Content is king!" Michael Rütti agrees. "But our aim is to dramatize content once again," says the Managing Director of Crafft, describing his agency's somewhat different core competence. The name is a combination of the English word "craft" - coupled with an additional f for form and function. Michael Rütti found the theoretical basis for this work in a book by Richard Sennett. In his latest treatise "Handwerk", the great thinker and sociologist describes how craftsmanship is characterized by the ability to be completely absorbed in the moment or in the detail - and at the same time "to always have the next step, which leads to the whole, in mind". The spirit of craftsmanship in Sennett's sense is therefore not characterized by perfectionism, but by a "carefulness".
"When I read Sennett's book, it dawned on me: This is exactly what our agency is like. We have an eye for detail - and on the other hand, we have the brand's strategy. We have to harmonize this in our messages," explains Rütti. The familiar logo for Aids-Hilfe Schweiz, the golden emblem for the Château Gütsch and the forthcoming redesign of the Kunsthaus Zürich magazine are concrete visualizations of what Crafft can ultimately imagine thanks to this additional f.
Michael Rütti was already aware of his passion for shapes and design as a child. "I copied the logos on my cars onto paper in the toy world." Later, he wanted to become a graphic designer, but his parents were less than enthusiastic. Even an escape from secondary school to an art school in San Francisco was thwarted by his environment. Rütti ended up studying business administration in Fribourg, specializing in marketing and corporate management. After graduating, he found an assistant position at the university and spent some time researching a dissertation on "Corporate Design for Associations". However, the work on the proposal soon became too theoretical for him.
A job at Bernet PR in Zurich led more specifically to the field of communication and design. Here, Rütti learned above all "the craft of how to create a good concept". For the implementation, he enjoyed the contact with many freelancers. One of them was graphic designer Daniel Schneider, the owner of Inform at the time. They got on well - and so Rütti joined Schneider's team in 2002. Together they wanted to turn the graphics studio with three employees into a proper agency. Rütti was to contribute the corporate knowledge and concepts. Schneider was the designer. "We complemented each other perfectly." A limited company was founded, they moved into spacious premises in a loft on Zurich's Hohlstrasse and the company was eventually renamed the Agency for Visual Communication. One of the first important clients was ETH Zurich. Social and cultural commitments as well as commissions from the federal authorities also played an important role for the agency.
When Schneider wanted to do more of his own things again in 2007, Michael Rütti took over the majority of Inform and brought two new partners into the team, Alexander Kranz and Cédric Tribolet. "I knew that we had to expand in the digital sector and also in terms of content."
The new orientation was rewarded with a pitch win for Helsana. Crafft produces all customer magazines and the internal employee magazine for the insurance group. Erdgas Zürich and Edisun Power Europe also won the pitch to revise their corporate design. With the Aarau and Winterthur cantonal hospitals and the Triemli city hospital, the agency has now become an established name in the healthcare sector. But the agency is also open to other sectors.
As an outward sign of its take-off with an even broader range of services, the agency, which now has 14 employees, also changed its name this year from the formal-sounding Inform to the stronger Crafft. Martin Kurzbein's commitment also shows where the development is heading. The experienced art director of Saisonküche recently moved from Migros' Food Competence Center to Crafft as the new Head of Design. "New customer budgets and competitions will bear his signature in future," promises Rütti. His arrival comes at the right time: Kurzbein can show what he can do in two current major competitions in the field of corporate publishing. The agency also has a lot to offer medium-sized companies in the area of corporate design. "We are interested in clients for whom we can do brand development with design and then also take on the communication."
For such orders, Crafft appreciates the fact that customer contacts of this size still take place directly with the CEO. "This is the best level at which to talk and make decisions." Crafft has not yet felt the effects of the much-cited crisis. With the same number of employees, the agency had already generated more turnover by August than last year. And two new talents are soon to be integrated into the team. Michael Rütti is delighted that both future employees are represented with their diploma thesis in the ZHdK's anniversary book "Visual Communication", which features the best work of recent years.
Andreas Panzeri

> Submission by Andrea Günter
> Submission by Désirée van der Sluijs
> Submission by Janine Zundel
> Submission by Mohammad Saleh Ameri Toursani
> Submission 2 by Mohammad Saleh Ameri Toursani
> Submission by Till Burgherr

Submitted texts:
Is advertising art? This question involves two terms: on the one hand ADVERTISING, on the other ART. The questions "What is art?" and "What is advertising?" hardly lead to a solution, because the answers to these questions are as diverse and varied as the population of our planet. Only by considering "What makes art?" and "What makes advertising?" can explanatory statements be made on the question "Is advertising art?": Art expresses, is felt, arouses emotions, stimulates thought. Art wants to convey a message to the viewer and the consumer. This is also the task of advertising. Seen in this light, "advertising is art!"
Patrick Rinderli, photographer, Stallikon

Art was once advertising. An example from the 16th century: The client was Pope Julius II. His briefing: Image campaign for God. Target group: the general public. Media plan: 520 m² of ceiling painting in the Sistine Chapel. Budget: large. After intensive evaluation, the commission went to Michelangelo, who impressed not only with his craftsmanship, but also conceptually: you have to come up with the idea of painting Genesis with two outstretched fingers.
In the meantime, the concept of art has changed several times. So has advertising. Even if both are the result of a creative process, even if both are based on similar intellectual and technical mechanisms, even if both are strongly influenced by time and society - there are nevertheless two major differences between contemporary art and today's advertising: 1. advertising has the goal of anchoring a brand in the market and selling it - whereas the valuable thing about art is precisely that it does not have to clearly correspond to a function, a meaning, a purpose, a goal. 2. the advertiser carries out commissions - whereas the challenge for the contemporary artist is precisely that he is not only the creator, but also his own client, who sets himself the task.
Joseph Beuys put it in a nutshell on a postcard: "Whether advertising is art depends on what it advertises." The postcard is in my office.
Frank Bodin, Chairman & CEO Euro RSCG Switzerland, President bsw Leading Swiss Agencies, Zurich

Just imagine: You are strolling through some lofty temple of art in some metropolis and the latest Conforama poster is hanging next to Cy Twombly's "Wilder Shores Of Love". One room further on, the Germanic shooting star Jonathan Meese is clenching material in his usual trashy, wild manner, while the Swiss advertising doyen Hermann Strittmatter reads out the best few radio spots from the latest ADC book. In my opinion, there's no need to go to the Bible for the passages on creation, to Heidegger for those on the material, and to the Internet for everything that Google spits out for the search terms art and advertising. What's more, the good Schirner has long since told the Scholz & Friends gymnast that advertising is only art because he has declared it to be so. However, I personally like the following saying, which someone sprayed on a Berlin firewall, much better: "Advertising is sausage".
Tamás Kiss, Hesskiss, Zurich

Michael Schirner: "Painters"
"Since I was serious about equating advertising and art, I had to declare the visual arts my domain as well. In order to focus on the problem of authorship and to prove that good ideas come from advertising, I took up an idea from our Düsseldorf campaign: the advertisement with the signatures of famous painters. I exhibited these signatures, hugely enlarged and painted in oil with the original background, in Hans Meier's gallery. The paintings in the "Painters" series show that art became advertising, which eventually became art, which brings us back to the beginning of this story at the end. Thus I have created works that all come to their completion in the self-abolition of the expert and specialist. Under this self-abolition I have placed my name as a signature, claiming authorship for the whole, which in its parts has led authorship ad absurdum and proven that art is only advertising and advertising only art, i.e. both nothing special, but the highest and most sublime."
from: Michael Schirner (1988), Werbung ist Kunst, Munich.

The question "Is advertising art?" is often asked - usually to enhance the value of advertising. It is intended to draw attention to the fact that advertising can also be original, astonishing, provocative or simply beautiful, i.e. possess qualities that are otherwise associated with art. However, "art" cannot be narrowed down to a specific set of characteristics and defined in this way. (Otherwise the question "What is art?" would be easy to answer!) Rather, art is what is exhibited in a museum, acquired by a collector, discussed in a feature article - in other words, what people or institutions with the authority of connoisseurship pass off as art. Of course, this can also be something that is actually advertising. Just as it can be (and has been) vacuum cleaners, tins or urinals. Yes, as it can ultimately be anything. But this also makes the question "Is advertising art?" arbitrary - not unlike the questions "Is a stuffed bird art?" or "Is a dead fly art?".
Wolfgang Ullrich, art and media theorist, author, lecturer, management consultant, Munich

Is advertising an art?
Perhaps this is the way to approach the issue:
Why don't you open a magazine, Spiegel, Brigitte or ?
Then the question has already been answered almost exhaustively.
When we talk about ability.
Or intelligence.
Who photographs, writes texts, designs, decides.
Have they all forgotten their studies, their craft?
Why is advertising dumber than the editorial environment?
Something has happened.
But what?
Or is art perhaps advertising?
Doesn't she also have to sell herself?
Even if artists and gallery owners don't like to hear it.
So let's leave that alone.
I would actually like to give a different answer.
Let's talk about communication.
And learn from each other. Mutually.
From film. From the theater. From dance. From directing. Of the visual arts, the sculptors.
About literature. The photographers. Of designers. From graphic designers.
And of course the advertisers. The ones who still have some attitude.
Craftsmanship would almost be enough for me.
Modest as I have become.
Thomas Feicht, ex-advertiser and re-designer, Chairman of the Board of the German Advertising Museum, Frankfurt am Main

The answer to the question of whether advertising is art is a definite no-but. It is and remains a commercial profession, even if the most talented in it occasionally succeed in creating commissioned works that gain cultural significance beyond the day. Which is why posters by Niklaus Troxler and the "Personalities" series of advertisements by Vitra hang in the Museum of Modern Art in New York (at least in the Design Section). Because outstanding advertising can develop an affinity with art, Federico Fellini shot commercials for Campari and Martin Scorsese for Armani - and advertising film directors such as Ridley Scott and David Lynch switched sides. Helmuth Newton photographed for Rolex, Tomi Ungerer drew for Bonduelle, Keith Haring created Absolut ads - and the commercial artist Andy Warhol immortalized brand icons. However, advertising cannot be declared to be art in its entirety, even if Michael Schirner tried to do so in the 1980s.
Jean Etienne Aebi, Creative Consult, Zurich

In our era, I associate the term art first and foremost with independence. Whatever creative products are created in the process do not primarily follow any dictates, but are a free, creative act. The marketing of works of art is a purely commercial purpose, which advertising, in contrast to art, pursues from the outset. Advertising is dependent on the favor of the client and can be an extremely sophisticated way of wooing consumers, provided that the execution of the advertising material is skillfully implemented and the content of the advertising message is based on a good concept. Advertising is therefore not art, but at best an art of seduction.
Trix Engeler, visual design Zone Zero, Bern

Advertising is NEVER art
At a time when beauty misses are presented like Milka cows, when everything is being mashed up with everything else in the media, people tend to neglect the simplest insights. When a lady or a gentleman gets up in the morning to do advertising, they are doing it on assignment. They only move their butts because they have a client. Advertising is a service, even if advertisers have always wanted to stumble up the prestige ladder to art because they suffer most from their purpose-bound rather than purpose-free creativity. They would also like to be creative artists (God knows there are enough ambitious, failed examples of wannabe artists among advertisers ...).
In contrast to all this, an artist has to reinvent his existence every morning; he is both his own contractor and client. It's as simple as that.
I think it's great that advertising has been borrowing from art in a refreshingly shameless way for 100 years and copying everything, really everything. I also think it's great that advertising finds its way into galleries and museums. But that doesn't make advertising art. But it is entertaining. That's enough, and it's hardly okay, is it?
Walter Keller, publicist and curator, Zurich

Advertising can attempt to achieve the most artistic character possible in various ways. In some cases, it makes use of art, working with artistic elements and creative forms. As in graphic design, illustrations or the creation of new fonts. It can often be observed how advertising is oriented towards art, how it allows itself to be influenced and guided by it. And although the two genres are similar in certain respects, there are clear contrasts between them. The most important difference between advertising and art lies less in expression than in context. Advertising is always purpose-driven - it aims to sell/inform. Art is to a certain extent free of predetermined functions, its statements and goals are diverse and changeable. In addition, art can be the process of creation itself. In advertising, on the other hand, it is the result and its effect that count. And to achieve this, advertising must ultimately be conceptual and easy to understand. Not so with art - the more complex it is and the more room for interpretation it leaves, the more interesting it becomes.
Thom Pfister, Creative Director at Cosmic, Bern

Art and culture in general must not degenerate into a product. Art is also not the aesthetically pleasing, the seductively beautiful. Art is a way of opening up the world and experiencing it through the senses, triggering thought processes that carry us further, engage us inwardly and cause unrest. Art can outwardly resemble advertising, even quote it, but, like Warhol's tins, it questions the self-evident, one-dimensional view and turns it into a cult object that attacks the absurdity of our current food consumption.
Advertising often draws visual or even conceptual approaches from the visual arts in order to draw attention to a product in a targeted manner. In the case of product advertising, this reduces the message to "Buy me!".
Oliviero Toscani's photographs for Benetton or currently for no-l-ita are interesting. They are messages against anorexia, against war, against oil spills, which he only draws with the client's logo. It is precisely this appropriation of a humane message by product advertising that creates a provocation, an unholy alliance. That comes very close to my definition of art.
Reinhard Manz, video designer and lecturer in art and visual communication at the University of Art and Design, University of Applied Sciences and Arts Northwestern Switzerland, Basel

DESIGN COMPETITION "IS ADVERTISING ART?"
Advertising Week has not only encouraged authors to think about whether advertising is art. To accompany the event, we joined forces with the Zurich University of the Arts (ZHdK) to hold a competition for art and design students on the same topic. Its aim: in addition to texts, images should also provide very individual answers to our question.
The jury - Markus Gut (Advico Young & Rubicam, board member of ADC Switzerland), Pius Walker (Walker Werbeagentur), Heike Pohl (Head of Communication ZHdK), Peter Vetter (Head of Visual Communication ZHdK, owner of the agency Coande) and the entire Werbewoche editorial team - assessed the unfortunately small number of entries and decided to award neither a first nor a second place in the competition. Janine Zundel achieved third place with the illustrated subject "Sale". Zundel is studying fine arts at the ZHdK and her prize is a one-year subscription to Werbewoche. Zundel's work quotes Robert Indiana's "Love". By replacing "Love" with "Sale", the artwork is transformed into a striking advertising motif. The work highlights the proximity of advertising and art.

Idea and realization: Anne-Friederike Wilhelm

Only when everything is as good as it needs to be, from animal husbandry to cheese storage, will a cheese become an Emmentaler AOC, i.e. a piece of Switzerland.
This is the basic idea behind the new advertising for Emmentaler from the Spillmann Felser Leo Burnett hut. In spring, the agency won the competition's presentation and then "had to react very quickly". In the phase virtually from the alpine elevator to the alpine elevator, new brochures, a website, standardized packaging with adaptation options for all retailers, a newsletter, various advertisements, promotional flyers and much more had to be designed based on the basic idea. "An Emmentaler AOC has to mature for 120 days before it receives this seal of quality. Our work on the campaign took almost exactly the same amount of time," says CD Martin Spillmann, proud of what has been achieved. Despite the fact that it only took four months instead of twelve, the rustic, modern appearance should actually be described as "cave-aged".
Oscar-worthy
A commercial by Xavier Koller embodies a splendid loaf within the entire performance. Only a few Swiss filmmakers make it to Hollywood. With his film "Journey of Hope", the now 65-year-old director won the Oscar for Best Non-English Language Film in 1991. For Martin Spillmann, however, Xavier Koller was predestined to work on this campaign even more because of his artistic sense for this mix of tradition and modernity. "The Frozen Heart" and "The Black Tanner" were and still are contemporary homeland films with a visual language full of tradition - but without homeland kitsch, as the advertisers for Emmentaler had in mind. An amusing side note: Martin Spillmann shot his first TV commercials with Xavier Koller, who was also gaining his first experience with advertising at the time. The world of websites, which also extends across the Atlantic, has now brought the two together once again.
Rapper Bligg was the third person to contribute music to this truly Swiss commercial. As on his current album, he created the tension between tradition and modernity for the Emmental-based company's new advertising world with specially composed music. This deliberate gap is visually enhanced with animated graphics.
These modern graphics are intended to show that in addition to the ideal conditions for the cows in nature, genuine Emmentaler also requires sophisticated technology in the cheese-making hut. Around 600 cheesemakers in Switzerland are allowed to sell their Emmentaler as AOC. These certified companies are all registered with a number that can also be found on the rind of the Emmentaler. This means that consumers can follow the path of their cheese without holes all the way back to the cow's pasture via the website. "A rustic idea to advertise the possibilities of a modern community in a further phase," says Martin Spillmann. Cheese lovers visit their personal alpine hut, just as wine connoisseurs go to their supplier's cellar for tastings.
The concept of the campaign, which has now been launched, is designed to run for at least three to five years. The claim "A piece of Switzerland", newly developed by SFLB, will also be used in all measures. The campaign will also be used abroad. In Germany and Italy in particular - the largest international customers for Emmentaler - the commercials will also be placed. To emphasize the Swissness, the films have been adapted there with a waving Swiss flag as an opener.
Association enthusiastic
Emmentaler Switzerland celebrated the premiere of the commercial and its versions together with enthusiastic cheesemakers and farmers in a movie theater in Bern. Many of them took part in the film as extras. Suppliers and retailers of the real Emmentaler can also identify with the campaign via a newsletter, where a making-of report establishes the link between advertising and product: "Only when everything is perfect does a cheese become an Emmentaler AOC. A piece of Switzerland."
Filming also took place at the show dairy in Affoltern im Emmental. The modern "hut", which is visited by over 300,000 people every year, provided the ideal location for the film. And inspired the advertisers to come up with a few more ideas. After all, in addition to Emmentaler, SFLB's portfolio also includes the budget of Switzerland Tourism.
Andreas Panzeri
> Spot 1
> Spot 1
> Spot 1

The new readership figures presented this week by the AG für Werbemedienforschung (Wemf) caused delight at most publishers. The titles of the corresponding newspaper articles were correspondingly positive. The spectrum ranged from euphoric to slightly cautious: "The newspaper that was said to be dead is back in", "Swiss newspapers are in high demand", "Press recovers from loss of readers", "Stopped loss of readers in paid newspapers", "Paid newspapers recover", "Free and Sunday titles reach more readers". The media companies are to be congratulated.
So have the newspaper prophets of doom of recent years been wrong? Not quite. While the latest figures show that the decline of subscription newspapers has slowed in the short term, the longer-term view unfortunately shows otherwise. Compared to 2004, 18 of 39 paid newspapers are losing significant numbers of readers (see also the article on page 33). The big winner is and remains the free press. It would therefore be completely wrong to sound the all-clear. The daily newspaper must reinvent itself. Rather, away from the news that is available everywhere free of charge and even faster, toward more background, classification and orientation. Or as Res Strehle, one of the two Tages-Anzeiger editors-in-chief, aptly put it in a radio interview: "The daily newspaper must become a tour guide in the news jungle." So the planned relaunches of the major dailies are necessary. Perhaps this will lead to a further increase in the number of readers of the newspapers. It is to be hoped so.
However, even the short-term positive readership figures cannot solve the current problems of the publishing industry. The media industry is in the midst of a huge crisis. In the first seven months of this year, the total volume of advertisements fell by almost 270 million Swiss francs, of which more than 160 million were commercial ads.
This decline has little to do with the development of readership, because it is cyclical. 2009 will be a disastrous year, and the outlook for 2010 is also gloomy. Quite a few industry experts are predicting a further decline of ten percent or even more. The business model that has worked for years (? advertising revenue and ? sales revenue) no longer seems to apply. New sources of revenue are therefore urgently needed. Even with an increase in readership, advertising revenues will not rise automatically and, if at all, will only be delayed.
So times remain tough.
Pierre C. Meier, Editor-in-Chief
[email protected]

A bright red climbing rope amidst white medical coats, with the words "Climbing the summit" underneath. This is how the cover of the current annual report of Aarau Cantonal Hospital (KSA) presents itself. It is clear at first glance that the following pages show more than just the facts and figures of the past year.
In addition to sober information, the company's image should also be presented in a positive light. No wonder: in terms of authenticity and credibility, the annual report is superior to many communication tools.
The expectations of other companies are also high. The annual report should support the brand, build trust and arouse sympathy. It should also correspond to the company, be recognizable and yet always surprise anew.
Route planning by professionals
The obstacles on the way to the goal are numerous. This is because the high expectations are accompanied by a multitude of ideas as to how they should be fulfilled. In most cases, it therefore makes sense to entrust the route planning to professionals. For a convincing result, the KSA also trusts experienced specialists. The aim of the 2008 annual report is to present the hospital's newly developed management values. The Crafft Kommunikation agency from Zurich has developed a tailor-made concept to anchor the abstract concepts of transparency, performance, responsibility, trust and dynamism in the hospital environment. Well-known motifs from the hospital world have been alienated with the attributes of mountaineers for this purpose. In addition, short texts explain how the values of the management mission statement are understood in concrete terms at the KSA. An editorial photo gallery, insights into the various hospital areas and a clearly structured financial and data section complete the annual report.
Leaving familiar territory
The ideal route depends on the individual company and the goals set. However, certain key factors can be named which - at least - make orientation easier. On the one hand, clear responsibilities and processes are important; in the case of decentralized production, an editorial system is even useful. On the other hand, it is also important to take care: an annual report is more than the sum of its parts. But it depends on the individual elements whether that "more" is achieved or not. It is worth investing in professional image composition and a reader-friendly design, and paying attention to stringency and style in the texts.
And finally: for an annual report to be effective, it must be perceived. In very few cases is it enough to align it with the company's corporate design. To achieve ambitious goals, you need the courage to leave familiar territory.

The Association of Swiss Publishing Professionals Presents a Check
A raffle was held this year as part of the boat cruise organized by the Association of Swiss Publishing Professionals. Thanks to the generous VSV members and the attractive Apple prizes sponsored by Data Quest, the impressive sum of CHF 3,500 was donated to Swiss Childhood Cancer Aid.

Goodbye, garlic—the smell really stings
Anyone who rides the tram regularly knows what I’m talking about: bad smells can sometimes be painful. Whether it’s sweat, perfume, garlic, onions, or alcohol—odors can amount to assault. Smelling other people is unpleasant, and being smelled by others is just as bad. It’s a really awful feeling to have to hold your breath after a delicious pasta meal so the person sitting next to you doesn’t have to get off at the hospital. It’s also awful to be wafting a heavy, colorful cloud of odor in front of you after a boozy evening. The company St. Sin is now coming to the rescue in this predicament. At Suisse Emex 2009, it handed out gummy bears to combat garlic breath and glucose candies to combat alcohol breath. The products have been scientifically tested. Finally, we can ride home with various types of breath with a clear conscience. On the tram, of course! Only a prankster would think anything bad of that.

Grow with Switzerland's biggest women's magazine and reach over 420,000 readers per issue. SI Style. The biggest Swiss celebrity & fashion magazine.

For the first time, the Mach Basic titles analyzed by MTJ achieved more contacts than a year earlier. The free share has hardly changed.
> Part 1 as PDF
> Part 2 as PDF
> Part 3 as PDF

Walking stark naked through a furniture store at night and being filmed by the surveillance cameras - who hasn't dreamed of that? You can now realize your hidden inclinations on a website of the furniture store Mömax in Austria. On www.meineigenermoemax.at all you have to do is upload a photo of your own face, either on the naked body of an attractive woman or a well-built man - and the secret exhibitionism begins. The gag is, of course, that you not only look at yourself in front of the surveillance cameras, but also at the furniture on display in Mömax. And then email the cheeky movie to your friends. The frivolous spectacle is a campaign by the renowned advertising agency Denner Merlicek & Bergmann. pan

The new website of the Swiss Alpine Club SAC is online. The internet communications agency New Impact has revised the SAC website and optimized its clarity with a new visual design and improved user guidance. This makes it easier to use the extensive range of information and services on offer, which includes hut information as well as important news from the alpine sector, course offers, downloads and the comprehensive e-shop.

www.sac-cas.ch
www.newimpact.com

Beobachter Natur, the Beobachter's special issue on nature and the environment, will be published ten times a year as an independent title. From February 2010, the line extension of the Swiss consumer magazine will be available by subscription and at newsstands. According to a Springer press release, Beobachter Natur offers readers high-quality editorial topics on the beauty of nature and raises awareness of responsible, sustainable interaction with it. In addition to being useful, the magazine also provides a lot of up-to-date information on a modern, sustainable lifestyle, without pointing a finger. The content is focused on Switzerland, while the subject matter is cross-border and global.
The Beobachternatur.ch website has also been set up over the past few months alongside the print edition of BeobachterNatur. In addition to an extensive archive, the online presence also offers a regular environmental news update, a calendar of events, a collection of links, a job exchange, forums and the Energiefranken.ch database, which provides an overview of all energy promotion programs in Switzerland.

www.beobachternatur.ch