J Simenic Portfolio

JOHN G. SIMENIC
433 Hamilton Place Apt.2
Ann Arbor, MI 48104
Phone: 440. 223. 2620.
Email: john.simenic@gmail.com

1

TABLE OF CONTENTS
Undergraduate Portfolio

GRADUATE WORK

4 Innovatrium

16 Scent Camera #9

UNDERGRADUATE WORK

22 Clifton Library

26 Confrontation Workshop

32 Froebel and Westcott

36 Hickman Chapel

42 Green Communities Competition

50 Techtown

56 Selected Works

John G. Simenic • Portfolio 3
3

GRADUATE WORK
The University of Michigan, 08.10 - Present


INNOVATRIUM
Disrupting Dundee, Michigan

The innovatrium seeks to enhance in the entirely alien Below: Early concept sketches
and yet entirely familiar site of Dundee, Michigan, Right: Early photomontage
the location Michigan’s largest tourist site, Cabela’s. representing ideas behind the
With more than 6 million visitors per year, Cabela’s Innovatrium. Created using
Photoshop.
has spawned a small strip mall agglomeration that is
entirely familiar, yet entirely alien to all who have never
been to Dundee, MI. The role of the innovatrium is to
not only enhance Dundee but also to extract data from
flowers in order to create the flavors and fragrances of
the future.

When thinking about enhancement and Dundee,
I began to develop a building around the idea of
disruption. Instead of designing the innovatrium around
the super-consumer, I sought to design the innovatrium
around robotic extraction. The innovatrium plays the
game of the Cabela’s big-box mentality at the same time
that it denies this idea all together. The building thrives
to be disruptive. It wants to exert a pressure on the area.
The innovatrium is trying to do what Wii did to the
gaming market. Where X-box and Playstation sought
better and better graphics and gaming capabilities, the
Wii sought simple graphics with a completely different
gaming typology platform. The Wii plays by the rules of
the gaming industry and at the same time denies them,
thus completely disrupting the gaming industry.

The design for the innovatrium plays the game of the
big-box store in the experience economy and at the same
time denies it. The innovatrium projects forth images of
flowers along its façade with gleaming light, playing the
same game of the large bear statue and watertower that
rest adjacent to Cabela’s. The innovatrium denies the
big-box entrance typology though by being raised off
the ground, offering no clear entrance. This sets up a
disruptive contradiction where the innovatrium creates
a large amount of attention yet is completely uninviting
for any person yearning to visit.


INNOVATRIUM
In terms of robotic design, the innovatrium contains
extraction pods which are efficient clean-room spaces
for robots to extract as many flavors and fragrances
from flowers as possible. In a voracious capitalist
economy where a 3% return is expected by shareholders
every year, the extraction pods need to function at
maximum capacity. Therefore human-interaction
with these extraction pods is completely limited to a
maintenance hatch in the event that a robot breaks
down, and an exchange window, where humans can
garner the robotic flavor and fragrance yields.

The extraction pods also rest in a seemingly adhoc Cabela’s
configuration on the site as if springing forth at
random like wildflowers in a field, calling attention
to themselves with their clumsy stance, denying the
stratified strip-mall mentality of their surroundings.
The rest of the innovatrium surrounds the extraction
pods in a clumsy faceted manner, as if it is only there to
house the extraction pods and maintain them.
Innovatrium
The interior of the innovatrium remains unfinished
with exposed beams, wiring, and mechanical
equipment strewn about, reinforcing the idea that the
space surrounding the extraction pods exists in order to
maintain maximum extraction and also reinforcing that
this is not a place for the super-consumer.
site plan

Above: Siteplan showing the
relationship of the innovatrium to
Cabelas. Created using AutoCAD and
Illustrator.

Far Left: Rendering showing delivery
of first Extraction Pod to the site.
Created using Rhino and Photoshop.

Left: Rendering of Extraction Pods
during delivery phase. Created using
Rhino and Photoshop.


INNOVATRIUM

Open to Below

DN

UP

Open to Below

Open to Below

DN
Open to Below
UP

L1 L2

oor plans scale 3/32” = 1’

0 5 10 20

Weeping Wilow Tree
FACTS PERFROMANCE
GENERAL
MaximumLength 70ft 0in (21.36m)
Maximum Girth 60ft (18.28m)
Growth Rate 10ft/yr (3.1m/yr)

SUNLIGHT
Weeping Willows grow best in full sunlight.

SOIL CONDITION
50’-70’ Weeping willows grow easily in almost any soil conditions. They grow best in
moist soil

PERFORMANCE
Weeping Willows grow primarily in the northern hemisphere. There are over
400 varieties, and are capable of cross-multipying with ease, constantly
creating new species.

Source: http://garden.lovetoknow.com/wiki/Weeping_Willow_Tree_Facts

INNOVATRIUM
Disrupting Dundee, Michigan 29’-9”

88’-7”

24’-2”
72’-2”

6’- 9”

19’-2”
3’-10” 23’-5”
9’-4”
9’-4”
6’- 0”

24’-4”

Far Right: Detailed section of 5’ - 0” 22’-1”
45’-0”
Extraction Pod showing the robot and 69’-8”

the robot’s movement area. Created
5’-9”
with AutoCAD and Illustrator. 5’- 4”
scale 1/8” = 1’ 40’-6”

Below: Photos of ABS model which 0 5 10 20

measures roughly 3”x 5”x 4” tall.

20’-5”
Erickson Air Crane S-64F Extraction Pod
DESIGN, WEIGHTS, PERFROMANCE DESIGN, WEIGHTS, PERFROMANCE 4’-6”
11’-3”
GENERAL GENERAL
Maximum Gross Weight 47,000 lbs (21,320 kg) MaximumLength 45ft 0in (13.7m)
Mximum Hook Weight 25,000 lbs (11,340 kg) Maximum Girth 29ft 9in (9.1m)
Maximum Cruise Speed 104 kts (192 km/hr) Extraction Area* 1225.7sq. ft (113.9sq. m)
Maximum Range 240 miles (444 km)
*based on surface area of cantilevered levels
FUSELAGE (non-pressurized)
Length* 69ft 8in (21.20m) MATERIALITY
Width* 7ft 1in (2.13m) Interior:epoxy resin paint
Width Landing Gear 21ft 10.7in (6.67m) Exterior: corten steel paneling 4ft x 8ft panels .25in thick
(1.21m x 2.84 m) 6.35mm thick
*fuselage only, external dimension Frame: steel

MAIN ROTOR GROUND CONNECTION
Main Rotor Diameter 72ft 2.85in (22.7m) Connection Diameter 6ft 6in (1.98m)
Disc Area 4098.2sq. ft (368.8sq. m) Depth Below Grade 2ft 7in (.8m)
Connection below grade ...
TAIL ROTOR
Tail Rotor Diameter 16ft (4.9m)
Disc Area 201.1sq. ft (18.7sq. m)
EXTRACTION MECHANISM (KUKA robotics K120p-)
LANDING GEAR See bb
Main Gear twin tires
Nose Gear single tire PERFORMANCE
Wheel Base 24ft 4.32in (7.43m) Operation Hours 24hrs
Extraction Pods are completely prefabricated. Once placed on site and
POWER PLANT (2 pratt and whitney jftd12a-4a) connected to the network, Extraction Pods are able to work around the clock 2’-7”
Maximum Power Available 9,600 SHP without interuption. Any waste produced is collected in the bottom of the
Single Engine Limit 4,800 SHP / 30 min. Pod and removed at regular intervals via maintenance/unloading hatch.
Design Power:
for two engne operation at takeo , the transmission total power is limited to 3’ -10” 10’ -8”
7,900 SHP for 30 minutes, and must not exceed, 7,600 SHP and Maximum

aa
continuouspower. scale 1/4” = 1’
6’ -6”
Source: http://www.ericksonaircrane.com/ 0 5 10


INNOVATRIUM

Above: Interior rendering from inside
of an Extraction Pod looking out into
the interior workspace. Created using
Rhino and Photoshop.

Far Left: Interior rendering
showing workspace in relationship
to Extraction Pods. Created using
Rhino, Illustrator, and Photoshop.

L1

key plan


INNOVATRIUM

key plan

Right: Exterior rendering showing
the Innovatrium projecting images
at sunset. Created using Rhino,
Photoshop, and Illustrator.


SCENT CAMERA #9
Constructing a scent

For the second project of my inital graduate semester
our studio was given a photo of a flower and asked
to construct an 11”x 11”x 37” tall piece based on the
image of a flower. We were also asked to think about
the picture in terms of its possible olfactory capabilities,
hence the title, Scent Camera.

Given the ninth flower photo in a series of flower
photos (shown right), I began to think about synergy
and the relationship between the micro and the macro.
When thinking about the photo in terms of a scent, I
began to question the biological breakdown of the
flower in terms of its cellular structure and its relation
to the creation of scents and fragrances. How are the
cellular blocks broken down and then reconfigured to Above: Flower image number 9.
create something similar and yet entirely different to the
Far Right: Early conceptual sketch.
original configuration?

My launch into this investigation focused on the
creation of “cells,” or tiny hollow blocks, which I
configured in layers and then stacked until I filled the
project dimensions (initial study model shown on p18).
From this study model, I began questioning the spatial
configuration and the types of spaces are created. I
also noticed that using colored cardboard created very
interesting secondary and tertiary spaces within the
construct. When scaling up the study model for the
final, I decided to use sheet metal due to its thinness and
light reflecting qualities, which I thought would bring
about that color and texture created with the cardboard
study model. I also created a set of rules by which to
construct the final piece: 1) I could use between 9 and
11, 2.5” cubes per layer in the construct, and 2) I would
only use only one method of joining via steel-stud
punch-crimper, which limited the possible methods
of joining. Given these rules, I questioned what types
of spaces could be created at different scales. In other
words, I questioned how the construct would read from
25’, 10’, and less than 1’.


SCENT CAMERA #9

Above Left: Early concept model
made from empty cereal boxes and
empty beer cases.

Above Right: Final construct made
from 24 gauge sheet steel and mylar.
Construct measures 11”x 11”x 37.”


SCENT CAMERA #9

Right: Reflection drawing based
on reactions from final constructs.
Created using Photoshop and
Illustrator. Printed drawing
John G. Simenic • Portfolio measures 24”x 36.” 23

UNDERGRADUATE WORK
Miami University, 08.06 - 05.10


CLIFTON LIBRARY
Rethinking a local learning hub

The site for Clifton library sits on an urban street
corner in Cincinnati, Ohio. Located between the
University of Cincinnati campus to the south and the
more historic Clifton district to the north, the corner
site contains many unique opportunities to serve as a
link between the two districts. Also, the current Clifton
Library is seen as a landmark for learning and education
within the small Clifton community. Taking these
observations, I wanted to create a bright and inviting
building that would serve as a major landmark in the
Clifton community as well as a landmark that would
link the campus district with the historical district.

Left: 1/8” scale model made from
particle board and chip board.

Right: Exterior perspective from
street level. Created using FormZ
and Photoshop.


CLIFTON LIBRARY
Rethinking a local learning hub

Below: 1/8” scale model.

Above Right: Floor plans.

Below Right: North elevation,
longitudinal section, and transverse
section created using FormZ and
Photoshop.


line of physical confrontation
CONFRONTATION WORKSHOP
Exploring communities in Istanbul.

The goal of the Confrontation Workshop was to address
a diverse but largely impoverished neighborhood in
Istanbul, Turkey. Working with Turkish design students,
our studio sought to address the underlying cultural
fabric that made up the neighborhood and adjacent
neighborhoods, and after an in-depth study, design a
community center that addressed the needs and wants line of cultural confrontation
of the neighborhood.

The neighborhood is located in an area that is between
three layers of confrontation. Acting as a major line of
confrontation to the east is the famous Istiklal Street
which is an agglomeration of high-end and low-end
shops and restaurants. Also lying to the east is a major
line of cultural confrontation where many people
from both eastern and western Turkey have settled
creating a mixed community in terms of geographical, line of economic confrontation
religious, and economic backgrounds. Acting as a
physical barrier to the west is a six-lane street known
as Tarlabasi Avenue which completely separates the
adjacent neighborhoods.

the site

Left: Process perspective sketch

Right: Map of a small district in
Istanbul, Turkey just north of the
Golden Horn.

Exploring communities in Istanbul. My proposal was a community center that focused on
weaving together the cultural fabric of the neighborhood
into one gathering space that would bring together the
diverse population of the direct neighborhood and the
adjacent neighborhoods.

Left: Exterior perspective from street
level. Created using a hand drawing
underlay with Photoshop

Top Right: Exterior perspective from
raised entrance. Created using Revit.

Bottom Right: East elevation

John G. Simenic • Undergraduate Portfolio

Exploring communities in Istanbul.

UP

Open to Open to
Below Below

DN

Right: Second level interior perspec-
tive showing community gallery
space. Created using Revit and
DN

Photoshop.

Above Level: Second level floor plan

Above Right: Longitudinal section


FROEBEL AND WESTCOTT
Building communities in Istanbul. To begin studying Frank Lloyd Wright our studio first
sought to look at Wright’s design process. Little is known
about his actual design process but many scholars believe
that Wright’s design process was highly influenced by his
childhood experience with Froebel sets. So our studio began
by constructing Froebel sets out of raw maple. The process
began from a basic tactility with a single natural material
Far Left: Street view photo of the
Westcott House in Spring field, Ohio. and simple design exercies. These simple exercies were then
taken and applied on a larger scale for an international arts
Below Left: Westcott House spatial
study campus masterplan located adjacent to Frank Lloyd Wright’s
Below Right: Pictures showing build- Westcott House in Springfield, Ohio.
ing process for Froebel set

John G. Simenic • Portfolio
John G. Simenic • Undergraduate Portfolio 37

FROEBEL AND WESTCOTT
Building communities in Istanbul.

The goal of the Westcott House masterplan was to explore
Frank Lloyd Wright’s design process and to weave landscape
and built structure into one. The result is a masterplan design
for a multi-functional arts campus that sits low and quiet in
the midwestern landscape connected to the Westcott House
by only subtle landscape features. The sublety of the design
seeks not to dominate the Westcott House but to compliment
it by displaying similar design philosophies.

Far Left: Process sketch

Below: Longitudinal site section
created using hand drawing underlay
with Photoshop.


HICKMAN CHAPEL Far Left: process sketches

Reviving a chapel, a community, and a history. Below: Longitudinal site
section created using FormZ
and Photoshop.

After measuring, observing, and documenting
Hickman Chapel, our studio was asked to work
individually and think of ways to refurbish the chapel
into a space that would not only serve as a chapel but
also as a community space that could host homecoming
events that were once a staple in the Mill Run
community.


HICKMAN CHAPEL
Reviving a chapel, a community, and a history.

Sitting just miles away from Frank Lloyd Wright’s
Fallingwater, I began by using the Froebel process
for my design. This involved using a kits of parts and
establishing how design elements could be arranged
with select site elements in the landscape. My design
centered around refurbishing the basement into a
useable community area. Within the design, a large
outdoor hearth sets up a synergetic relationship between
the indoors and outdoors, and sliding doors allow the
the space to completely open up to the environment. Above: Interior perspective created
using FormZ and Photoshop.
Natural materials that are warm in color are also
used to make the basement and patio blend into the Right: Exterior perspective showing
landscape so that the stark white chapel remains the outdoor gathering terrace. Created
focal point of the hillside.


HICKMAN CHAPEL
Reviving a chapel, a community, and a history.

Above: Transverse section looking
out into the landscape. Created

Right: Exterior perspective showing
the outdoor terrace and addition.
Created using FormZ and
Photoshop.


GREEN COMMUNITIES COMPETITION
The greenest brisk is the one that is already there.

Lorem Ipsum is simply dummy text of the printing
and typesetting industry. Lorem Ipsum has been the
industry’s standard dummy text ever since the 1500s,
when an unknown printer took a galley of type and
scrambled it to make a type specimen book. It has
survived not only five centuries, but also the leap into
electronic typesetting, remaining essentially unchanged.
It was popularised in the 1960s with the release of
Letraset sheets containing Lorem Ipsum passages, and
more recently with desktop publishing software like
Aldus PageMaker including versions of Lorem Ipsum.

Right: Final competition board #1
(original size: 20” x 20”).

Below: site pictures of Over the Rhine
in Cincinnati, Ohiovv.


TECHTOWN
Designing for the Creative Class.

Resting on the banks of the Mad River and just
blocks away from downtown Dayton, Ohio, Techtown
is the site of a future business park which will
eventually contain fifteen multi-functional, low-rise
office buildings. Using an existing HOK masterplan,
our studio, was asked to design an efficient office
building for the rising creative class as defined by
Richard Florida’s book The Rise of the Creative Class.

Thinking in terms of efficiency and economy I began
the design process by coming a up with a simple kit
of parts that consisted of a simple cube and simple
1:2 and 1:3 proportions. Working from a this kit of
rectangular parts I began to play with ideas of framing
and movement. The result is three major forms; a
tall central form and two rectangular forms that
intersect and slip past and through the central form.

Above: Building parti

Left: Early process sketch perspective

Right: Rendered perspective of
southwest corner. Created using
FormZ and Photoshop

TECHTOWN

Far Left: Floor plans. The central form functions as the circulation
Bottom Left: Longitudinal section.
core, while the two adjacent rectangular forms
serves as tenant spaces. Working from a simple
Above: Rendered perspectives. palette of materials I sought to express each
Created using FormZ and form with a distinctive material so as to create a
Photoshop
compelling spatial composition.


TECHTOWN

I wanted the tenants to have a sense of
connection to the downtown area, the Mad
River, and the outdoor environment. A large
fenestrated southwest facade serves the function
of connecting the tenants to downtown, while
large cut-out patios provide connections not only
to the outdoors but framed views to downtown
Dayton and the Mad River.

West Elevation

East Elevation

Right: Northeast rendered
perspective. Created using
FormZ and Photoshop

59

SELECTED WORKS
Paintings and Grahphite.

Left: Graphite drawing of the
Kanyon Mall in Istanbul, Turkey
(cropped). Original rendering is
8”x12”.

Right: Close-up view of the
Kanyon Mall graphite rendering.


SELECTED WORKS

Below: The Whirling Dervishes.
A series of 3 x 8”x10” acryllic
paintings.

Left: Close-up of the middle
dervish painting.


SELECTED WORKS

Left: Der Fortschritt, “The
Progress”. 18”x24” acryllic
painting

Right: Close-up of Der Fortschritt.


J Simenic Portfolio

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