Vedute di Roma 

Editor: So, this is one of Giovanni Battista Piranesi's "Vedute di Roma," and I must say, the sheer scale of the architecture in this etching is just astounding! What strikes you most about this work? Curator: The first thing that stands out to me is Piranesi’s conscious manipulation of perspective. Look how the grandeur of Rome is amplified, almost to a point of surreality. Given the socio-political context of 18th century Rome, how do you see this artistic choice functioning? Is it purely aesthetic, or could it be read as a commentary on power and the theatricality of institutions? Editor: That's a great point about the possible social commentary. I hadn't considered the theatricality aspect so directly, but with that exaggerated perspective, the power dynamics within this architectural space definitely come to the fore. Curator: Precisely. And consider, too, the figures populating the scene. They are dwarfed by the architecture, almost incidental. How does that contrast contribute to the reading of power structures in the work, perhaps mirroring real-world social imbalances? It’s critical to examine how architectural grandeur interacts with the human experience within such a space. Editor: So it is about making visible a complex intersection of individual lives within overarching power structures, not simply a romantic depiction of buildings. Curator: Exactly. Seeing architecture not as neutral but instead as intertwined with societal influence. Do you consider this one work, therefore, challenges and influences architecture and social structure to this day? Editor: Definitely! Now, I see the print as a snapshot of not just what was but what *could* be and how social structures must consider power and perspective in shaping the future. Curator: It also highlights how important it is to encourage and understand whose perspectives are really included in society's architecture in any era!