Davi Weber AA MA HCT Spring 2015 Interview with Thanos Zartaloudis: On Urban Protocols At the intersection of law and architecture, the Urban Protocols propose micro-‐ legislative strategies of development for abandoned properties in Athens. In cooperation with a municipal authority and through the internet interface, a system of rules would be “play-‐tested” in the archipelago of temporary community programming. Challenging the relationship between user and citizen, the web and state, the experiment introduces a new means of legislation and reassesses the notion of occupancy throughout the city.
DW: In your project Urban Protocols with architect Aristede Antonas, you established Para-topias, or coexistent, adjacent spaces to legal occupancies – such as abandoned lots – in which you wrote the rights for not-for-profit, temporary use. Can you please clarify the difference between these proposed spaces and those for squatters or those acquired through eminent domain? TZ: Paratopias are derived from the emphasis on the prefix —para, meaning beside or adjacent which aims to suggest the continuous co—existence of potentiality in actuality. And this as the ontological ease of the spatial tactic proposed here. It is a philosophical import but as a means without an end, as Agamben says. Austere actuality has always aimed to exhaust the potentiality of a life to the actualization of this or that, instead. As opposed to a utopia and a dystopia, too, a paratopia thinks lived possibility or potentiality as neither an eschatological end to come (or, as is usual, to be infinitely deferred), nor as an abandonment to actuality, to “a so be it”. There is a similarity in some sense to an occupation by squatters and other examples of commoning past and present, at least in relation to some of the protocols that we have drafted and others to come. The commonality is centered to the extent that the aim is not the claim, in some at least instances, to individual or common exclusive ownership. I think we aim to reflect and learn from such practices. DW: When constructing the Para-topia, you maintain a laissez-faire, nonprogrammed, non-predisposed, indeterminate, and abstract space, not unlike Cedric Price’s Fun Palace that you mentioned. How flexible are the spaces and to what degree is flexibility necessary to the project; what is the role of serendipity and how might it operate within a series of protocols? I am also thinking perhaps of John Cage’s music in which he established parameters but left the result to chance. TZ: The relation or similarity to Price and the Fun Palace is accurate to my mind at least. He has been a major inspiration to my learning about architecture and a key figure in the book I am writing titled The Use of Things, in fact. If he was confronted with the question, at least in one sense, of how to “program” a
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