J simenic portfolio

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433 Hamilton Place Apt.2Ann Arbor, MI 48104Phone: 440. 223. 2620.Email: [email protected]

JOHN G. SIMENIC

JohnSimenic

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John G. Simenic •� Portfolio

Undergraduate PortfolioTABLE OF CONTENTS

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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

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GRADUATE WORKThe University of Michigan, 08.10 - Present


INNOVATRIUMDisrupting Dundee, Michigan

Below: Early concept sketches

Right: Early photomontage representing ideas behind the Innovatrium. Created using Photoshop.

The innovatrium seeks to enhance in the entirely alien and yet entirely familiar site of Dundee, Michigan, the location Michigan’s largest tourist site, Cabela’s. With more than 6 million visitors per year, Cabela’s 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.

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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 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.

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.

Cabela’s

Innovatrium

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.



Open to Below

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scale 1/32” = 1’

0 5 10 20 40scale 3/32” = 1’

0 5 10 20

GENERALMaximumLength 70ft 0in (21.36m) Maximum Girth 60ft (18.28m)Growth Rate 10ft/yr (3.1m/yr)

SUNLIGHTWeeping Willows grow best in full sunlight.

SOIL CONDITIONWeeping willows grow easily in almost any soil conditions. They grow best in moist soil

PERFORMANCEWeeping 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

Weeping Wilow TreeFACTS & PERFROMANCE

50’-70’

40’-60’

cckey plan

�oor planssite plan

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scale 1” =250’

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Far Right: Detailed section of Extraction Pod showing the robot and the robot’s movement area. Created with AutoCAD and Illustrator.

Below: Photos of ABS model which measures roughly 3”x 5”x 4” tall.

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50’ -4”

10’ -8”3’ -10”

7’-3”

33’ -6” 33’ -8”

10’-6”

19’-2”

40’-6”

3’-10”

45’-0”

11’-3”

20’-5”

5’-9”

22’-1”

23’-5”

24’-2”

29’-9”

9’-4”

72’-2”

24’-4”

69’-8”

88’-7”

5’ - 0”

9’-4”

2’-3”

2’-7”

4’-6”

5’- 4”

6’- 0”

6’- 9”

4’-1”

-119o

-120o

29’-9”

10’ -8”

6’ -6”

3’ -10”

2’-7”

5’-11”

GENERALMaximum Gross Weight 47,000 lbs (21,320 kg) Mximum Hook Weight 25,000 lbs (11,340 kg)Maximum Cruise Speed 104 kts (192 km/hr)Maximum Range 240 miles (444 km)

FUSELAGE (non-pressurized)Length* 69ft 8in (21.20m)Width* 7ft 1in (2.13m)Width Landing Gear 21ft 10.7in (6.67m)

*fuselage only, external dimension

MAIN ROTORMain Rotor Diameter 72ft 2.85in (22.7m)Disc Area 4098.2sq. ft (368.8sq. m)

TAIL ROTORTail Rotor Diameter 16ft (4.9m)Disc Area 201.1sq. ft (18.7sq. m)

LANDING GEARMain Gear twin tiresNose Gear single tireWheel Base 24ft 4.32in (7.43m)

POWER PLANT (2 pratt and whitney jftd12a-4a)Maximum Power Available 9,600 SHPSingle Engine Limit 4,800 SHP / 30 min.Design Power:for two engne operation at takeo�, the transmission total power is limited to 7,900 SHP for 30 minutes, and must not exceed, 7,600 SHP and Maximum continuouspower.

Source: http://www.ericksonaircrane.com/

Erickson Air Crane S-64FDESIGN, WEIGHTS, & PERFROMANCE

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GENERALMaximumLength 45ft 0in (13.7m) Maximum Girth 29ft 9in (9.1m)Extraction Area* 1225.7sq. ft (113.9sq. m)

*based on surface area of cantilevered levels

MATERIALITYInterior:epoxy resin paintExterior: corten steel paneling 4ft x 8ft panels .25in thick (1.21m x 2.84 m) 6.35mm thickFrame: steel

GROUND CONNECTIONConnection Diameter 6ft 6in (1.98m)Depth Below Grade 2ft 7in (.8m)Connection below grade ...

EXTRACTION MECHANISM (KUKA robotics K120p-)See bb

PERFORMANCEOperation Hours 24hrs Extraction Pods are completely prefabricated. Once placed on site and connected to the network, Extraction Pods are able to work around the clock without interuption. Any waste produced is collected in the bottom of the Pod and removed at regular intervals via maintenance/unloading hatch.

Extraction PodDESIGN, WEIGHTS, & PERFROMANCE

Type KR 100-2 P KR 120-2 PMaximum reach 3,500 mmRated payload 100 kg 120 kgSuppl. load, arm/link arm/rotating col. 50/50/50 kgSuppl. load, arm + link arm, max. 50 kgMaximum total load 150 kg 170 kgNumber of axes 6Mounting position Shelf-mounted, �oor, ceiling Positioning repeatability* ±0.06 mmController KR C2 edition2005Weight (excluding controller), approx. 1,465 kgTemperature during operation +10 °C to +55 °CProtection classi�cation IP 65Robot footprint 1,230 mm x 1,230 mmConnection 13.5 kVANoise level < 75 dB

Axis Data Range (software) Speed with rated payload 100 kg Axis 1 (A1) ±185° 102°/s Axis 2 (A2) +70°/–120° 96°/s Axis 3 (A3) +155°/–119° 95°/s Axis 4 (A4) ±350° 185°/s Axis 5 (A5) ±125° 190°/s Axis 6 (A6) ±350° 238°/s

Source: http://www.kuka-robotics.com/usa/en/

KUKA Type KR100-2PDESIGN, WEIGHTS, & PERFROMANCE

scale N.T.S.

KEY PLAN

scale 1/8” = 1’

0 5 10 20

scale 1/8” = 1’

0 5 10 20

scale 1/4” = 1’

0 5 10

scale 1/2” = 1’

0 3 5



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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



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

key plan

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SCENT CAMERA #9Constructing 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 create something similar and yet entirely different to the 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’.

Above: Flower image number 9.

Far Right: Early conceptual sketch.

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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.”

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Right: Reflection drawing based on reactions from final constructs. Created using Photoshop and Illustrator. Printed drawing measures 24”x 36.”


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UNDERGRADUATE WORKMiami University, 08.06 - 05.10


CLIFTON LIBRARYRethinking 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.

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CLIFTON LIBRARYRethinking 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.

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CONFRONTATION WORKSHOPExploring 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 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, 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.

Left: Process perspective sketch

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

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line of physical confrontation

line of cultural confrontation

line of economic confrontation

the site



John G. Simenic •� Undergraduate Portfolio

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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



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

Above Level: Second level f loor plan

Above Right: Longitudinal section

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FROEBEL AND WESTCOTTBuilding communities in Istanbul.

John G. Simenic •� Undergraduate Portfolio

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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 and simple design exercies. These simple exercies were then taken and applied on a larger scale for an international arts campus masterplan located adjacent to Frank Lloyd Wright’s Westcott House in Springfield, Ohio.

Far Left: Street view photo of the Westcott House in Spring field, Ohio.

Below Left: Westcott House spatial study

Below Right: Pictures showing build-ing process for Froebel set


FROEBEL AND WESTCOTTBuilding 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.

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Far Left: Process sketch

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


HICKMAN CHAPELReviving a chapel, a community, and a history.

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.

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Far Left: process sketches

Below: Longitudinal site section created using FormZ and Photoshop.



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. Natural materials that are warm in color are also used to make the basement and patio blend into the landscape so that the stark white chapel remains the focal point of the hillside.

Above: Interior perspective created using FormZ and Photoshop.

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

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Above: Transverse section looking out into the landscape. Created using FormZ and Photoshop.

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

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GREEN COMMUNITIES COMPETITIONThe greenest brisk is the one that is already there.

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

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

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TECHTOWNDesigning 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

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Far Left: Floor plans.

Bottom Left: Longitudinal section.

Above: Rendered perspectives. Created using FormZ and Photoshop

The central form functions as the circulation core, while the two adjacent rectangular forms serves as tenant spaces. Working from a simple palette of materials I sought to express each form with a distinctive material so as to create a compelling spatial composition.



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

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SELECTED WORKSPaintings 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.

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

Left: Close-up of the middle dervish painting.

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

Right: Close-up of Der Fortschritt.

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J simenic portfolio

Documents

innovatrium projects

innovatrium tocabelas

michiganthe innovatrium

innovatrium createsa

graduate work4 innovatrium

innovatriumdisrupting

familiar site of dundee

simenic portfolio source