Architecture Portfolio by Sofya Abramchuk

PORTFOLIO by sofya abramchuk

Contents

my design philosophy .5 newfarm new york Competition .6 library of arts .10 noise map of segovia .16 nest walkway favillion .20 analogous towers and horizontal warehouse .26 Still Life: Thickening Threshold .36 Suscipio house .48 bartlett summer foundation .52 Collage and painting .54 Fashion design .58 Furniture making .62 Model making .66 artwork .70

Honours and Awards Bartlett Summer Foundation Design Prize (2013) Bartlett Summer Foundation Runner Up in Several Categories (2013) Graduate Caxton College Academic Excellence Award (2014) Graduate Caxton College Community Contribution Award (2014) Portfolio Drawing Competition by IE University (2014) “re:Food” Top 20 Team for Thought For Food Challenge (2015)

Basic Information C/Dolores Marques 31-7, Valencia, 46020, Spain +34 625 535 676 sabramchuk.ieu2014@student.ie.edu Female 19/02/1996 Russian Languages Russian- Native English- Fluent Spanish- Fluent French- Beginner

Projects (click on the name to view)

Winter fairy tale- a Russian café located in UK, 3D Design Project (2012-2013) Hanging Gardens- self-sufficient and sustainable housing units,3D Design Project (2013-2014) “Food Roots”- concept generated by re:Food team as an answer to Thought For Food Challenge 2014 Conferences

Education IE University Segovia, Spain Bachelor in Architecture 2014-2019 The Bartlett School of Engeneering UCL, London Architecture Summer Foundation July 2013- August 2013

Speaker at TEDx@RioTuria, Valencia, Spain (February 2014)

Caxton College Valencia, Spain GCE A-level and IGSCE Diploma 2008-2014

Personal Statement Since the world now is facing a huge problem of the climate change, I am passionate about finding ways of creating self-sustainable, ecofriendly and technologically advanced living and working spaces within the urban environments we are already using and leaving nature to repossess the land and help it recover from centuries of devastation. I believe that with knowledge, combined with progressive and innovative design ideas we can initiate a huge change in the way we use and impact on our environment. My motto is “If we don’t change our direction, we are likely to end up where we are heading” which clearly shows my strong aspiration to be the one who can change the world through everything that I do.

Work Experience Photography and Art Commissions Russia, Spain, England 2008- until present

Thought For Food Global Summit (February 2015)

Curriculum Vitae About me I was born and raised in central Siberia, I moved from Russia to Spain to pursue my education, which was the start of my independet life since I was 13. This was one of the most challenging experiences I ever had but it shaped me into as a strong, resilient and determined person, helping me to realise my full potential. One of my passions is improving, developing and enhancing the environments in which people live, which inspired me to study architecture at university. Professional Qualities Drawing and painting in any medium Ability to investigate and research Networking and communication Leader and motivator for others Catalyst of creative thinking Original ideas generator Public Speaker Entrepreneur Free Thinker Organised Risk taker Tolerant Patient

Personal Attributes and Faults Passionate Open minded Persistent Curious about everything Workaholism Night owl Like going deep with people Sometimes too serious

Caxton Chronicles Newspaper Founder and Chief Editor October 2013- June 2014 Translation Labours VIII Global Congress of Mediation Valencia, Spain October 2012 Volunteering work in rehabilitation area Residence and elderly home Valencia, Spain October 2011-March 2013

Social Networks Computer Skills https://www.facebook.com/sophieabr Rhino (Grasshopper + Python es.linkedin.com/in/sofyaabr scripting) http://projectabr.com Autodesk AutoCad instagram: soph_abr Adobe Photoshop Adobe Illustrator Adobe InDesign Final Cut Pro Adobe Premier Microsoft Office

My design philosophy

Layers. Depth. Landscape. Space. These words define my design philosophy. I believe that the ultimate design of a building or space should come from the environment, surrounding and the landscape. My work is always inspired by the way rocks come out of the sea, the way trees are placed on the ground, colour of stone or even the weather of the site. Preexisting structures and features of the site are also important, as they help to define the identity of the new structure, so that its not out of the place, but has a special, even if it is a metaphorical connection with them. I believe in rawness, nature and organic designs, as they are the closest to the human. We all love perfection, but also uniqueness. Nothing that is smooth and silky can be unique. Stone, wood, or even cor-ten is never the same. We love to touch them, to feel the warmth or coldness of the material. This creates an untouchable atmosphere of the space where someone will be working or living. We want our spaces to be customizable, we want to give them uniqueness and our own touch, what can only be done with raw and purposefully unfinished spaces. We change nature, add and take from it everyday because there is nothing else we can use to express ourselves. This is why I believe we should be constructing and creating with nature, not against her. We should grow with it, take the best ideas from it and give back too. This is why I believe in building efficiency, sustainability and green architecture. This is why I design with nature and Earth in mind.

competition NEWFARM New York

Henry Gordon-Smith, Pepe La Cruz, Francois Cramer, Andrew Carter, Florencia Costa, Sofya Abramchuk Its time for a NEWFARM in New York. In the midst of the complexity of the concrete jungle, this urban food hub and vertical farm in Chelsea, Manhattan represents an evolution of both agriculture and architecture. One purpose of NEWFARM is to produce fresh vegetables for its inhabitants and visitors all year long. NEWFARM is also a place where buyers and sellers of food can interact with makers, artists, and growers.The vertical farming components of NEWFARM are composed of water-saving and highly productive hydroponic agriculture systems. The productivity of the farming systems compliment the artist and “maker” spaces of the building that come with the residences. Above all, NEWFARM is a bridge between nature and architecture. The High Line weaves through the Westside of New York City beautifully and the native plants, which are distributed along it, create an aesthetic that we call “Agritecture”. However, no part of the High Line yields agricultural products and the NEWFARM does. The aesthetic of NEWFARM demonstrates the bridge between agriculture and architecture by embracing the beauty and performance of native plantings in its atrium and along its exposed south façade. Agriculture in a seasonal city like New York can be challenging and NEWFARM overcomes this through the use of indoor vertical farming technologies like hydroponics. The almost industrial appearance of these systems is not hidden from the public’s eye but is distributed vertically along the West façade. The white and pink glow of the lights used to grow the plants spills over the Highline and down onto 19th street. As you approach the building heading West along 18th street you see the large, open atrium with the stage at the helm. Just above the atrium on the 4th floor is the harvesting and packing space for all of the vertical farming spaces above, exposing the public to the hustle and bustle of the high-density farming techniques practiced within.

NEWFARM is a wooden tower. Locally harvested wood from a sustainably managed forest is used as the main support structure. This decision was made both because of the technological advancements that have been made with wooden skyscrapers that greatly improve their performance. By using wood, the NEWFARM achieves an aesthetic that communicates growth whilst minimizing the environmental impact of the building as a whole.The hydroponic systems are also procured sustainable: primarily from the second-hand market or built by residents.

Workshop areas + Offices

There are several access points into NEWFARM from the street: 10th Avenue, 18th street, and 19th street. All three of these entry points will draw users into the space because of the prefab shops will be juxtaposed with beautiful mangrove forest and bioswales. The atrium is more like a plaza than a lobby and has large steps to move up and down throughout. A ramp weaves through the space making it ADA accessible and a draw for visitors to move up and down the building. Now that you have your fresh smoothie in hand, having learned about the emerging technologies for growing food indoors, you walk up another ramp, which leads you to the High Line. For the more ambitious visitor, stairs also provide access to the High Line. Two freight elevators grant access to the floors above the atrium, one for public and resident access, and the other for food and goods to be brought to the atrium for distribution and sale. As a shaded grove, the atrium provides protection from the sun and rain to passerby, making it a gathering space. As a bioswale, it slows surges of water and promotes percolation and remediation through strategic plantings.The bioswales are manmade wetlands, covered in native plants and swamp trees that perform some phytoremediation. The space echoes the concrete and native plants that span the Highline, only adding water into the dialogue as a response to the long-term effects of Sandy.The wetland atrium is a beautiful space with ponds and large steps for the public to enjoy as they spill down from the High Line. A mangrove-like forest weaves through the space as an example of wild urbanism in action.

Farm + Housing Farm + Housing Farm + Housing Farm + Housing Farm + Housing Farm + Housing Farm + Housing Farm + Open restaurant Administration Sport area Grocery market + Prefab shops 8

Maximum volume

Optimal South façade

Optimal East façade

Twisted to maximize views

Final design

A visit to NEWFARM yields more than just fresh vegetables to take home: it is hub for all kinds of food, crafts, gadgets, and art. Shopping is fun but the experience of NEWFARM is also immersive and educational. For example, visitors can take the ramp up to the 4th floor and eat in the open restaurant where fresh, hyper-locally grown vegetables are on the menu. At the restaurant, visitors can see growers planting seeds, managing vertical farming systems, and harvesting some of the vegetables they eat. Learning more about hydroponics is easy at NEWFARM because you can witness live demos in the atrium or take a workshop on the top level of the building. The experience of the building is similar to the High Line in that it invites visitors in through various entry points whilst offering freedom to stay a while to shop, dine, exercise, or learn. Residents of the NEWFARM are ecologically conscious artists, growers, and makers. The building provides unique residences that each comes with a space that must either be used as a studio, urban farm, or maker lab. Residents in the building are encouraged to utilize their own laboratory space, either to make products, grow produce, or help with general maintenance of their building.This is a living, breathing building and should adapt throughout time. Residents must take part in this adaptation by continually working and contributing to their building. Residents make their money through selling their products in the prefab shops in the atrium or through workshops they provide in their spaces. We call these spaces “integrated laboratories” because their purpose is directly connected to either the food hub that is NEWFARM, the marketplace in the atrium, or the general upkeep of the building.

project Libriary Of Arts Music Idea and Form II Pepe LaCruz, Sofya Abramchuk As a start to the second semester of my university studies, our task was to create a Library of arts. The project was to be carried out in pairs and we chose music and literature as our themes. We had to create cubes of a 42 cm x 42 cm size, which is the volume in which a person can fit in entirely. Representation had to be metaphorical and abstract, but also suggestive and explicit in a certain way. For music we used words wave, peak and path to start off. The development led us to a creation of structure that would resemble a sound waves, but would be a different concept when looked at it from a different angle. We started with the noise and sound of the sea, especially the sea waves; then we thought of mountains, and how you reach the peak of the mountain (in the same way there is always a compositional sound peak in any melody); afterwards our structure could become a cave with stalagmites and stalactites underneath the earth where there is no sound, but only the sound of the silence; and finally we thought of the city, and the music that the city creates in any possible way. To represent our ideas we used expanded insulation foam cut in very thin pieces that then was stuck to a sheet of plastic, where the pattern was created. A painting on four pieces of 42 x 42 sheets of card represented the idea, which was created over a drawing of a sound wave based on the song of Beethoven.

project Libriary Of Arts Literature Idea and Form II Pepe LaCruz, Sofya Abramchuk

The second art form we were working with was literature, and our inspiration came from the city of Segovia and history. We wanted to show how much literature changed over time. For this we used the patterns of the buildings of Segovia to represent old literature, something very permanent and ancient as a city, carved in wood to make it solid and everlasting. The cube would be standing on one of its corners, in this way freeing one of the sides, and creating a connection with old literature being the roots and the foundations of everything that we have today. On the other side of the cube, we created an electronic book screen, which would only project letters when the light is turned on. We wanted to create a connection between modern literature, and how unstable and easy going it is, dependable only on light and electricity. The letters, placed in a chaotic and random pattern can still be seen without light, but very lightly and translucently. Over them, there are swirls of a wooden frame, reminding us of the roots of old literature and history.

Noise map of Segovia Idea and Form II

In order to understand Segovia and the wall that surrounds the city, I studied the noise patterns around it. Wherever I heard a sound such as birds singing, cars passing, fountains, waterways, river, I identified it as having red or warm colours. Wherever there was little to no noise I added cold and blue tones. It was a very interesting exercise to carry out as it helped me to understand where a music folly could be placed. It needed to be a place where there was little noise in the surrounding but many people passing by as well as a lot of birds singing to attract even more birds. Also, it needed to be a place where a whole corridor could be placed. Such a place was found next to Alcazar, in a valley. I indicated it as a net grid on the map, showing the relief and the topography of the site. The connection between the Garden of poets and the site is shown with red string. Monuments and buildings that were interesting to the project are drawn and placed around the map as to highlight them. The interesting thing about Segovia is that places where it is quiet during the day, in the night can become where thereâ&#x20AC;&#x2122;s the most noise. And in the morning, especially in spring, birds singing is so intense that it feels as if they are right next to you at any point in the city.

Nest Walkway Idea and form II

Pepe LaCruz, Sofya Abramchuk

In order to announce the music festival of Segovia that would happen in July, any available tools, such as nature and landscape could be used to create the folly. After having investigated the noise pattern of Segovia and found the best location for an interactive pathway, a corridor will be created that will help people get closer to nature and feel the power of music created by nature. It would give a natural and organic environment to the people that are coming from an urban background and want to refresh from the daily routine. The start of the folly is going to be right next to the Alcazar, through stairs descending down to the already existing path that follows the perimeter of the Segovian wall. The path is surrounded by a forest of trees that are planted on a descending valley. A corridor would be created along the wall by using materials that would allow creation of organic, elegant and nest-like structure. Thin, but strong plywood strips of Valsain pine from the mountains near Segovia would be used for this purpose. A sequence of randomly bent and intertwined strips of wood of 15 cm width, will create the structure of the favilion (folly and pavilion). Their main function would be framing of the views and providing shade to people during the day and holding audio and light devices for the art installations during the night.

Miradors serve as a way to peak out of the folly into the nature and out to the Alcazar, the most well known monument of Segovia. Herbs, flowers and birds create atmosphere as the visitors walk- all interconnected. Ponds attract birds, flowers attract insects, birds feed on insects. Harmony and pleasure is created through nature- together with it.

nature has music for those who can listen. William Shakespeare

analogous towers and horizontal warehouse FInal Project, Idea and form II Analogous towers imply two towers: the existing one (Torre de Santiago), and a new one that necessarily should establish a close connection with the other. Neither a pair nor an individuality, analogous towers should maintain their personality (character) but at the same time should be perceived as configuring an entity of a superior order. In that sense, one of the two towers will be a transformed version of the existing tower of Santiago (expanded, excavated, duplicated, deformed, tittled, leaned, un-layered, unveiled, deconstructed); the other tower will be brand new.The required program will be distributed freely between the two buildings, although both will be linked conceptually (between them, and with the wall, that is to say with Segovia and the four festivals: dance, literature, music, theater). The existing tower has around a total of 150 m2 of useful surface (interior). The required new program (without counting serving spaces, i.e. bathrooms and circulation) will ascend up to 1200m2.

As a part of this project, I wanted my tower to grow from the ground and blend in with the landscape. This is why the material that would be used is concrete and cor-ten with a glass envelope. There would be a grid created from the shape of the ground, that was taken from the excavated landscape. I took inspiration from the staircase around my chosen site, which I mimicked inside the tower. The new tower would be connected with the old one through a corridor. The old tower is a completely solid concrete structure, with a layout inside that mimics the new tower but in a inverted manner. The only opening would be on the sides and on the roof, in order to create very specific atmosphere with lights and shadows. Metaphorical and literal connections between the two towers creates relationship with the landscape and layered composition of Segovia (staircases and up and down hills).

The two buildings are connected together through a glass corridor, that allows blending with the surrounding. Specially placed staircases have an organic connection, allowing complete and sensible circulation around the hanging blocks and offices.. Openings provide only necessary light- so that nothing else distract from the effect that those massive and overwhelming structures create on the visitor.

we all love perfection- but perfection is un-natural. Everything soft consists of tiny little particles that are all different; everything tactile and sensitive is something rough and textured; everything that holds and keeps things together are rough and non-slipping. cold and smooth surfaces are not humane- they are cold and perfect- something that is enjoyed for a while; then it warms up, tears and wears. everything that catches our eye is dis-ordered; no one looks and seeks out perfection, we take it for granted. beauty is uniqueness- and perfection is the opposite of uniqueness. different, rough, spiky, textured, mate, standing out is what makes it unique, one of a kind. pattern, colour, blob, spark is what adds this very last little and special detail

Still Life: Thickening Threshold Idea and form I As a starting point for this project, we studied Le Corbusier and some of his works. The most fascinating part of it was looking at the relationship that he has (unlike the majority of critics would say) with the landscape. I analyzed Casa Curutchet apart to understand it down to the last columnand found this essential connection with people and the surrounding that Corbuâ&#x20AC;&#x2122;s work has. Afterwards, we went from massive to minimal- his attention to detail- and created something new and exclusive after a long journey of development and combinations of possibilities

After choosing a still life fragment from a movie â&#x20AC;&#x153;The man next doorâ&#x20AC;? whose plot is revolving around La Casa Curutchet, I started developing solid and void connections in the spaces and the house itself. To the left, its a first attempt of the model. The main idea was to build the walls with the light and differentiate the solids and the voids. Panels were used to create openings for everything that is solid inside the house and leave solid whatever is the free space inside. With this I achieved an ephemeral connection of something that was always there and a completely new idea- and life given to the space.

The idea of using panels came from a concept of being able to interchange the panels to create different spaces inside the house. So the next stage was to create a new model with panels thicker than paper with a base that would accommodate those panels with openings for them. There would be no need to use glue to sustain them in place. Mate plastic was used for the mock up as it enabled the viewer to see what is happening inside the space but in the same time still create the shape of the house using the light and openings in the panels for the walls. The last panel had to be solid so the walls could be projected on it. Using light underneath a semi-translucent table, enabled me to show the idea of constructing the spaces using the light. As the slots for the panels were cut out, the light could pass through and illuminate the contrast between the solids and voids, especially contrasting the translucence of the material.

The final model in a 1:50 scale. In it, the idea of creating the spaces using light is clearly transmitted- showing that somehting so obvious can be used to create an ephimerial and phenomenally transparent space that can come and go with the light and darkness.

The final stage of the project was to imagine the still life fragment as a part of non-existing landscape that was to be created from two photographs of hidden places in Segovia. The idea of a triangular shaped house fitted perfectly inside a valley- and a garden right in front of it with great views, would be a perfect combination to complete the program given. Light, weather, terrain differences were created manually, adopting the new one-room house to the landscape created- or vice versa.

project Suscipio House (Supporting house) Final Project,, Idea and Form Straight from Rio de La Plata, the acute shape of the house penetrates a valley in the deep mountains of Segovia. A sequenced path upon arrival indicates to the visitor the depth and profoundness of the voids inside the house and its relationship with the height of the mountains. In a way that the brise soleilâ&#x20AC;&#x2122;s vertical divisions cut through the study room of doctor Curutchet, the ribs that follow horizontally the mountains connect one side of the house with the other one. Inside those ribs specifically designed programmatic elements unfold. Entrance, shared space, individual spaces, hygiene and cooking are placed cross sectional inside the ribs. The house does not hang inside the valley, but it sustains the mountains around it. It is excavated inside it, so that the heights inside the house are determined by the mountain shape.Thereâ&#x20AC;&#x2122;re no different floors, but different curves of the mountain that define them. The house hides and reveals itself inside the mountain, the same as its inhabitants will use it, up and down, in and out. The light defines the placement of objects, that cannot be removed or repositioned, but define the life of the inhabitants and show them how to live inside it.

I prefer drawing to talking. Drawing is faster, and leaves less room for lies. Le Corbusier

bartlett summer foundation

Workshop Collage and painting During this workshop week 10 pages from magazines and imagination and painitng skills were used to create collages. I started off by experimenting with different images and combining them to create unusual, thought provoking pieces. As the task was very open, it was very difficult to get the right thing the first time. I experimented with different surfaces and textures, created by me as well as 2d printed pictures. I tried to express different emotions and concepts using details, for example the repetitive use of fire elements, contrasting with cold elements in my 3d model, capturing the viewers attention and creating a contrast between chaotic placement of other pictures. My aim was to be able to transmit and convey the hidden message of my work- the contrasts of beautiful and ugly, lusciousness and simplicity, madness and logic. Through this, I succeeded in combining colours and pictures in a way that helped me to achieve harmony and unity in my work. I explored themes such as nature and the urban scape, electricity and fire, classic and modern art.

Workshop Fashion design (Runner up award) Josh Crane, Tommas Vischer, Isabela Crema and Sofya Abramchuk (First prize)

This workshop was focused around creating a piece of clothing that would make the surrounding environment better in some way and would be multi-functional. As a group, we came up with an idea of creating a jacket that would allow a person to stay cool in hot weather and be warm when it is cold. As a result we achieved a piece that can be completely personalized, that can light up in the night time and still hold the basic functions of a jacket. Using crocheting techniques, we were able to achieve a structural piece that when tightened or loosened could be completely transformed. It was very difficult and expensive to get real fiber optics (which we intended to use as threads so the jacket could also light up in the night) so we used different pieces of fabric cut into strips and then inserted Christmas lights and some portable lights to illustrate the jacketâ&#x20AC;&#x2122;s lighting properties. The outcome was very futuristic and quite fashionable, making it suitable for younger people, as well as anyone who wants a practical and stylish piece of clothing. Although the piece needed some further develop- but it already responded to our initial aim and embodied the functions we wanted it to have. In order to develop further the design, we created a fashionable hood, that would shelter the user from the rain and added some individuality to the jacket. It was made out of fabric, card triangles and white glue.

Workshop Furniture Making (Runner up award)

Alex Clarry, Cati Balinisteanu, Tom Visscher, Sofya Abramchuk

This piece of furniture was intended to explore the theme of socializing in public spaces and was created by a group of students as a part of a furniture making workshop.The materials we were given at the start of the week were a metal mesh, wooden twigs, sunflower oil and black paint. In order to use the materials and make an organic piece we decided to create a chair that when combined with other identical chairs would create a big nest. This would create a private space that would allow people to socialise in a closed nestlike structure. The center of the piece when assembled with others, would create a space that could be used as a table or to hold a portable fireplace that will would further develop the idea of socializing. We started off by creating a leaf-like shape from paper as a mock up, measuring the dimensions to find the best size for the chair.Then we recreated the same shape from the metal mesh, and using a plastic chair as a base started weaving the twigs into the mesh. It was very labour intensive work, which required a lot of attention and understanding of the properties of the twigs and the metal mesh. When released from the plastic chair, the structure held itself but in order for a person to sit on the chair, it needed additional support. For this, we created a wooden structure that when fixed allowed the chair to rest on it and be attached to the legs of the chair. The shape allowed a person to swing on the chair when it was on the floor, and allowed one to rest on it in a lying position. In order to allow the chair to be flexible and be transported, we created wooden wheels that were painted black. Time was the only issue, and because of this we were not able to create more than one chair to illustrate our idea, which would illustrate the concept of socializing in such a natural, organic and pleasant environment.

Workshop Model Making First prize In this final workshop we worked as individuals and I was given the theme floating/home to develop a concept model. When I was designing I concentrated on the idea of sustainability and making the environment greener. I thought of farming, and how agriculture affected life on earth. In 25-45 years time, there will be an extra 3 billion people on Earth, and a land as big as Brazil will be required to feed these people using conventional farming methods. We just donâ&#x20AC;&#x2122;t have a spare piece of land this big on Earth. My idea was to use any kind of water surface, such as lakes, rivers or seas in order to build the farms upon and grow the food using hydroponics and aeroponics systems. For this I created and developed a concept for a floating farm on a lake, that then can be transformed into any kind of infrastructure, such as a city or even to a floating country. As my farm would be fully self-sustainable (alternative energy resources, water filtration and waste elimination systems) it would allow people to live on water all the time.

In order to create my model I used spray foam insulation leftovers, added new foam, and then built the whole environment on it. It allowed the whole farm to float and create an organic and innovative design. All the pieces can be attached and detached from each other, and are connected by bridges between them. I designed a bedroom area (a spherical shape with big green bridge), living space with mini-garden and a kitchen (another unit with black covering sheets that can be folded and unfolded) and a real farm and a storage unit (the golden and plastic one). Each of the farming units have special irrigation systems (red and black cables in the model) and rain collection tanks with water filtration systems. The kitchen is an open space, where fishing can be done. In the bedroom there is a little unit attached to the structure for the toilet. Although the whole concept might seem unrealistic, with application of similar construction techniques (spray foam or any similar mass produced material) a whole city of these units can be created. The scale could be much bigger, having restaurants, cinemas, animal farms, etc. attached to the living units. As a transportation, boats and ships can be used.

ARTWORK

John piper interpretation

Water colour on paper 21 x 29,7 cm 2014

Evolution and growth in architecture

Mixed media on wooden panels 200 x 29,7 cm 2014

Favelas

Mixed media on paper 59,4 x 84,1 cm 2014

Social architecture

Mixed media on paper 42 x 29,7 cm 2014

The sea of water

Oil paint on canvas 0,5 x 0,9 m 2014

the sea of universe

Oil paint on canvas (Fragment) 1,50 x 1,14 m 2014

projectabr

http://www.projectabr.com