Gezicht op Palmanova in vogelvluchtperspectief Possibly 1600 - 1717

Curator: Oh, this print of Palmanova viewed from above! It possibly dates from between 1600 and 1717 and, although we don’t know for sure who the artist was, it’s currently held in the Rijksmuseum. It's striking, isn't it? The artist used ink on paper to capture this ambitious cityscape. Editor: It's remarkably... well, planned. Almost oppressively so. The geometry is captivating, of course, but there's a coldness to it. Like a petri dish, or some elaborate topiary – too perfect to be comforting. Curator: Absolutely, it's as if the city were conceived not organically, but from some abstract concept of the perfect fortified urban plan. Look how the radiating streets emanate from the very center. Each wedge, perfectly measured. Do you think that perfect society, the perfect community, can be designed from above like this? I wonder what the human cost is? Editor: Always a cost. These so-called "ideal cities" often masked deeper power structures. Planned spaces tend to reflect the values and priorities of those in charge – in this case, most likely military defense, or demonstrating political control. I mean, how much was citizen wellbeing considered here? Who decides what 'ideal' even means? Curator: Interesting how those bastions on each point make the city appear like some giant celestial body—a star, almost. The effect is quite awe-inspiring from above. Editor: Well, of course, it's *designed* to be imposing, isn't it? And notice how the landscape is essentially blank, almost erased? It amplifies the city's control. There's also this tension: It’s about safety, but you wonder who's safe and who's controlled. Who feels safe and who’s under surveillance? Curator: It gives me a shiver thinking about how much we put on design to accomplish; utopia in the form of city plans... perhaps inevitably becoming an actual prison or controlled lab. And who is living happily there? Do we ask ourselves these questions before diving headlong into some of the social engineering in our time? What are our models, inspirations, or goals? What happens if these 'visions' fall short and can no longer respond organically or realistically? Editor: That tension, that unease, is why this print is still relevant, even centuries later. It challenges us to ask vital questions about power, control, and the very nature of our shared spaces. Now when was the last time my hometown looked this planned out, ha? Curator: Ah, if only! Perhaps that little touch of unachievable hope makes this print so endlessly thought-provoking. Thank you!