{"id":13594,"date":"2020-07-23T15:39:52","date_gmt":"2020-07-23T13:39:52","guid":{"rendered":"https:\/\/www.akademie-solitude.de\/?p=13594"},"modified":"2021-12-02T08:58:33","modified_gmt":"2021-12-02T07:58:33","slug":"forty-five-degrees-careful-planning-and-collective-space-making-toward-a-transcultural-society","status":"publish","type":"post","link":"https:\/\/www.akademie-solitude.de\/en\/forty-five-degrees-careful-planning-and-collective-space-making-toward-a-transcultural-society\/","title":{"rendered":"forty-five degrees \u2014 Careful Planning and Collective Space-Making \u2014 Toward a Transcultural Society"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":16,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"project":[353,414,354],"project_type":[],"class_list":["post-13594","post","type-post","status-publish","format-standard","hentry","project-online-publications","project-collective-care-response-ability","project-studio-visits"],"acf":{"bgcolor":"","bgcolor_custom":"","custom_color_css_variable":"","content_type":[{"acf_fc_layout":"content_txt","bgcolor":"has-bg-grey","bgcolor_custom":"","layout_col_size":8,"txt_cols":"is-1-txtcol","txt":"

1 \u2013 Manifesto<\/strong><\/h3>\r\nforty-five degrees<\/em> is an architecture and urban design practice dedicated to the critical making of collective space. Our particular interest lies in Europe, this hybrid place in constant mutation, where new emerging transcultural traditions, memories, and technologies have the potential to shape radical practices of commoning grounded on spatial justice and environmental awareness.\r\n\r\n45\u00b0 North<\/strong>: halfway between the equator and the North Pole, the center of gravity of Europe, the watershed between the Mediterranean of our idealism and the Northern seas of our pragmatism, an arbitrary border that thousands of migrants attempt to cross.\r\n\r\n45\u00b0 C<\/strong>: the highest temperature ever recorded in several European cities in 2019. It is a symbolic yet very tangible reminder that we can no longer postpone a societal shift toward degrowth and circularity.\r\n\r\n45\u00b0, x=y<\/strong>: a straight line produced by the perfect equivalence of two terms, the parity between chromosomal differences, the interchangeability of alternative identities.\r\n\r\n45\u00b0, diagonal<\/strong>: the balance between verticality and horizontality, top-down and bottom-up. It is a belief in democratic processes. It is a refusal of all absolutisms and prepotence.\r\n\r\n45\u00b0<\/strong> proposes an oblique perspective on space-making, a view that goes beyond the fa\u00e7ade of things and looks at their hidden corners and at the edges that define their realm of existence.\r\n\r\n45\u00b0<\/strong> imagines design as a possible territory for emancipation. We envision an architecture that is open, generous, nondiscriminatory, anticolonial. We value humility and care.\r\n\r\n45\u00b0<\/strong> is Alkistis Thomidou and Gianmaria Socci.\r\n\r\nRaised in Italy and Greece, we both studied and practiced in Northern Europe. We have successfully collaborated in various competitions, but also individually worked on projects around the globe in places like Ethiopia, Brazil, and Thailand, investigating the built environment through research and design, across multiple scales and in its social, economic, and structural components.\r\n\r\nReflecting on the role of architecture and urban design today, we consider it our task to challenge the homogeneous, top-down constructions of globalized geographies. Our current work focuses on rediscovering the inventiveness of everyday life and the potential of alternative urban practices. Current dramatic developments expose the fragility of a lifestyle resulting from decades of neoliberal policies prioritizing profit over people, and demonstrate the need to revolutionize the way we manage and envision our communal space. We want to imagine how architecture can reinvent itself to support this venture, create spaces for authentic reflection on the problems of our times, and speculate on possible futures."},{"acf_fc_layout":"content_txt","bgcolor":"","bgcolor_custom":"","layout_col_size":8,"txt_cols":"is-1-txtcol","txt":"Denise Helene Sumi: <\/strong>Alkistis, Gianmaria, you often use geographies as a starting point for your research and to talk about space.<\/em>\r\n\r\nforty-five degree<\/strong>s: <\/strong>We are very fascinated by borders, by the geometric qualities of these abstract entities that can be interpreted in various ways. If we look at them from a botanist\u2019s perspective, for instance, borders can become interfaces of connection and opportunity, where pioneer species find available ground and evolution happens. These borders define \u00bbnot property, but space for the future.\u00ab1 <\/sup>Rather than dividing walls, the borders that interest us are spaces of threshold, where the friction of diversity has a positive, generative power and new modes of coexistence can occur.\r\n\r\nThe lines that define these borders are multidimensional, they are physical, they have a thickness and fuzzy edges. They are ever-changing and evolve with the beings who inhabit them, who also in turn, are changed by them: \u00bbThe self is only a threshold, a door, a becoming between two multiplicities.\u00ab2<\/sup> What is most interesting for us, is that if we look at borders beyond the usual political understanding of division, we can uncover most of the complexities of space from unusual perspectives, like in the short film we really love: Powers of Ten: A Film Dealing with the Relative Size of Things in the Universe and the Effect of Adding Another Zero<\/em> by Charles and Ray Eames.<\/a>"},{"acf_fc_layout":"content_img","bgcolor":"","bgcolor_custom":"","layout_col_size":8,"img_gallery":false,"img":[13596],"img_gallery_format":""},{"acf_fc_layout":"content_txt","bgcolor":"","bgcolor_custom":"","layout_col_size":8,"txt_cols":"is-1-txtcol","txt":"How did your work as a collective begin? And what are you currently working on?<\/em>\r\n\r\nAfter almost a decade of collaboration, we founded the collective forty-five degrees<\/em> in October 2019. The name was inspired by the 45th parallel north that separates the \u00bbSouth\u00ab of Europe we come from, and the \u00bbNorth\u00ab where we currently live and work. An imaginary border, that after all, if we consider recent crises and the unfruitful negotiations that once again split the European \u00bbunion\u00ab into two fronts, is not so imaginary.\r\n\r\nWe began our practice with the research project 35 Meridians of Radical Rituals<\/em>, an itinerant survey along the 45\u00b0N parallel. The project is about the inventiveness of everyday life, new hybrid vernaculars and communal space-making in Europe. We try to see how this system of meridians and parallels that describes our world is inhabited. We want to elevate this arbitrary line to a symbolic space in which we try to offset the notions of center and periphery and speculate on a different understanding of borders."},{"acf_fc_layout":"content_img","bgcolor":"","bgcolor_custom":"","layout_col_size":8,"img_gallery":true,"img":[13598,13602],"img_gallery_format":""},{"acf_fc_layout":"content_txt","bgcolor":"","bgcolor_custom":"","layout_col_size":8,"txt_cols":"is-1-txtcol","txt":"In <\/em>35 Meridians of Radical Rituals, <\/em>cities along the <\/em>45\u00b0N latitude, like Belgrade, Pula, Tulcea, or Simferopol, serve as a starting point for your research. Looking at this marking makes me curious what urban strategies and cultural practices, and which differences or parallels, become visible in the communities of the respective cities. What can we possibly learn about Europe and its inhabitants through your project?<\/em>\r\n\r\nThe 45\u00b0N parallel crosses several climates, geographies, and borders marked by socioeconomic and geopolitical struggle. Movements of people, knowledge, and goods made the hybrid place we call Europe. While exposing the contradictions that burden Europe today \u2013 inequalities in financial resources, migration management, civil rights \u2013 our gesture aims at reuniting rather than reinforcing those divisions. From the Atlantic Ocean to the Black Sea we can count 35 meridians. At these intersections we have identified cities and places that we believe are exemplary of Europe\u2019s hybridity. There are cities that are notorious melting pots \u2013 like Bordeaux or Ploiesti. But in general our list is in continuous evolution and we hope to find out more about them by looking closer rather than making assumptions from afar. In this linear research we hope to find a third space between the apparent opposites that define the official narration of space-making, e.g. by uncovering collective actions that don\u2019t fall into the category of professional practice.\r\n\r\nWhat exactly do you mean by third space? How does such a space look? <\/em>\r\n\r\n\u00a0<\/strong>The term \u00bbthird space\u00ab is coined by the theorist Homi K. Bhabha.3<\/sup> He describes the third space as a transitory space, where postcolonial power relations and norms are subverted by political, aesthetic, or everyday practices. A third space is not a physical place; it is much more a space where hybrid identifications are possible and where cultural transformations can happen. Third spaces enable cultural hybridity, that is to say identities and practices, which perform difference without an assumed or imposed hierarchy.\r\n\r\nWe believe that the increased physical and virtual connectivity of today results in an exciting, constant exchange of ideas that defines viable alternatives to mainstream, capital-driven territorial development. Borrowing from French novelist and filmmaker George Perec, we are interested in infra-ordinary4<\/sup> experiences that are generated within the complexities of a society in transformation. These experiences take the form of community self-organization, cooperatives, informal gatherings, and spontaneous actions often found at the periphery of cultural production.\r\n\r\nSo you\u2019re examining different \u00bburban rituals\u00ab as models for spatial occupation within temporary societies. What do you understand as rituals and why are you interested in them? <\/em>\r\n\r\nTraditionally investigated by anthropology, religious studies and sociology, rituals have always been necessary practices in human and animals\u2019 social lives. In the past they were connected to local collective identities, mostly referred to agriculture, religion or myths. In increasingly secular times, contemporary rituals still satisfy a wide spread need for identification. For example, they strengthen the capacity of collective action to reach ambitious goals.\r\n\r\nIn our work we try to understand the urban realm not only through design but also by borrowing methods from anthropology that look into the user's perspective. We call these examples rituals, because they are inclusive and have the power to create ties of kinship and spatial identity. We call them radical because, in a sense, they are fundamental but at the same time they are innovative, pointing to possible alternative futures.\r\n\r\nHow these \u00bbThird Spaces\u00ab and \u00bbRadical Rituals\u00ab inform your understanding of urban space making and the planning of future cities? <\/em>\r\n\r\nIn the same way that centuries of cultural crossing have generated new spatial configurations, we believe that today\u2019s cultural crossings offer opportunities for the emergence of a new commonality.\u00a0We speculate on a future with a highly hybridized urban society, in which a transnational youth develops skills, resources, and knowledge accumulated through multiple cultural repertoires, digital technologies, and social media. New traditions, heritage, and imaginaries, collective actions, occasions, and conventions are in the making and new memories and technologies can shape radical practices of commoning grounded on spatial justice and environmental awareness. They help to reinvent common space beyond identity and borders, in both digital and social space."},{"acf_fc_layout":"content_img","bgcolor":"","bgcolor_custom":"","layout_col_size":8,"img_gallery":true,"img":[13604,13606],"img_gallery_format":""},{"acf_fc_layout":"content_txt","bgcolor":"","bgcolor_custom":"","layout_col_size":8,"txt_cols":"is-1-txtcol","txt":"The last decades of urban planning have been characterized by individualization, mobility, privatization, and speculation, and the making of Smart Cities. In your work it has been a primary concern to counteract this course and instead create common territory for diversity, commonality, public, and democratic construction and decision-making. What approaches do you use to do so?<\/em>\u00a0<\/strong>\r\n\r\nThe city is the spatial manifestation of the relationship between people and power and results as the stratification of consecutive political visions. Nowadays, democracy has lost its connection with urban daily life, and it is mostly sustained without the involvement of the people, who find it hard to claim their right to the city. We are interested in initiating processes that offer the opportunity to understand the city and its dynamics. We see our role and the role of architecture as a mediator, as part of a broader shared knowledge and practice.\r\n\r\nTraditionally, the architect is thought of as someone sitting in their studio making great plans. But architecture only really begins when it is inhabited: we are interested in the acts of appropriation as a means of co-authorship and agency of the user, especially when it comes to public space. Appropriation is crucial because it creates a discussion, a collaboration beyond the architect's intervention. Ultimately, what we are interested in is proposing a kind of symbolic, primordial order waiting for individuals to negotiate their spatial boundaries through public behaviors.\r\n\r\nUsing the example of your speculative \u00bbRethink Athens\u00ab project, can you explain how you as architects deal with the design of public space where surfaces, materials, things, and people meet; where the emancipatory potential for a democratic approach to architecture and space can be embedded? <\/em>\r\n\r\nThe brief foresaw the pedestrianization of a great urban boulevard in the center of Athens and the introduction of a new tram line. The task was to design this new pedestrian axis: three adjacent squares and the adjacent streets. This project happened to coincide with the massive riots in Greece in 2011 against austerity measures. These riots showed how citizenship is expressed through frustration and friction, which are not particularly constructive as a reaction to top-down decisions."},{"acf_fc_layout":"content_img","bgcolor":"","bgcolor_custom":"","layout_col_size":8,"img_gallery":true,"img":[13610,13612],"img_gallery_format":""},{"acf_fc_layout":"content_txt","bgcolor":"","bgcolor_custom":"","layout_col_size":8,"txt_cols":"is-1-txtcol","txt":"The question we asked ourselves was how can we hijack the planned infrastructure \u2013 which is an effective, costly, and permanent intervention \u2013 and make it accessible for all?\u00a0 We wanted to gift the city with an open framework for the citizens to reinvent their own urban experience through spontaneous appropriation and emphasize the possibilities offered by technology to reconnect citizens with public space now that \u00bbthe public\u00ab is becoming more and more digital.\r\n\r\nWe proposed a series of small-scale infrastructures that will inhabit this large-scale intervention in an additive approach, introducing physical elements that carry out the choreographies and set the stage for a multitude of possible uses for a vibrant, contemporary, and adaptive neighborhood.\r\n\r\nIt\u2019s nice to see how you seek a primary moment of entanglement and empowerment for all inhabitants of a territory through architecture and urban planning of public and collective space and that you strengthen a collective instead of a divided space. I imagine it to be difficult to respond to all needs and to integrate the citizens into decisions.<\/em>\r\n\r\nToday, people have lost agency over making their own cities. The scale and complexity of the phenomena at hand often preclude direct participation. However, when citizens see the potential of direct actions, which are somehow related to their daily life, they are eager to participate. When the design\u2019s scale and sensitivity peaks to people\u2019s everyday lives and needs, they can relate to it and therefore participate with valuable contributions.\r\n\r\nMost of our work is aimed exactly at downscaling large design tasks to smaller gestures that are more familiar and relate to \u00bbnon-professionals.\u00ab In our designs we often propose open frameworks as a morphological base that is not fixed, but can rather be influenced and reconfigured by the final users.\r\n\r\nThis attitude helps us avoid simplified dichotomies that define the built environment in the traditional narrative: local\/global; Culture\/Nature; Urban\/Landscape; top-down\/bottom-up; human\/non-human. On the contrary, we embrace reality and its complexities. We always try to understand the locality of each project in all its multilayered realities, in which we make use of the potential of the existing environment and seek for the minimum intervention that leads to a greater benefit.\r\n\r\nCan you provide an example of how you achieve this? <\/em>\r\n\r\nIn our proposed project URBAN OASIS \u2013 <\/em>for a competition for the transformation of a public space into a \u00bbcultural\u00ab square, we were inspired by the Epicurean philosophy of the garden.\r\n\r\nThe rapid urbanization and the economic crisis of recent years in Greece downplayed the role of public spaces, cutting off the city life from the natural environment almost entirely. We wanted to explore the potential of natural environments in urban spaces, functioning as places of cultural production and cultivation of oneself.\u00a0 After all, we do not understand culture just as art-objects within museum spaces, or other cultural institutions that are often not accessible to everyone. We asked ourselves what kind of a new \u00bbcultural\u00ab space in the city could be open to everyone, regardless of economic and social situation, that would encourage the redefinition of our relationship with the natural environment and our society."},{"acf_fc_layout":"content_img","bgcolor":"","bgcolor_custom":"","layout_col_size":8,"img_gallery":true,"img":[13614,13616],"img_gallery_format":""},{"acf_fc_layout":"content_img","bgcolor":"","bgcolor_custom":"","layout_col_size":8,"img_gallery":true,"img":[13618,13620],"img_gallery_format":""},{"acf_fc_layout":"content_txt","bgcolor":"","bgcolor_custom":"","layout_col_size":8,"txt_cols":"is-1-txtcol","txt":"We wanted to explore the potential of natural environments in urban spaces, functioning as places of cultural production and cultivation of oneself.\u00a0 After all, we do not understand culture just as art-objects within museum spaces, or other cultural institutions that are often not accessible to everyone. We asked ourselves what kind of a new \u00bbcultural\u00ab space in the city could be open to everyone, regardless of economic and social situation, that would encourage the redefinition of our relationship with the natural environment and our society.\r\n\r\nWe proposed to transform a concrete square into a community garden with local plants and flowers, water and clearings, organized according to the natural ecology of an oasis where winter rainwater is recuperated for summer refreshment. The aim of this gesture was to offer a place for rejuvenation, meditation, and exchange, while promoting individual and collective responsibility and cultivation of oneself and their community. With its simple geometries and careful choice of materials, the project had the ambition to become the center of the neighborhood, accessible to everyone, and to encourage appropriation, connect built and unbuilt, old and new \u2013\u00a0and allow for a new ecosystem to grow and flourish.\r\n\r\nThis example shows that with your projects you not only aim to create hybrid, transcultural spaces for humans but also create common habitats for humans and other species. <\/em>\r\n\r\nFor example, with our proposal for the Greek national pavilion for the Venice Architecture Biennial 2020 entitled How Will We Live Together?, <\/strong><\/em>we used the opportunity to question the role of architecture in caring for the habitat by asking ourselves what does that \u00bbwe\u00ab include? Anthropocentrism and exploitation of resources has put all forms of life on earth in danger, including human life.\r\n\r\n\u00bbIf bees disappeared from the face of the Earth, man would only have four years left to live\u00ab is a famous quote that Albert Einstein is often credited with, points to the crucial importance of multispecies interdependencies."},{"acf_fc_layout":"content_img","bgcolor":"","bgcolor_custom":"","layout_col_size":8,"img_gallery":true,"img":[13624,13626],"img_gallery_format":""},{"acf_fc_layout":"content_txt","bgcolor":"","bgcolor_custom":"","layout_col_size":8,"txt_cols":"is-1-txtcol","txt":"So, you proposed a project in which bees, coexistence, and collaboration play a crucial role \u2026<\/em>\r\n\r\nYes, for the duration of the Biennale we proposed to occupy the Greek pavilion with beehives and run a honey production station, workshops, and events, to promote beekeeping and provide information on its environmental benefits. We wanted to underline the importance of preservation and creation of habitats for bees since our survival depends on them. Eighty percent of all domestic crops and wild plants depend on pollination by bees. Although the beehives would be stored in the Greek pavilion, the bees would obviously be free to roam and collect pollen all around the Giardini, creating a honey mix which is very specific to the botanical environment of Venice but at the same time also represents a scaled-down version of the globe.\r\n\r\nIssues such as climate change, migration, and the exploitation of our planet\u2019s resources are central to this work. The protection of biodiversity and improvement of the habitats of all species is the most crucial precondition to understand \u00bbhow we will live together.\u00ab\r\n\r\nIn her text Care, Elke Krasny points out that \u00bba caring architecture is both locally specific and globally conscious.\u00ab5<\/sup><\/em> According to that, you could say that the bee project is a particularly good example of \u00bbcaring architecture.\u00ab <\/em>\r\n\r\nBeekeeping in Greece is very much part of the country's history. Bees and honey play a leading role in Greek mythology, customs, and traditions, but the point here is that the honey-making process shines some interesting questions about agency and interdependencies. This stunning contrast between the bells and whistles of nationalist pride and the reality of an interconnected, a-hierarchical natural world, was the entry point for a proposal that challenges the very premise of biennales and expos as a celebration of national identities.\r\nWe asked ourselves this: If were producing honey at the Giardini of the Venice Biennale with Greek bees and Greek methods, would this be a Greek honey, an Italian one, or something else altogether? Most of the trees in the Gardini are originally Mediterranean, but others come from exotic lands as a show of past colonialism and imperialism. In this sense, the garden is kind of denying the logic that, during Italian fascism, arranged the national pavilions according to geographical proximity and hierarchies of power.\r\nWe proposed a literal and metaphorical cross-border pollination of the Biennale\u2019s Giardini in which bees will be the ambassadors of a non-hierarchical management of natural resources by pollinating trees all around the area, an example of a possible future of coexistence of human and nonhuman species beyond borders and conflicts.\r\n\r\nClosing, can you tell us in summary again what \u00bbforty- five degrees\u00ab stands for and how you imagine an architectural practice that addresses contemporary challenges and creates future possibilities for change?<\/em>\r\n\r\nWe believe that architecture is about resources\u2014not only material or financial resources but also about the intangible resources of human and nonhuman knowledge. In our practice we are interested in collecting protocols and collective approaches. There is not only one way to make space. We are interested in reality as much as in fiction and speculation: although we want to visualize alternative futures, we believe that the inspiration for this usually comes from the minute, the trivial, the infra-ordinary. Hence our interest in informal practices. We are not longing for a return to the vernacular \u2013 we seek to learn from it to invent novel ways of conceiving, managing, and occupying space that could undo centuries of spatial exploitation.\r\n\r\n \r\n\r\n "},{"acf_fc_layout":"content_txt","bgcolor":"","bgcolor_custom":"","layout_col_size":8,"txt_cols":"is-1-txtcol","txt":"

forty-five degrees<\/strong> is an architecture and urban design practice dedicated to the critical making of collective space and thinking of possible alternative futures. It was founded by Alkistis Thomidou and Gianmaria Socci, in October 2019.<\/p>\r\n

Alkistis Thomidou<\/strong> is a Berlin-based architect. She holds a diploma in architecture and a master\u2019s degree in urban design from the ETH <\/span>Zurich. She has practiced in Germany and abroad and was teaching assistant at TU <\/span>Braunschweig. She is currently a fellow at Akademie Schloss Solitude. Her interests lie at the intersection of interdisciplinary research, design, and artistic experimentation.<\/p>\r\n

Gianmaria Socci<\/strong> is an architect and educator based in Berlin. He holds a master\u2019s degree in architecture and a MAS <\/span>in urban design. He has practiced and taught in Switzerland, Thailand and the United States. Additionally to his work as forty-five degrees, he is a mentor for CanActions School on housing, and the director of the nonprofit organization Space Saloon.<\/p>"},{"acf_fc_layout":"content_footnotes","bgcolor":"","footnotes_list_hide_numbers":false,"footnotes":[{"footnote":"Gilles Cl\u00e9ment, Le jardin plan\u00e9taire. Reconcilier l\u2019homme et la nature<\/em>, Paris 1999."},{"footnote":"Gilles Deleuze, F\u00e9lix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, <\/em>London 1988"},{"footnote":"Homi K. Bhabha, The Location of Culture. <\/em>London\/New York 1994: p. 37."},{"footnote":"Perec uses the neologism \u00bbinfra-ordinary\u00ab to describe the ordinary and the everyday details, movements, and rhythms around us. Georges Perec, The Infra-Ordinary.<\/em> Paris 1973."},{"footnote":"Elke Krasky, \u00bbCare,\u00ab in: AA Files 76<\/em>, edited by Maria Sh\u00e9h\u00e9razade Giudici, London 2019."}]}]},"_links":{"self":[{"href":"https:\/\/www.akademie-solitude.de\/en\/wp-json\/wp\/v2\/posts\/13594","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.akademie-solitude.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.akademie-solitude.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.akademie-solitude.de\/en\/wp-json\/wp\/v2\/users\/16"}],"replies":[{"embeddable":true,"href":"https:\/\/www.akademie-solitude.de\/en\/wp-json\/wp\/v2\/comments?post=13594"}],"version-history":[{"count":0,"href":"https:\/\/www.akademie-solitude.de\/en\/wp-json\/wp\/v2\/posts\/13594\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.akademie-solitude.de\/en\/wp-json\/wp\/v2\/media?parent=13594"}],"wp:term":[{"taxonomy":"project","embeddable":true,"href":"https:\/\/www.akademie-solitude.de\/en\/wp-json\/wp\/v2\/project?post=13594"},{"taxonomy":"project_type","embeddable":true,"href":"https:\/\/www.akademie-solitude.de\/en\/wp-json\/wp\/v2\/project_type?post=13594"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}