A New Museum

A New Museum
Introduction 20 February 2024, 10am

1/2

Manor, Bahnhofstrasse, 2010

Do we need new museums? Instead of conveying narratives of power and of how things have always been, new museums could be places of exchange, where the old and the new are present and where different voices are invited to contribute to continuing stories about art and society.

The Schweizerisches Sozialarchiv was established in 1906, and the breadth and diversity of its collections reflects something of the anti-authoritarian origins of Swiss society. The country’s position at the crossroads of Europe means that ‘being Swiss’ is always a dynamic and changing condition. Because it engages with every part of Swiss society the archive transcends many of the biases and power structures that lie at the core of more conventional museum collections.

This semester we will design a new kind of museum that brings material from the Sozialarchiv into direct contact with the people of Switzerland. At present, it is possible to visit the archive or access its collections online. We propose that a physical museum would be able to release the archive’s content and programmes out into the spaces of the city whose rich stories it tells. The museum could disrupt and rethink the relationship between institutions and their public, bringing ideas of the civic to street level which has been left to retail at the service of consumption for too long. A new open architecture could enable the museum to become a portal through which new stories told by the residents of the city can be collected, so that the archive and its public become even more engaged in ongoing cycles of discussion and social production.

Seth Siegelaub, Group Material, and Theaster Gates, collectors, curators and artists active from the 1960s to the present, have made collections and exhibitions that challenge content, display, and ideas of audience. Learning from both the intellectual and the spatial structures of their exhibitions – we will design ways to show and interpret specific parts of the Sozialarchiv collections. Attending to the exhibition architecture, the lighting and environmental conditions, the thresholds to the surrounding city, these designs will become the core ideas for new museums on three central sites in Zurich.

Introduction: 20 February 2024, 10:00 am, Entrance Landesmuseum, 8001 Zürich
Construction and writing as integrated disciplines are included in this course

FS 2024, ETH Zürich, Studio Caruso
Emilie Appercé, Lucia Bernini, Tibor Bielicky, Adam Caruso, Claudio Schneider

Diploma FS 2024

When content becomes form

1/2

A Clay Sermon, Theaster Gates, 2021

Museums have begun to acknowledge that they are not neutral and that their internal structures and displays reproduce power. They also recognise that they might possess too many objects and that their collections are often of questionable origin. We cannot simply shut museums down, because public institutions are the repositories of shared memories and ideas and are at the core of any idea of a sustainable society. If museums are in crisis, how can their relationships with the societies that they are a part of become more productive and what role can architecture play in this process. This semester we will speculate about new museums and the architecture that could support them. 

We will start by looking at small collections that comprise art, social documentation, and other archival material. With the help of people who run and use museums and with reference to contemporary discourses on institutional critique, we will engage with this material to find the stories and deeper relationships that exist between these artefacts and the societies from which they emerge, complex networks that are spatial as well as social. The research will be developed into ideas for the arrangement and the interpretation of collections in the production of catalogues and exhibitions, work that communicates the meanings and material qualities of these collections in vivid ways to more diverse audiences. 

The main design phase will expand these ideas so that the collections become a core around which other exhibitions, programmes, and ideas of the civic are developed into new ideas for the architecture of museums. Sited within disused industrial, retail and institutional spaces in Zurich it is intended that these experiments could find their way back through the doors of the city’s existing museums and archives.

Diploma, FS 2024, ETH Zürich
Chair Caruso
Emilie Appercé, Adam Caruso, Claudio Schneider
gta exhibitions
Fredi Fischli, Niels Olsen

Redesigning Museums

Redesigning Museums - Final Review
December 19 / 20, 2023

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Museum Rietberg, Bosshard Blanca, Chiara Chan

Tuesday, December 19th and Wednesday, December 20th, Final Reviews

09:00, ETH Zürich, ONA E30

Guests: Debasish Borah, Ann Demeester, Gianni Jetzer, Solange Mbanefo, Joanna Mytkowska

Redesigning Museums - Studio Review 2
November 21 / 22, 2023

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Löwenbräu Areal, Fabian Güzelgün, Ladina Naegeli, Che Facchin, Raphael Uhl, Jacqueline Coco, Meta Hunold

Tuesday, November 21st and Wednesday, November 22nd, Studio Review, ETH Zürich, ONA E30, 09:00 – 19:05

Guests: Thomas Demand, Angelika Hinterbrandner

Redesigning Museums - Studio Review 1
October 18, 2023

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Museum Rietberg, Bosshard Blanca, Chiara Chan, Leander Aerni, Baldouin Bee, Simon Zimmermann, Maud Haas

Wednesday, October 18th, Studio Review, ETH Zürich, ONA E30, 09:30 – 17:00

Guest: Sabine von Fischer

Redesigning Museums
Introduction 19 September 2023, 9.30am

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ruangrupa, Sarrum and Grafis Huru Hara, Gudskul, Documenta 15, Kassel

The last forty years have been a great success for museums and for museum architects. Never have so many of these institutions been constructed in so many different places. Their popularity reflects the global expansion of tourism and the pressure for cities and towns to develop their attractions. The financialization of art has meant that as collectors and their collections have immeasurably expanded, so too must the provision of museums.

Zurich has three significant examples of this phenomenon; Museum Rietberg (Grazioli and Krischanitz 2007), the Löwenbräu Areal (Gigon Guyer 2014) and the Kunsthaus (Chipperfield 2020) Each was expanded and restructured in response to specific conditions, yet all are part of this general global tendency. Whilst museum extensions are always sold as being about making more of the collection accessible to a wider public (and thanks to the support of generous benefactors), in the last decade the critique of these platitudes has intensified. The continued elitism of most cultural institutions, both in terms of their staff and their audiences, the racism and sexism inherent in their collections and institutional structures, and the nefarious origins of their collections, are now impossible to avoid and museums themselves have acknowledged that things must change.

So, what can we do about a problem like museums? We could just blow them up and start again, but that would not be very sustainable, and confronting historical problems is always more productive than erasing them. This semester we will redesign the museum, making projects that test the capacity of architecture to address historic bias in the content of museums, and social exclusion in their buildings. We will not embark on a search for the ideal museum but will rather closely engage with the trio of Zurich museums; talking to the people who run them, participating as visitors in their exhibitions and programmes. Guided by past and present disruptors in the art world, for example, the Guerrilla Girls (1985-), Group Material (1979-96), and ruangrupa (2000-) we will make concrete proposals to ‘hack’ both the organisation as well as the architecture of the museums. Our aim is to make projects where the museum and its collections more closely reflect and engage with the societies that they are a part of - with the community of Zurich in 2023.

Introduction: 19 September 2023, 9.30 am, location to be announced
The integrated discipline Construction is included in this course.

HS 2023, ETH Zürich, Studio Caruso
Emilie Appercé, Tibor Bielicky, Adam Caruso, Claudio Schneider, Barbara Thüler

Paris, le trottoir et la plage
Seminar Week: October 23–27, 2023

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The Opera Garnier being restored. The capital invests in cleaning up its major monuments in preparation for the Olympics. January 2023

Expansive boulevards, formal gardens, infinite arcades, limestone facades and zinc roofs – the 19th century historic core of Paris appears immutable and more than a little hermetic. The grand cultural institutions embedded within the city – the Louvre, Palais Garnier, La Comédie Française, Musée du quai Branly – have an imperious presence consistent with their monumentality and an authority bestowed by the centralised structures of power. Beside this republican weight, the citizens of France are notoriously practiced revolutionaries, with a readiness to protest and set things alight. These are not merely the actions of the mob, but rather developed political mechanisms supported and theorised by diverse networks of public intellectuals.

We will visit Paris to engage with its great institutions at a time of institutional crisis brought on by the ever-increasing acknowledgement of how the inequities of empire are still rotting at the core of contemporary life. By interrogating the origins of collections and the stories they tell we will try to discern what can replace a discredited western canon. We will have this discussion with the members of those institutions and equally with cultural activists working at the periphery, the places where the stone runs out but where culture, learning and society can experiment with new forms. Our search will span from the 1st arrondissement to Pantin, where Emily in Paris meets la Haine.

The costs are 501–750 CHF including transportation within the city, one dinner, entrances and reader.
Category C, 16 students

HS 2023, ETH Zürich, Studio Caruso
Emilie Appercé, Tibor Bielicky, Adam Caruso, Claudio Schneider, Barbara Thüler

Re (Reframe, Rearrange, Repeat)

The house of Memory
Wen Guan
FS  2023  Re (Reframe, Rearrange, Repeat)

1/13

Empty hall, machines gone, workers disappeared… forgotten by time, fortunes of dozens mills in Glarus, ghosts of the grandiose industrialisation, despite the collective fame of Glarus industry.

 


The labourers, who had devoted their whole lives in the mills, have faded out the line of sight of people, so as their single stories. Today, the columns has become the only witness of the past everyday life, with the names of the silent nobodies, which exposes their unspoken wishes to be remembered. There are thousands of concealed individual ordinary stories to be discovered under the collective glorious one.

 


The house of memory, a place, where the echos of old industry are going to be collected, while the new creative chapters are in process. A living chronicle of the local industrial past, composed of an archive filled by locals, as well as a research centre and atelier for scholars, artists, designers and entrepreneurs form outside. It is an exhibition and celebration space for all, a new story to be continued by thousands of individual participations. 

 


The house of memory is a bridge from the past to the future, honouring the industrial legacy of Glarus while inspiring innovation and creativity. We remember, we honour, we reimagine. Through remembering the past, we shape an open future.

Carolina Cerchiai / Chaoyi Yu
FS  2023  Re (Reframe, Rearrange, Repeat)

1/12

Beverly Buchanan

1/6
Edited by Leandro Dietz, Andri Heini, Naomi Schanne, Marthe Maerten
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FS  2023  Re (Reframe, Rearrange, Repeat)
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FS  2023  Re (Reframe, Rearrange, Repeat)Seminar WeekPDF  215 KB
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Reframe, Rearrange, Repeat

THE COPY WITHIN ITS FRAME
Ludwig Hänssler
HS  2022  Reframe, Rearrange, Repeat

1/16

The office building at Gartenhofstrasse 17 was built in 1966 by Sigmund Feigel (1921 - 2004). While the adjacent Zweierstrasse is lined by a row of office buildings constructed around the same time, Gartenhofstrasse 17 is slightly set back into the street, reaching into the realm of residential buildings and neo-classicist factory buildings.

 


Throughout its lifespan the building had been renovated several times. The roof and the party walls on both sides have been isolated, the canopy renewed, and in 2011 the old facade panels were exchanged. The new facade, designed by Rolf Schaffner, led to a drastic decrease in energy consumption. The different construction periods result in a „bricolage des temps“.

 


Currently three of the building’s six stories are empty due to the relocation of municipal police offices, making the future of Gartenhofstrasse 17 uncertain.

 


Only few interventions are necessary to fundamentally change the organization of the building. 

On the inside a new form of living takes place where domestic spaces and the workplace fade into each other. From the outside the additions reinterpret the appearance of the building within its urban setting. While keeping the integrity of Schaffner´s facade intact, the side facades are opened with large pivoting windows that create a vis-à-vis to the adjacent neo-classicist buildings. In the courtyard one of the three parking garages has been opened, creating an alley way between the former office building and a new atelier building. On the front side an extension of the canopy allows a glimpse into the hidden world of the backyard. 

 


The ways in which particular elements, spaces and structures are transformed remind us of the „rococoization“ of gothic churches.  By introducing a new grammar, given things change the way we perceive them. Despite the obvious friction between building periodes and languages there derives a new unity.

Nina Gautschi / Kristina Meier
HS  2022  Reframe, Rearrange, Repeat

1/14

Auguste Rodin

1/7
Edited by Nora Hochuli, Nina Gautschi, Kristina Meier, Yoann Miéville, Valentin Popescu, Janine Henz

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Re form

Time
Christian Cotting
FS  2022  Re form

1/16

Time

In a world where time is inevitably associated with money, places to escape are a rarity. Consumption shapes our behavior patterns and corrupts our inner path to a liberated life or a life after liberated time, where time does not mean money and where time is not connected to any productivity. The city‘s shape is one big display of our economic system, where human beings are degraded to replaceable parts of this unconceivable machine.

There is a lack of places which do not dictate where one can be and where one does not have to conform to a predetermined status quo and subordinate oneself to the productivity of the system.

The goal of a church is for an individual to be able to escape from everyday life and relate to their inners selves through ritual and meditation. A spiritual space can only be experienced when it stands in contrast to everyday life. Accordingly, a church must dissociate itself from the productivity and pressures of society.

By crossing Bahnhofstrasse, one is fully exposed to capitalism. With each step away from Bahnhofstrasse and moving closer to Niederdorf, one also enters a time capsule. Time is constantly decelerating. The tower of St. Peter’s Church protrudes behind the old town houses and can be seen from afar, however the path does no lead there directly.

The St. Peterhofstatt is an oasis. One feels relieved from the stress of everyday life. People come to the square to have lunch, to find a quiet minute or to relax. Like a black hole in the consumer-driven world, it is quiet and deserted. A rarity in the otherwise pulsing world. The big stairs act as a platform, the square as a promise for interaction between people.

To gain spiritual experience, one must always gain a sensual experience first. This is achieved through crossing the square and entering the church. The church forms a continuous space with the forecourt. The atmosphere of an oasis that can be felt in the square is transmitted to the church itself. It is a place detached from time and capitalistic pressure. A place for the community, where one can pray, work and live, where rituals happen, where the connection between the past and the future is accomplished. The church itself becomes a forecourt, the forecourt becomes the church. A continuous space of possibility is created that functions as an oasis. An oasis for a liberated time, for possibilities, for spirituality and for a space without regulations and without a program. An oasis for all.

Cloister

The cloister on the forecourt of St. Peter’s Church manifests itself as a new gateway and meeting point for the church and the square by structuring it. The atrium acts as a center for the forecourt. The slope of the roof collects rain water and directs it through a gutter into the fountain. One is constantly confronted with the calming sound of falling water.

Sanctuary

The old doors of the church are removed so that the church space can be read as one continuous space with the forecourt, now also functioning as a roof. A new structure is created inside the church that provides a new space for prayer. As the congregation of active churchgoers dwindles, the size is adjusted accordingly. The form is defined by the shape of the prior Romanesque church. This creates an asymmetry with the nave. The prayer room aligns on one side to the old church tower and interrupts the symmetry of the nave, creating a direct connection between the entrance of the church and the room. The prayer room reads like a canopy. It protects the sanctuary of the church and its congregation. The filigree steel structure is covered by a fabric roof. The windows on all sides are equipped with a motor, which allows one to raise the windows to enlarge the prayer room in case of a bigger event. By separating the prayer room, the rest of the church can be read as one space.

Cell

In the back of the church, cells open up to further reduce the size of the large church space. The cells allow one to find isolation. Through the placement of the walls and the pews set against them, each niche takes on a private character and gives new meaning to the existing choir stalls. One comes to terms with oneself and defines one’s own program. The area is lit sparsely compelling visitors to focus more on their other senses.

Herb garden

The rear St. Peterhofstatt opens up to nature in a new way. Parts of the head pavement are removed and re-stacked as benches. The areas without head paving are covered with plants, which support the sensory experience one can have in this place. Specific local wildflowers and herbs are chosen that are visually stimulating and secondly attend to the sense of smell.

Even if the place is visited daily, it is still detached from everyday life. The place itself creates a “purposeful uselessness” and thus withdraws from the ordinary state of the city. One is confronted with one’s senses at every moment, which leads to a confrontation with oneself. The place offers a chance in a central and prominent location to create spaces that relate to the human being and do not have to make capitalistic profit.

Julie Bovier / Marine Lachat
FS  2022  Re form

1/25

Neue Kirche Fluntern

1/3
Edited by Charlotte Thallinger, Donata De Leso, Marvin Bienz, Victoria Balmer
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IEA Lecture

You cannot take risks without failing
March 15, 2022, 18:00

Adam Caruso
IEA Lecture Series FS 22
One Building, Failure Is an Option

ETH Zürich, ONA, Fokushalle

Watch the lecture online

Interim, forever

(Ge)Schichten
Natalie Klak
HS  2021  Interim, forever

1/38

Chair of Architecture and Construction
Adam Caruso
The project is presented as a folder, a collection of stories, architectural details, and material understanding, to provide information about the handling of the building and propose a resource for an ongoing transformation. The pages and stories can be rearranged, offering multiple readings and interpretations of the building, architectural fragments, and the interventions.

The research project engages with the hotel building known as Marriott that opened in the 1970s as an autonomous object in the city center of Zurich.The research unfolded stories about the building from contact with the original architect of the building, the interior designers, and the Head of Engineering who has worked in the building for over 25 years. Since the opening of the hotel, the idea of a «complete work of art» has been defiant. Over the years, the building underwent numerous modifications and transformations, revealing mutable versions of itself to keep up with the changing trends in hotel architecture.The generic new interiors have alienated the building’s interior from its shell. Each trend lasts for a generation and is custom- made for international hotel guests.The real users of the building, the workers, are thereby overlooked.The spatial separation between the front and back of the house is disproportionate.

The light touch aims to transform unused or historically interesting spaces in the hotel by critically reframing the existing layers and instrumentalising what is there.The actions are planned following the skill and expertise of the Engineering Team members of Marriott who have been in charge of every change ever made. Each space is appropriated to a new programme to tell the stories I encountered and reveal (im)material values that the building holds. Old, intermediate, and new layers create new atmospheres that are characterful to reconnect the hotel to its users and stay relevant in the future.

Juliet Ishak / Leonie Huber
HS  2021  Interim, forever

1/17

Zitrone Dietikon

1/4
Edited by Victor Jörgensen, Juan Marin Martinez, Jierui Yu, Leonard Schmidt, Ileana Crim, Marius Mildner, Tuyet Nguyen, Theo Mayer
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Women Writing Architecture

Website Launch
June 30, 2021

The website womenwritingarchitecture.org was launched this week on June 30th. The new resource, an annotated bibliography of writing by women about architecture, is now publicly accessible to discover, browse and contribute to.

Making Plans for Living Together

Xuehan Li
FS  2021  Making Plans for Living Together

1/31

Cohabitation

City as one living organism provides habitat for human and non-human being, they influence their abiotic environment and the environment in turn as well influence the biota.

Due to the urbanisation and monoculture soil usage, city becomes a refuge for wild animal. City should co-evolve with its environment, empower the nonhuman actors and define new typology for cohabitation.

Triemlifussweg is characterized as a „Siedlung Biotop“ connected Uetliberg and Cemetery Sihlfeld.

The these is an interdisciplinary research of sysnanthrope species and aim to develop a strategy of cross-species cohabitation.

cohabitation.cargo.site

Nora Schibli / Yagmur Kültür
FS  2021  Making Plans for Living Together, Zürich

1/19

Abbaye Notre-Dame de Sénanque

1/6
Edited by Jan Schweizer, Yiran Zhang
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Making Plans for Living

Xenia Strohmeyer
HS  2020  Making Plans for Living

1/15

Caroline Dietlmeier / Sara Katharina  Keller
HS  2020  Making Plans for Living, Zürich

1/18

Soziale Fassaden, Isa Genzken

1/7
Edited by Rahel Hüsler, Nina Rohrer, Daniela Burki, Ramona Köchli
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Live: What is Next?

Seminar week 19–23 October 2020

A few semesters ago the studio tentatively made moves towards modernism. The evident failure of architecture to address the imbalance of contemporary life provided the motivation to look again at the more ideological and programmatic promises of modernism, particularly the second wave of the 60s and 70s, whose discourses were broadened to encompass themes of gender, the legacies of empire and the growing imbalances in our environment. The consumer driven economy and its insatiable consumption of precious resources is not sustainable, and the desires it claims to fill can never be satisfied. We need to shift our attention to things that give us purpose and happiness. What should we be doing, and how can we have fulfilling lives?

From our new home in Zürich Oerlikon we will meet and debate, both in person and on Zoom, a wide range of figures who are challenging the status quo of technique, economics and politics. We will both declare our existence to the wider world and also call for participation from beyond the limits of academia. The idea is that this intense week of research and outreach will supplement the ongoing themes of the studio, forming the basis of an interactive screen based journal and a special edition reader.

For the week we are collaborating with the Architecture Foundation, who is presenting and streaming the discussions throughout the week and who makes them accessible to rewatch on their YouTube channel

HS 2020, ETH Zürich, Studio Caruso

What is it worth?

Tommaso Delcò / Matteo Marangione
FS  2020  What is it worth?, Zürich

1/17

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Andrea Fraser

1/2
Edited by Leo Graf, Anina Schmid, Toja Coray, Daria Ryffel

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Society and the Image

Roma Brunner / Carmen Kempf
HS  2019  Society and the Image, Zürich

1/19

Sophie Calle

Edited by Gionata Buzzi, Anna Clocchiatti, Flurina Leuchter, Nina Flurina Rickenbacher

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Public Building

Joel Schmid / Milena Kuster
FS  2019  Public Building, Zürich

1/9

Reconstruction of the Baths of Diocletian, Andrea Palladio
Rom, 1540

1/4
Edited by Jasper Buchmann-Ebbert, Artai Sanchez, Louise du Fay de Lavallaz, Sabrina Waibel
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Hidden Interiors

Anna Maclver-Ek / Alexandre Lebet
HS  2018  Hidden Interiors, Zürich

1/8

Chambre á Coucher, Charles Percier /  Pierre-François-Léonard Fontaine
Paris, 1812

1/5
Edited by Tobias Wagner, Maximilian Seibold, Julia Messerschmidt, Luisa Overath
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The Ideal City

Luka Lijovic / Graziella Gini
FS  2018  The Ideal City, Spreitenbach

1/6

Highrise City, Ludwig Hilbeseimer
1924

1/4
Edited by Simeon Bodmer, Elif Erez, Jasmin Kunst, Victor Stolbovoy
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FS  2018  The Ideal CityPoster SeminarweekPDF  589 KB
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Describing Beauty

Stephan Mauser
HS  2017  Describing Beauty, Zürich

1/16

Olivestone, Joseph Beuys
1984

1/16
Edited by Georg Bachmann, Marc Küttel
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Structure and Society

Basile Diem / Vincent Gorjat
FS  2017  Structure and Society, Zürich

1/7

Les Espaces d'Abraxas, Ricardo Bofill
Marne-la-Vallée, 1982

1/5
Edited by Christoph Bieri, Cynthia Gilli, David Ziegler, Christine Kaufmann
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Social Structure

Allegra Stucki / Lenz Schnell
HS  2016  Social Structure, Graubünden

1/28

Infrastructure & Tourism
Graubünden

1/15
Edited by Allegra Stucki, Enrico Pegolo, Julia Oehler, Lenz Schnell, Luca Branger, Nils Franzini, Tim Simonet, Tobias Gagliardi
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