from The Lewis Mymford Reader, ed. Donald L. Miller (New York: Pantheon Books, 1986), pp. 104-107.

      Lewis Mumford

      "What is a City?" (1869)

      from the Introduction to The Culture of Cities, 1938.

    [1]
      The city, as one finds it in history, is the point of maximum concentration for the power and culture of a community. It is the place where the diffused rays of many separate beams of life fall into focus, with gains in both social effectiveness and significance. The city is the form and symbol of an integrated social relationship: it is the seat of the temple, the market, the hall of justice, the academy of learning. Here in the city the goods of civilization are multiplied and manifolded; here is where human experience is transformed into viable signs, symbols, patterns of conduct, systems of order. Here is where the issues of civilization are focused: here too, ritual passes on occasion into the active drama of a fully differentiated and self-conscious society.
    [2]
      Cities are a product of the earth. They reflect the peasant's cunning in dominating the earth; technically they but carry further his skill in turning the soil to productive uses, in enfolding his cattle for safety, in regulating the waters that moisten his fields, in providing storage bins and barns for his crops. Cities are emblems of that settled life which began with permanent agriculture: a life conducted with the aid of permanent shelters, permanent utilities like orchards, vineyards, and for interchange and for new combinations not given in the irrigation works, and permanent buildings for protection and storage.
    [3]
      Every phase of life in the countryside contributes to the existence of cities. What the shepherd, the woodman, and the miner know becomes transformed and "etherealized" through the city into durable elements in the human heritage: the textiles and butter of one, the moats and dams and wooden pipes and lathes of another, the metals and jewels of the third, are finally converted into instruments of urban living: underpinning the city's economic existence, contributing art and wisdom to its daily routine. Within the city the essence of each type of soil and labor and economic goal is concentrated: thus arise greater possibilities for interchange and for new combinations not given in the isolation of their original habitats.
    [4]
      Cities are a product of time. They are the molds in which men's lifetimes have cooled and congealed, giving lasting shape, by way of art, to moments that would otherwise vanish with the living and leave no means of renewal or wider participation behind them. In the city, time becomes visible: buildings and monuments and public ways, more open than the written record, more subject to the gaze of many men than the scattered artifacts of the countryside, leave an imprint upon the minds even of the ignorant or the indifferent. Through the material fact of preservation, time challenges time, time clashes with time: habits and values carry over beyond the living group, streaking with different strata of time the character of any single generation. Layer upon layer, past times preserve themselves in the city until life itself is finally threatened with suffocation: then, in sheer defense, modern man invents the museum.
    [5]
      By the diversity of its time structures, the city in part escapes the tyranny of a single present and the monotony of a future that consists in repeating only a single beat heard in the past. Through its complex orchestration of time and space no less than through the social division of labor, life in the city takes on the character of a symphony: specialized human aptitudes, specialized instruments, give rise to sonorous results which, neither in volume nor in quality, could be achieved by any single piece.
    [6]
      Cities arise out of man's social needs and multiply both their modes and their methods of expression. In the city remote forces and influences intermingle with the local: their conflicts are no less significant than their harmonies. And here, through the concentration of the means of intercourse in the market and the meeting place, alternative modes of living present themselves: the deeply rutted ways of the village cease to be coercive and the ancestral goals cease to be all-sufficient: strange men and women, strange interests, and stranger gods loosen the traditional ties of blood and neighborhood. A sailing ship, a caravan, stopping at the city, may bring a new dye for wool, a new glaze for the potter's dish, a new system of signs for long-distance communication, or a new thought about human destiny.
    [7]
      In the urban milieu, mechanical shocks produce social results; and social needs may take shape in contrivances and inventions which will lead industries and governments into new channels of experiment. Now the need for a common fortified spot for shelter against predatory attack draws the inhabitants of the indigenous village into a hillside fortification: through the compulsive mingling for defense, the possibilities for more regular intercourse and wider cooperation arise. That fact helps transform the nest of villages into a unified city, with its higher ceiling of achievement and its wider horizons. Now the collective sharing of experience, and the stimulus of rational criticism, turn the rites of the village festival into the more powerful imaginative forms of the tragic drama: experience is deepened, as well as more widely circulated, through this process. Or again, on another plane, the goldsmith's passive repository for valuables becomes, through the pressure of urban needs and the opportunities of the market, the dynamic agent of capitalism, the bank, lending money as well as keeping it, putting capital into circulation, finally dominating the processes of trade and production.
    [8]
      The city is a fact in nature, like a cave, a run of mackerel, or an ant heap. But it is also a conscious work of art, and it holds within its communal framework many simpler and more personal forms of art. Mind takes form in the city; and in turn, urban forms condition mind. For space, no less than time, is artfully reorganized in cities: in boundary lines and silhouettes, in the fixing of horizontal planes and vertical peaks, in utilizing or denying the natural site, the city records the attitude of a culture and an epoch to the fundamental facts of its existence. The dome and the spire, the open avenue and the closed court, tell the story, not merely of different physical accommodations, but of essentially different conceptions of man's destiny. The city is both a physical utility for collective living and a symbol of those collective purposes and unanimities that arise under such favoring circumstance. With language itself, it remains man's greatest work of art.
    [9]
      Through its concrete, visible command over space the city lends itself, not only to the practical offices of production, but to the daily communion of its citizens: this constant effect of the city, as a collective work of art, was expressed in a classic manner by Thomas Mann in his address to his fellow townsmen of Lubeck on the celebration of the anniversary of Lubeck 's foundation. When the city ceases to be a symbol of art and order, it acts in a negative fashion: it expresses and helps to make more universal the fact of disintegration. In the close quarters of the city, perversities and evils spread more quickly; and in the stones of the city, these antisocial facts become embedded: it is not the triumphs of urban living that awaken the prophetic wrath of a Jeremiah, Savonarola, a Rousseau, or a Ruskin.
    [10]
      What transforms the passive agricultural regime of the village into the active institutions of the city? The difference is not merely one of magnitude, density of population, or economic resources. For the active agent is any factor that extends the area of local intercourse, that engenders the need for combination and cooperation, communication and communion; and that so creates a common underlying pattern of conduct, and a common set of physical structures, for the different family and occupational groups that constitute a city.

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    [11]
      Historically, the increase of population, through the change from hunting to agriculture, may have abetted this change; the widening of trade routes and the diversification of occupations likewise helped. But the nature of the city is not to be found simply in its economic base: the city is primarily a social emergent. The mark of the city is its purposive social complexity. It represents the maximum possibility of humanizing the natural environment and of naturalizing the human heritage: it gives a cultural shape to the first, and it externalizes, in permanent collective forms, the second.
    [12]
      "The central and significant fact about the city," as [Patrick] Geddes and [Victor] Branford pointed out, "is that the city. . . functions as the specialized organ of social transmission. It accumulates and embodies the heritage of a region, and combines in some measure and kind with the cultural heritage of larger units, national, racial, religious, human. On one side is the individuality of the city--the sign manual of its regional life and record. On the other are the marks of the civilization, in which each particular city is a constituent element."

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