A New Museum

A New Museum - Studio Review 1
March 27, 2024

1/5

Altstetten / Group Material, Paulina Gähwiler, Franziska Gödicke, Eva Meier, Jakob Schaefermeyer, Sacha Toupance, Maurus Wirth

Wednesday, March 27th, Studio Review, ETH Zürich, ONA E30, 10:00 – 17:00
Guest: Julia Born

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

1/6

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

1/6

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

1/6

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

1/3

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

1/3

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)

Ensemble, Configuration and Reconfiguration
Luzia Rohrer
FS  2023  Re (Reframe, Rearrange, Repeat)

1/10

The canton of glarus was strongly influenced by the industry of the cotton manufacture in the 19th century. The former cotton printing plant on the Löntsch in Netstal, Canton Glarus is representative of the industrial ensembles that were built at that time. Unfortunately, many of these have already been destroyed and this ensemble is also not sufficiently protected and is therefore threatened with demolition. The Stöckli AG company, founded around the same time 200m further downstream, has had consistent growth and is therefore strongly interwoven with the village today. However, its possible expansion is limited by the river, the cantonal road and an interwoven residential area. In 1976, the company Stöckli AG bought the old industrial ensemble with the idea of demolishing it if necessary and integrating the area into their production with a new building. In order to prevent this, the potential in preserving this ensemble has to be shown to the company on various levels. Their offices, reception as well as an exhibition space could be brought under one roof in the beautiful interiors of the old industrial ensemble and together with the remaining buildings of the ensemble, the inner courtyard could be made into a village centre for Netstal. This would clarify their corporate identity as a traditional, innovative family business that has grown together with the village to its current size. But before this scenario becomes credible, a new spatial organisation of the site must be sought. The old industrial building, or more precisely the location of the ensemble, must be freed from its function as a potential production space or storage area, as this would inevitably lead to demolition. This is where this diploma project comes in. With a punctual intervention that functions like a catalyst, a rethinking of the company's strategy and a new organisation of the site is initiated. By significantly improving the logistical situation of the heterogeneous Stöckli site (with a new, efficient high-bay warehouse and a new axis that connects production, warehousing and shipping), it opens up new thinking space for the sustainable development of Stöckli AG into a shared future with the village of Netstal.The canton of glarus was strongly influenced by the industry of the cotton manufacture in the 19th century. The former cotton printing plant on the Löntsch in Netstal, Canton Glarus is representative of the industrial ensembles that were built at that time. Unfortunately, many of these have already been destroyed and this ensemble is also not sufficiently protected and is therefore threatened with demolition. The Stöckli AG company, founded around the same time 200m further downstream, has had consistent growth and is therefore strongly interwoven with the village today. However, its possible expansion is limited by the river, the cantonal road and an interwoven residential area. In 1976, the company Stöckli AG bought the old industrial ensemble with the idea of demolishing it if necessary and integrating the area into their production with a new building. In order to prevent this, the potential in preserving this ensemble has to be shown to the company on various levels. Their offices, reception as well as an exhibition space could be brought under one roof in the beautiful interiors of the old industrial ensemble and together with the remaining buildings of the ensemble, the inner courtyard could be made into a village centre for Netstal. This would clarify their corporate identity as a traditional, innovative family business that has grown together with the village to its current size. But before this scenario becomes credible, a new spatial organisation of the site must be sought. The old industrial building, or more precisely the location of the ensemble, must be freed from its function as a potential production space or storage area, as this would inevitably lead to demolition. This is where this diploma project comes in. With a punctual intervention that functions like a catalyst, a rethinking of the company's strategy and a new organisation of the site is initiated. By significantly improving the logistical situation of the heterogeneous Stöckli site (with a new, efficient high-bay warehouse and a new axis that connects production, warehousing and shipping), it opens up new thinking space for the sustainable development of Stöckli AG into a shared future with the village of Netstal.

Simon Assal / Keivan Haghighat
FS  2023  Re (Reframe, Rearrange, Repeat)

1/12

Michael Asher

1/7
Edited by Paula Kiener, Samuel Giblin, Silvie Frei, Chloe Szwarc, Lukas Burger, Aleksandra Skop
FS  2023  Re (Reframe, Rearrange, Repeat)PosterPDF  384 KB
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.

Héloïse Dussault-Cloutier / Daniel Epprecht
HS  2022  Reframe, Rearrange, Repeat

1/17

Richard Prince

1/11
Edited by Oana Popescu, Titus Studer, Elia Trachsel, Guillermo Padilla, Lorena Bassi, Dzulija Jakimovska

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Re form

GLIMA ("CLOAK")
Eric Wuite
FS  2022  Re form

1/22

A hybrid building for the Jewish community and the reformed church

High on top of the Bürgliterasse — a hill in the district of Enge in Zürich —stands the monumental reformed church Kirche Enge. It was built by Alfred Friedrich Bluntschli between 1892 and 1894. The distinct Neo-Renaissance style was directly inspired from Gottfried Semper himself, of whom Bluntschli was an important disciple. While the church was frequented by many inhabitants from the parish during the early twentieth century (the church provides seating for approx. 1200 people), the monumental church is currently severely underused. According to the sexton, a maximum of 100 people show up for the bi-monthly congregation.

Meanwhile, the Jewish community of Zürich, which is concentrated in Kreis 2 and 3, require a large amounts of space for worship and gathering. In this project, the specific constituency is Zürich's liberal Jewish community Or Chadasch ("New Light"). Through an interview with the president of Or Chadsch, the proposed project was briefed by some crucial requirements and contradictions. For the church in Enge to be converted into a synagogue, following aspects need to be considered:

The congregation must face Jerusalem, which lies on the diagonal axis of the crossing pointing towards South-East.Any depictions of Christian figures and symbols must be concealed. In general, ornamentation is undesired in a modern synagogue.The space should provide a much higher level of illuminance, as the synagogue will be used for multi-functional purposes (such as political talks, readings and festivities).These requirements should be solved with the stance of minimalist structural interventions, as the church stands under landmark status and does not allow significant constructive alter- ations. The mandatory S-E direction is addressed by creating a symmetrical space along the diagonal axes and making the church benches mobile. Any ornamentation will be covered by large-scale curtains (which can be contracted to ensure a hybrid use for both religions). The inner dome will be partially removed, which exposes the well-lit tholobate and allows for additional light to enter the church.

The shapes and concepts of the project have been informed by Semper's Stoffwechseltheorie, the emulation of existing elements of the church and formal concepts from the Kabbalah (a variety of Jewish mysticism).

Jacqueline Wong
FS  2022  Re form

1/25

Bullingerkirche

1/11
Edited by Amélie Chiffelle, Céline Bourban, Marine Lachat, Julie Bovier, Xingyu He, Julius Schwartz
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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

Familiar Strangers
Grégoire Bridel
HS  2021  Interim, forever

1/29

Familiar strangers proposes a scenario that slowly transforms the hotel and its management style, learning from the daily disruptions and misuses. Alterations spread over time are accumulated on top of each other, creating and discovering other uses of the building. After all, embracing change is one of the core values of Marriott.

Like stage sets, hotels and their lobbies catch attention and provide a backdrop for human interactions. Rather than forcing contact between guests, a new model is put into place by letting visible traces of usage: objects are slowly put on display, voluntarily or not, and become screens onto which imaginative stories of lives past and present can be projected. Temporary kinships are created, and the building and its users become familiar strangers. Gradually, the rooms are transformed into something that can be different and the building is reconnected to the city, fulfilling Marriott’s global vision for the hotel to be “Zurich’s inspiring place, where brilliance connects people.”

Juliet Ishak / Leonie Huber
HS  2021  Interim, forever

1/17

Projekt Interim Waldhaus

1/4
Edited by Karlo Keca, Florian K Jaritz, Leonie Huber, Juliet Ishak, Kelly Meng, Charlotte Pitteloud, Lancelot Burwell, Anastasia Zharova
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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

Arnaud Pasche
FS  2021  Making Plans for Living Together

1/53

Re-working the mosaic questions the arbitrariness imposed by the cadastre and sug-gests to the inhabitants of the neighborhood a new appreciation of their surrounding landscape. A series of architectural and landscape interventions revisit the fragmen-tation caused by the urban mosaic as it is today and thus draw a constellation along the Triemlifussweg highly beneficial for biodiversity. Their complementarity offers residents a sustainable infrastructure that allows them to feel native to their place and thus reinforces the feeling of belonging to a community.

arnaudpasche.cargo.site

 

 

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

1/19

Chelsea Hotel

1/6
Edited by Marco Busarello, Laura Cereghetti, Lucia Giacobbi, Cristina Urzola, Fiona Kuang, Linda Sjøqvist
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Making Plans for Living

Yeshi Wang
HS  2020  Making Plans for Living

1/17

Norma Clematide / Christa  Held
HS  2020  Making Plans for Living, Zürich

1/20

Craneway Event, Tacita Dean

1/4
Edited by Leslie Majer, Félicie Morard, Norma Clematide, Christa  Held
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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?

Jessica Bützberger / Alessandra Ortelli / Maude Voutat
FS  2020  What is it worth?, Zürich

1/16

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Sophie Calle

1/4
Edited by Zelda Frank, Wiebke Gude, Katharina Sarah Wolf, Meret Heeb

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Following Traces
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Society and the Image

Diego Bazzotti / Arko Naroyan
HS  2019  Society and the Image, Zürich

1/10

Sophie Calle

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

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Public Building

Philippe Bleuel / Gent Ibrahimi
FS  2019  Public Building, Zürich

1/11

Recueil et parallèle, Jean-Nicolas-Louis Durand
Paris, 1799

1/7
Edited by Karina Breeuwer, Jessica Cabrera, Solange Piccard, Christopher Smith
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Hidden Interiors

Xiao Lu / Bing Yang
HS  2018  Hidden Interiors, Zürich

1/6

Palais Stoclet, Josef Hoffmann
Brüssel, 1911

1/6
Edited by Andrea Waldburger Diaz, Xingjian Lia, Magnus Lidman, Simon Würgler
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The Ideal City

Felicia Liang / Noah Steiner
FS  2018  The Ideal City, Albisgüetli

1/6

CIAM City, Le Corbusier
1930

1/6
Edited by Timmy Huang, Johannes Koller, Divya Mehra, Varun Shah
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FS  2018  The Ideal CityPoster StudioPDF  358 KB
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FS  2018  The Ideal CityPoster SeminarweekPDF  589 KB
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Describing Beauty

Saori Katsube
HS  2017  Describing Beauty, Zürich

1/14

Annalena Altarpiece, Fra Angelico
Italy, 1435

1/12
Edited by Kouros Azar, Francesco Colli
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Structure and Society

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

1/7

Centraal Beheer, Herman Hertzberger
Apeldoorn, 1972

1/5
Edited by Susanna Croce, India Kuhn, Nadine Weger, Nina Stauffer
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FS  2017  Structure and SocietyPoster StudioPDF  906 KB
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Social Structure

Laura Favre-Bully / Alix Gasser
HS  2016  Social Structure, Graubünden

1/27

History & People
Graubünden

1/19
Edited by Alix Gasser, Dennis Häusler, Jan Westerheide, Josephine Eigner, Laura Favre-Bully, Vanessa Danuser
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