. Glass buildings were shoved right up to the high-speed freeway, and the system of exit ramps seemed like something out of a Mad Max movie. But this was now the true Main Street of San Antonio, the place where the wealth of the metropolitan area was produced, and where the bulk of new businesses and industries were formed.

In fact, so strong was Loopland's pull that the two businessmen, despite having traveled to the city for years, had never been downtown before or to any of the adjacent picturesque neighborhoods. The entire downtown, which includes the Alamo, the River Walk, and the business district, was a mystery to them. It was only now, on vacation, accompanied by their wives and children, that they were taking the chance to see "the city."

The couples' relationship with downtown is a good example of how contemporary center cities and suburbs have traded places. Older center cities--when successful--tend to be small, precious places with a limited function and market. The downtown of San Antonio was a make-believe world suitable for wives and children, who could pretend or believe they were seeing the real San Antonio.

The real San Antonio, of course, was out in Loopland. That's where the wealth of the region was being produced, that is where new businesses were being formed.

The parts of San Antonio's downtown that had been unable to convert themselves into tourist centers were dying. That included lovely but abandoned nineteenth-century office buildings and grand old theaters. Why? Because the business and essential living of the city were no longer being conducted in the center, and so the streets and buildings were no longer able to make a go at it by being utilitarian tools. They could only make it, to paraphrase Richard Hell, as artificially preserved examples of themselves.

The suburbs and city have reversed historic roles. The city now represents order, stability, community, and the human scale. The suburbs have become the example of constant change, gigantism, uncontrolled technological forces, and the rule of the marketplace. Whereas once the city symbolized a merciless, soulless world, and the suburbs calmness, family, and nature, the two worlds have almost completely traded places in what they represent.

Marshall McLuhan's statement "The sloughed-off environment becomes a work of art in the new invisible environment" is an accurate description of why this has occurred. The urban grid of streets grouped around a port or a train station or a streetcar line has ceased to be the central marketplace of society. It has been replaced by a tangle of streets built around freeway exits. And so the older form has gone from something utilitarian, a tool, to something whose aesthetics and value can be seen more clearly and admired because we are now outside it. The urban street is, to quote Joel Garreau, author of Edge City, an antique. And like an antique, it is seen as valuable merely for being, not for what it does. In San Antonio, the downtown plays an important role in the economy by nurturing tourism and the convention trade. But this is a passive, more gentle function than serving as the central arena of industry or the marketplace.

An antique, whether it's an object or a process, can be studied, perfected, and honed, similar to blues music, basket weaving, or the construction of handmade paper. But the form is not alive in the same way as suburbia. We can love cities because we are no longer in them. From society's collective new home in the suburbs, we look back on them in wonder. I wonder when this will happen to the suburbs? When will we admire a cloverleaf, an off-ramp, and a gas station with an attached convenience store simply for their form and style?

I am not scoffing at the task of reviving the city. Ultimately it is not just the urban city but the metropolitan area that is, or can be, "a work of art," perhaps because we are now mentally outside of it in our global marketplace and Internet-enveloped world. If we are to grapple effectively with the artistic challenge before us, then we must understand city and suburb together and how they interact as a whole.

What I seek to do in this chapter is to understand the dynamic between our more traditional urban forms and the newer suburbs, and how this in turn relates to the dynamic of the metropolitan area as a whole. To understand city and suburb--and I use these words more in an iconic sense than a literal one, for I believe the true cities today in a practical sense are entire metropolitan areas--we need to understand how city and suburb have been viewed in history and what goals they have represented. When twelfth-century Italian princes built great urban piazzas, and when nineteenth-century park designers built great suburban subdivisions, what were they striving for? What heaven were they reaching for, and how far did it exceed their grasp?