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Portfolio_Modi

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Portfolio_Modi

  1. 1. SONAL MITHAL MODI Ph.D. M.Arch. B.Arch. PORTFOLIO OF PROFESSIONAL, RESEARCH, AND TEACHING INITIATIVES
  2. 2. embodied inquiry of landscape research developing a performance-based landscape inquiry. santiniketan, india workshop organized liminal narratives: from context to text, broadway on union square and madison square. new york city, ny lefebvre’s rhythmanalysis: body a medium of landscape inquiry. perkins road prairie wetlands park, urbana, il lefebvre’s rhythmanalysis: body a medium of landscape inquiry. perkins road prairie wetlands park, urbana, il dance in landscape. tapti river bed, mandvi, india lefebvre’s rhythmanalysis: body a medium of landscape inquiry. meadowbrook park, urbana, il interpretive strategies for heritage conservation research mapping festivals and venues of theater groups in an around santiniketan, india the indian temple: production, place and patronage mapping festivals and venues of pilgrimage at braj, india publication myths and legends of champaner-pavagadh teaching city as stage of spaces and conception
  3. 3. promotion of heritage through community participation professional work amrit varshini, traditional water structures of gujarat, india cultural heritage and promotion of understanding in punjab, india teaching cognitive mapping of child in city preservation of architectural heritage professional work conservation of malik sandal ni vav. champaner-pavagadh, india conservation of atak fort and medhi talao. champaner- pavagadh, india conservation and adaptive-reuse of old makarpura palace. baroda, india inventory of the parsi heritage. navsari, india management plan for champaner-pavagadh archaeological park champaner-pavagadh world heritage site nomination dossier base-map documentation of champaner-pavagadh archaeological park cultural resource information system—inventory of built heritage of champaner-pavagadh archaeological park design for lived experience of history teaching performing the urban palimpsest, midway plaisance, il choreographing an urban palimpsest, hazratganj, india professional work baroda heritage walk champaner-pavagadh visitor movement plan
  4. 4. acrylic paintings on canvas for landscape inquiry growth and decay series: tree bark erosion and sedimentation series: rocks miscellaneous exhibition design the sarajevo winter olympics: after thirty years—a photo and media retrospective built heritage of champaner-pavagadh archaeological park libguide design rabindranath tagore research guide for iasl, uiuc poster design posters for brown bag events and conferences timeline: hundred years of indian cinema bookmarks featuring a compilation of selected book covers representing various area studies website designs past. present. future: indian cinema at 100 published drawings maps of jamshedpur, india theater lighting designs, stage-set, direction undergraduate theses guidance
  5. 5. embodied method for landscape inquiry embodied knowledge of landscape: accommodating ongoing subjective experience in the presentation of heritage landscape 2015 Doctoral dissertation, Department of Landscape Architecture, University of Illinois at Urbana- Champaign Digital link to dissertation Premise The corporeal body is the locus for this study, which builds upon the prevailing phenomenological stances towards the body. Those stances critique the way Cartesian intellectualism has prioritized the mind over the body, and they reposition the body as an essential site of knowledge production. Drawing upon philosopher Maurice Merleau-Ponty’s notion that the lived body is the vehicle for being-in-the-world, the research concentrates on the corporeality of the body, which is a perpetual condition of sensorial experience of the world by being in it. a workshop participant creating a painting using clay collected from site research
  6. 6. Site Santiniketan, India. University Town. Established by Rabindranath Tagore for promotion of Performing and Visual Arts. India’s 2010 nomination to UNESCO’s World Heritage List, currently under consideration for designation. Rabindranath Tagore Poet, philosopher, painter, musician. Research Question How can a progressive understanding of landscape, based on new thinking about embodied knowledge, contribute to the theory and practice of heritage landscape?
  7. 7. embodied method for landscape inquiry Dissertation approach Embodied knowledge is the primary source of information Research is a performance of present-ing the heritage site to: offer a lived approach versus the dominant preservationist approach situate the idea of truth in reference to authenticity actively archive the site through corporeal witnessing in the first person and in present moment Outcomes of the performative research method Heritage constituted because of the embodied knowledge of landscape is a function of: Archivability—witnessing by corporeal body in the present moment Authenticity—consequence of what and how the body encounters History—consequence of encounter in the present Insider-outsider duality—distance between the two is erased pen and ink by tagore research
  8. 8. Performative research method I Archival research at Santiniketan Tagore’s letters highlighting his educational ideals Early photographs of the campus Description of the site by Arthur Geddes who designed the campus layout Paintings/Poems by Tagore revealing his connectedness with the landscape Paintings/Memoirs/Poems by teachers, visitors and students Empirical mapping Ethnographic interviews examples of empirical mapping
  9. 9. embodied method for landscape inquiry Performative research method II Practice-based method—body as a mode of landscape inquiry Corporeal Body is a site of embodied knowledge Embodied knowledge can be shared using a video camera Rhythmanalysis Movement workshops with students of fine arts and performing arts at Santiniketan stills from the video research
  10. 10. embodied landscape workshop: representing the non- representational modes of landscape inquiry. 2013 Participants MFA (Dance, Fine Arts) students at Santiniketan, India A video camera followed the dancers’ movements in a semi-choreographed work, with the dancers emulating landscape elements in stylized gestures. From the resulting footage, I created a short film Tracings… to demonstrate embodied knowledge. The video captures the process of a body gaining knowledge of the landscape, by being-in-landscape, by moving through landscape, and using bodily senses. This method further acknowledges the corporeal body as a site upon which personal experience becomes deposited as embodied knowledge. Digital link to the video stills from the video
  11. 11. embodied landscape workshop: representing the non- representational modes of landscape inquiry. 2013 Participants MFA (Dance, Fine Arts) students at Santiniketan, India In this workshop, the participants from the previous workshop were invited to view the edited footage of the previous workshop and create improvisational pieces with that viewing in mind. The video installation was done at the site of the performance itself, while a camera documented the process. To externalize their embodied experience, the participants remembered and documented the process of their corporeal engagement using drawn lines in colors of their own preference. The intensity and length of the lines indicated the intensity and duration of engagement. Awareness of dust, heat, wind, clay, sounds, smells, textures, topography, erosion, ruination, renewal was recorded by drawing colored lines on paper. embodied method for landscape inquiry . stills from the video research
  12. 12. Rhythmanalysis A method developed by sociologist Henri Lefebvre in his 2004 book, Rhythmanalysis: Space, Time and Everyday life. The rhythmanalyst uses his or her own bodily rhythms as a reference through which to experience and evaluate landscape as a system of rhythms. Method involved engaging dancers with the landscape of Santiniketan, generating non-stylized movements as they respond to available sounds, textures, wind, and humidity, which I registered using a video camera. stills from the video
  13. 13. embodied method for landscape inquiry liminal narratives: from context to text. broadway on union square and madison square, new york city, new york. 2014 Funded iLAB Residency Program of iLand, New York Participants Performance artists from UIUC and New York, Dance scholars (UIUC), Landscape scholars (UIUC) 15 exploration of the urban liminal workshop organized
  14. 14. Tasks Embodied exploration and representation of liminal spaces in an urban context The purpose of this laboratory was to initiate a sensory dialogue between the human body and the built environment and encourage a perception-in- movement. Keeping the architecture of edges, i.e. the built language which exists at the interface of the inside and outside as the main focus, the laboratory drew upon Lefebvre’s rhythmanalysis to participate in and observe human behavior on a street. The laboratory highlighted conditions for territoriality, memory, associations, and landmarks in terms of personal and public realms. Explorations discovered whether visual proportioning and placement of built forms encourage our perception in motion. Exploration also discovered what conditions of built forms encourage pauses, helping the participants reorient and reaffirm their bearings in space. representation of the urban liminal
  15. 15. embodied method for landscape inquiry lefebvre’s rhythmanalysis: body a medium of landscape inquiry. perkins road wet prairie park, urbana, illinois. 2014 Participants MFA (Dance) students, UIUC In this workshop, the experiences from all previous workshops were consolidated. The activities included strapping a video camera to the body, as the body engages in a mobile perception of the landscape. Material exploration, find a landmark. Memorize it. What are your tools. Can you describe that landmark and see if another person can take you there. This was intended to know how does one share embodied knowledge. participants’ representation of embodied engagement workshop organized
  16. 16. participants’ representation of embodied engagement
  17. 17. embodied method for landscape inquiry lefebvre’s rhythmanalysis: body a medium of landscape inquiry. perkins road wet prairie park, urbana, illinois. 2013 Participants MFA (Dance) students, UIUC In this workshop, the experiences from all previous workshops were consolidated. The activities included strapping a video camera to the body, as the body engages in a mobile perception of the landscape. The footage from the video was later compared to the participants’ conscious bodily engagement with the landscape. All the participants then recorded their experiences in terms of arrival, familiarity, haunt, inhabit, occupy, orientate, proximity, shape and thisness. This was to extract the material knowledge of the landscape derived from personal embodied engagement of each participant. workshop organized
  18. 18. participants’ representation of embodied engagement
  19. 19. embodied method for landscape inquiry dance in landscape. tapti river bed, mandvi, india. 2012 Participants Professional dancers, Surat, India A video camera followed the dancers’ movements in a semi-choreographed work, with the dancers emulating landscape elements such as horizon, topography, and sounds in non-stylized gestures. Digital link to the video workshop organized
  20. 20. stills from the video
  21. 21. embodied method for landscape inquiry lefebvre’s rhythmanalysis: body a medium of landscape inquiry. meadowbrook park, urbana, illinois. 2011 Participants MFA (Dance) students, UIUC This workshop involved engaging dancers with the landscape, generating non-stylized movements as they respond to available sounds, textures, wind, and humidity, which I registered using a video camera. Subsequently the video footage was edited to become a sharable video of varying lengths—one minute long, three minutes long, and five minutes long. My research treated the process of editing the video footage as a performative process that located patterns and frequency of repetition in the dancers’ movements and gestures. The editing window on the computer screen is comparable to a visual rhythm, which affected the way in which the clips were chosen or trimmed to tell a rhythmic story. Digital link to the video 23 stills from the video workshop organized
  22. 22. participant feedback of embodied exploration graphical representation of embodied knowledge
  23. 23. interpretive strategies for heritage conservation mapping festivals and venues of traveling theater groups in and around santiniketan, india 2013 Doctoral dissertation, Department of Landscape Architecture, University of Illinois at Urbana- Champaign The drawing was produced to map the location and duration of fairs held in the vicinity of Santiniketan. The drawing contains information about the location of Santal villages; youth camps; and artisans such as potters, lac workers, and cobblers.It also contains information about the number of people visiting each venue, the time of the year the event is held, and the number of days it lasts. The maps shows the interconnections between the university and the local community, and the fluidity of the boundaries of the campus. The maps serve to make explicit the futility of creating rigid administrative boundaries to define heritage landscape. research
  24. 24. examples of analysis of construction details the indian temple: production place and patronage 2008-2009 Field research assistant, Book by Dr. Adam Hardy, Welsh School of Architecture, Cardiff University for Arts and Humanities Research Council Measurement and analysis of 12th century stone temples of Gujarat. The measurements had to trace the various complex construction elements of a temple roof—especially, the shekhari temples. The horizontal tiers of the temple facade had to be detailed out to the exact inches to verify any presence of a geometric pattern being formed in the construction of the shikhars (pyramidal roofs). Official page research
  25. 25. interpretive strategies for heritage conservation mapping festivals and venues of pilgrimage at braj, india 2009 Studio Project: Cultural Landscape of Govardhan in Braj, India: Imagined, Enacted and Reclaimed Doctoral candidate, Department of Landscape Architecture, University of Illinois at Urbana- Champaign mapping festivals on a lunar calendar: brightest are full moon days, darkest are the new moon days map showing sites of embodied engagement research
  26. 26. For interpretive intervention: Mapping resources Mapping experiences and attitudes Mapping ownership and agendas Mapping patterns of intangible relationship between individual and space Mapping recurrence of time with space Map showing alignment of ritual sites with water features map showing ritual sites and associated myths map showing topographical features suggesting occurrence of water, and hence ritual stes research
  27. 27. interpretive strategies for heritage conservation myths and legends of champaner- pavagadh 2008 Author Published by Transpek-Silox and Heritage Trust, Baroda This book is a collection of oral stories, historical anecdotes, narratives from devotional songs and traditional theatrical performances. The collection weaves together a story about a place, Champaner-Pavagadh, as it would appear to a visitor who is traversing the ruins of the site. The primary source of information for this book has been songs sung during the festival of Navratri; songs for the traditional dance-form, garba; folklores; historical plays; stone inscriptions and coins; fifteenth century historical texts; and the site itself. Each story is accompanied by a painting. Jaidev Thakur created those paintings, after a close reading of stories. The paintings all have at least one architectural structure as a background, forming the context for the story to unfold. text and paintings from the book publication
  28. 28. Almost all stories selected for this book are associated with some architectural structure on the site, however ruinous its condition might be.
  29. 29. interpretive strategies for heritage conservation models of students' works city as a stage 2004, 2005, 2006 Assistant Professor, SCET, Surat, India Undergraduate architecture students, semester 08 Research questions How do people of different cultural groups operate within a city? What does belongingness to a city mean in that context? Are there specific parts of a city that are familiar/comfortable to a certain cultural group? Is that desirable from a designer point of view? Tasks Extract a comprehensive portrayal of a city or town as featured in chosen novel or a movie. The novel or movie must feature the morphological components of a city as a background for the narrative to unfold. Establish the implication of time and people on the city fabric. Review the process of using the urban context as a means of story development, thus making explicit the role of cities in day-to-day activities of its dwellers. Review it based on the author/director’s perspective as well as from the characters’perspective. Represent the analysis using multimedia techniques, that closely represent the theme emerging from analysis. Suggested forms of representation: abstract diagram, 3-d model, collages, and video or audiography. teaching
  30. 30. Drawings by students of spaces and conception 2006 Assistant Professor, SCET, Surat, India Undergraduate architecture students, semester 04 Premise To facilitate sensitivity for other-than-visual sensory faculties to make sensorial experience an inherent component of design process. By making students consciously disembody their visual faculty, the exercise aims at making students aware that vision has the power to control their design sensibilities towards form-making rather than place-making. Tasks Design a space based on this narrative written by the professor. This narrative is imagined to be an extract from a conversation going on between five visually challenged people who are meeting at the end of the day for a chat. They are discussing their day with their friends and in that describe the places they have been to. [5 such narratives were provided]: “… smell of expensive tobacco was filling the atmosphere. Obviously the space was overflowing with several small groups of people whose faint voices I could hear, occasioned by ringing peals of their laughter. The sounds were faint in one corner; they were loud in the other one. In such a cacophony of sounds, the only solace came from the random call of a sparrow, coinciding with the falling leaves and an uninterrupted murmur of trickling waters … Students are to visualize those places. They could be five different places or they could be one place with all those qualities. A tool-kit with sizes and shapes of planes were provided to the students to work with. teaching
  31. 31. promotion of heritage through community participation exhibition design “amrit varshini”and workshop “jala kosha raksha: children in conservation” 2002 Director, People for Heritage Concern Participants Middle school children, Baroda, India Client Heritage Trust Baroda, South-asia World Bank Water and Sanitation Program This workshop involved engaging activists, social workers, artists, and architects with school children to help inculcate an understanding for vavs or step-wells which are traditional water- structures. The workshop was conducted for appreciation of water conservation. Students created drawings, clay and styrofoam models of water structures. Exhibition panels were a photographic and architectural documentation study of step-wells of Gujarat. 1 exhibit clay model by school children exhibition design
  32. 32. models amd drawings by school children school children at a stepwellexhibition
  33. 33. promotion of heritage through community participation cultural heritage and promotion of understanding in punjab, india 1999-2000 United Nations Volunteer, UNDP-UNV-UNESCO for the Culture of Peace Program Organizer Cultural Resource Conservation Initiative, Delhi, India Architectural Conservation of Kishan temple at Kishankot Conservation combined technical aspects of repair, and mobilizing a social process of continuity in values. Social habits and practices that could be injurious to the building were understood and ways in which their relationship to the building could be enriched were determined. The process of repair and renovation shared with the local people during long community meetings held at various locations in the village. The project brought about a blending the professionals’ expertise with the craftsmanship and the experience of the people; thus developing a work culture that facilitated mutual learning. community living in clay houses kishan temple professional work
  34. 34. child and space—a behavioral study 2006 Assistant Professor, SCET, Surat, India Undergraduate architecture students, semester 09 Research questions How does a child adapt herself to the given environment and learn to explore for comfortable territories. How does a child learn to create her own spaces while navigating the given environment? What are the qualities of spaces that are sympathetic to a child’s needs? Tasks To identify a child’s actual use of a space, its relation with her image of that space. Two rural and two urban residential neighborhoods were chosen. Students formed four groups of ten, each student interacted with at least 6 children, (equal number of male and female respondents and 13-15 years of age). Children drew mental maps, and narrated stories of their day-to-day engagement of their neighborhood and beyond. Use of video, sound recordings, model making with children were used to encourage interaction.. The spatial qualities of a child’s navigational routes and territories were documented using the emerging themes: spaces of engagement and boredom, known and unknown spaces, hidden spaces, dangerous spaces, beautiful and ugly spaces, holy spaces, etc. were documented. collage: spaces of engagement and boredom models made during interaction with children teaching
  35. 35. conservation of malik sandal ni vav, step well. champaner-pavagadh, india 2008 Director, People for Heritage Concern Client Heritage Trust Baroda, United Way International Conservation action plan Long term management policy Restoration, strengthening and consolidation of the structure using skilled craftsmen Chemical treatment for water proofing Lime plastering as required Landscape design for increasing accessibility of the vav to the visitors Design and execution of signage Preparation and execution of electrification layouts Periodic inspection programs Proposed use Develop an interpretive facility to facilitate learning, among visitors and school children from nearby places, about the Sultanate era water system . preservation of architectural heritage professional work site during conservation process
  36. 36. inventory of parsi heritage. navsari, india 2006 Director, People for Heritage Concern Client World Zoroastrian Organization, INTACH Documents Parsi houses and public institutions having Parsi patronage such as schools, libraries, sanatoria, orphanage, community halls, club houses of Navsari. Inventory has two components—buildings and precincts/streets. A map accompanies the inventory, on which institutional buildings, and streets/precincts with individual houses are located. professional work sample inventory page
  37. 37. preservation of architectural heritage conservation and adapative re-use of old makarpura palace. baroda, india 2007 Director, People for Heritage Concern Client Heritage Trust Baroda, Indian Air Force The project has entailed cleaning, structural strengthening and redesigning of the interior space of the art deco indo-sarasenic structure. The palace has now been converted to an office space for the Indian Air Force.
  38. 38. .
  39. 39. management plan for champaner-pavagadh archaeological park 2003 Director, People for Heritage Concern Client Heritage Trust Baroda, Archaeological Survey of India for UNESCO-World Heritage Committee The management plan prepared after careful collaboration with all seventeen stake-holders such as Forest Department, temple trusts, Waqf Board,village panchayat, Archaeological Survey of India, small-scale industries. Using a satellite image super-imposed with the survey of significant architectural and arcaheological sites, a map was prepared dilenating the core and buffer zones; so as to quantify the area to be protected as part of the World Heritage site. The Heritage Core Zone covers the entire archaeological area along with the living settlement and living temples. Also included are trade routes (cultural corridors), street networks, pilgrim paths and garrison squares. The Buffer Zone includes the geological phenomenon of Pavagadh Hill and the forests. The Buffer Zone lies beyond the boundary of the Heritage Zone. This zone allows controlled land-use development. Management objectives Developing partnership and consensus among stakeholders Establish effective linkages between all committees Framing guidelines for new development. Management which is accountable and transparent Management components Information management Cultural resource management Visitor/Pilgrim management Site management. professional work preservation of architectural heritage
  40. 40. champaner-pavagadh world heritage site nomination dossier 2001 Director, People for Heritage Concern Client Heritage Trust Baroda, Archaeological Survey of India for UNESCO-World Heritage Committee Criteria under which inscription was sought: Masterpiece of human-created genius of a person of a region: Mahmud Begarha, who founded several cities in the 15th century A.D. Interchange of human values over span of time, developments in architecture or technology, town- planning or landscape design. Unique testimony to cultural tradition or civilization, living or disappeared. Outstanding example of a type of building or architectural ensemble or landscape, significant stage in human history. Outstanding example of a traditional human settlement, land uses representative of a culture, high degree of survival. Online link to the document preservation of architectural heritage professional work
  41. 41. base-map documentation of champaner- pavagadh archaeological park 2001 Director, People for Heritage Concern Client Heritage Trust Baroda, World Monuments Fund Mapping the buried city of Champaner and the settlements on Pavagadh Hill using Dr. R. N. Mehta’s pioneering archeological data as reference material. This became the first comprehensive map of Champaner-Pavagadh and an indispensable asset for all the subsequent projects related to the site, which spread over an area of 16 square kilometers. satellite image used for mapping professional work base-map
  42. 42. preservation of architectural heritage cultural resource information system— inventory of built heritage of champaner-pavagadh archaeological park 2001 Director, People for Heritage Concern Client Heritage Trust Baroda, Archaeological Survey of India for UNESCO-World Heritage Committee The inventory is a part of the Integrated Conservation Plan of Champaner-Pavagadh to help frame future policies for the conservation action plan. The inventory documents 114 structures w.r.t.surrounding landscape, topography, activity, plan, photographs, protection status, historical or mythological associations, description of architectural features, condition, and architectural modifications. They are classified based on identification types such as archaeological excavation, archaeological site, architectural fragments and ruins, structures above ground, structures below ground, water bodies. professional work sample inventory pages
  43. 43. Each building type belongs to typologies distinguishable by its original function i.e., military structures, residential structures, civic structures, religious structures, water structures, residential precincts, and commercial precincts. Each section commences with the map showing location of all the structures representing that typology. The first three digits of the building number represented the typology and the following digits represented the identification number. The structures that lie on the top of Pavagadh Hill were numbered first and as one descended the numbers kept increasing.E.g., DRZ01 represented the structure of typology Darwaza and lay at the topmost part of the city. Site work is supported by archival research of history and literature. sample inventory pages
  44. 44. design for lived experience of history performing the urban palimpsest -- movement-based landscape inquiry and design of the midway plaisance Spring 2015 Instructor, Department of Landscape Architecture, University of Illinois at Urbana-Champaign Juniors, seniors, graduates Premise This studio workshop treats landscape as an agency to engage designers in a firsthand experience of the site, so that they know the site by being in the site and engaging with it in an immersive way – perception without distance. In that engagement, designers become part of the performative landscape. The workshop is concerned with landscape as both the venue and the act of performance, treating the two as inseparable in the design process. The workshop is further concerned with making present a historic site, thus bringing discourse of heritage landscapes into contemporary domain. UNIVERSITY OF CHICAGO JACKSON PARK MIDWAY PLAISANCEWASHINGTON PARK map of chicago showing location of midway plaisance teaching
  45. 45. Palimpsest Boards: First Phase The first phase focused on representing the site as a palimpsest board showing the various layers of historical events – some evident today, many others erased. For this phase, students worked in teams of two students each. Each team researched the archives and online resources for historical maps, texts, and images related to the site of Midway Plaisance, with special focus on one chosen theme. Themes explored were Gaze, Movement, People on the Midway, Residue and Vacancy at the Midway, Midway as a Container and a Perimeter. examples of palimpsest boards created by students
  46. 46. Palimpsest Trail: Second Phase For the second phase, students chose a palimpsest board they had not designed and then created a sequence of walks and lingering spots on the palimpsest, engaging with the events noted on the board. The palimpsest board was assumed to be a museum site through which the designer is moving. They also wrote a narrative describing what in the palimpsest they encounter along the walk. After the designing of trails they made their site visit. During that visit, they walked those designed trails and recalled the historical significance of the site. They also mapped present- day activity patterns. design for lived experience of history teaching
  47. 47. example of palimpsest trail created by students
  48. 48. Landscape Score: Third Phase For the third phase, students created design of Landscape score—design for experiential walking through the site. This is meant for an everyday experience on the actual site. The trail goes through some historical landmarks, one personal landmark. At places this score also goes through parts of their palimpsest trail they had previously designed. This is to acknowledge and experience what is already there on site, and to experience what is obliterated. The client is one University of Chicago student. The score engages the individual in a sensorial manner with the present day landscape elements as well as historical events. Scores introduce possibilities for bodily participation and heightened sensory awareness. Questions students are engaging with include: how can history be juxtaposed with the present day, how is history experienced. design for lived experience of history examples of landscape score designed by students teaching
  49. 49. design for lived experience of history Understanding Movement as a Design Generator: Fourth Phase Subsequently, the studio collaborated with Movement Director/Choreographer Struan Leslie, George A. Miller Visiting Artist at UIUC. The focus of this collaboration was to develop a design vocabulary based on meticulous investigation of walking in cities. The students oscillated between the roles of being a designer and that of being a user so as to develop a method of design by empathy and explored themes of strolling, meandering, parade, and lingering to engage with the palimpsest Workshop in progress, student choreographing a movement and others helping create a space to facilitate that using props available at hand, such as chairs teaching
  50. 50. Design to facilitate an Experience of Palimpsest through Movement: Final Phase The final phase was a synthesis of previous phases focusing on the studio process, how that process shaped the students' understanding of Palimpsest, Experience and Movement, and how those understandings contributed to the conceptualizing of their landscape designs. examples of landscape designs by students
  51. 51. design for lived experience of history choreographing an urban palimpsest – hazratganj, lucknow Winter 2015 Instructor, Faculty of Architecture, Center for Environmental Planning and Technology University, Ahmedabad, India Juniors, seniors, graduates, young professionals Premise Acknowledgment of urban heritage precincts as “phenomenon" is a design opportunity to accommodate and make present subjective experiences of users of that precinct. This stance serves two purposes. Firstly, it makes a heritage precinct relevant and part of present day-to-day functioning of a city. Secondly, it makes a case for the role of designer to be of equal importance in discourses related to conservation of architectural heritage, which until now have often been practiced as management projects. introductory poster for the course showing palimpsest, culture of lucknow, and design based on motation teaching
  52. 52. Key Concept I: Palimpsest Objective Through archival and on-site study, develop an understanding of an urban historic precinct as a palimpsest of layered history. Tasks Create an Acrylic Painting to representing the physical qualities of a palimpsest. Two-fold palimpsestic mapping of Hazratganj—based on history and based on present-day sensorial experiences. Key Concept II: Flâneur Objective Through on-site observation, develop an understanding of movement in historic precinct as a set of rhythms and sensorial experiences. Tasks Observe and represent rhythms of walking—stroll, lounge, saunter, wander. Key Concept III: Choreographic Design Objective Choreograph [design physical spaces in conjunction with rhythmic movements of body] a trail that offers to its users a heightened sensorial experience of the urban precinct. Tasks Observe, document, and devise movement patterns on site using Halprin’s Motation technique for a Flâneur at a palimpsestic site.
  53. 53. design for lived experience of history baroda heritage walk 2005 Director, People For Heritage Concern Client Baroda Municipal Corporation and United Way of Baroda Four thematic walks were designed, each an hour and half long.Each walk took the visitors through various building typologies. A survey was conducted prior to designing the walks, which revealed the following building typologies: Residential—Khancha (cluster of houses), Khadki (cul-de-sac), Pol (row of houses), Sheri (colony) Religious—Mandir (temple), Masjid (mosque) Public Buildings—school, library Specialized markets—bangles only, earthern toys only, construction material only, fabric only Military structures—fortification walls, gates. Each walk covered one gate which gave the particular walk its name. The walks were envisaged as a loop which commenced and culminated at places where public parking was available—Nazar Bagh Gate, Gendi Gate and Bhadra gate. professional work
  54. 54. 1890 photo of mandvi, baroda source: www.ebaroda.com map of heritage walk
  55. 55. champaner-pavagadh visitor movement plan 2003 Director, People For Heritage Concern Client Heritage Trust Baroda and Archaeological Survey of India Eight thematic walks were designed. These walks were part of the Champaner-Pavagadh Archaeological Park Integrated Conservation Plan, prepared for management of the World Heritage Site.Each walk took the visitors through various building typologies. Jahapanah Walk (Halol Darwaza to Jama Masjid) hissar-i-khas Walk (Shaheri Masjid to Godhra Darwaza) Ek Minar Walk (Gaben Shah Vav to Ek Minar Ki Masjid) Atak Walk (Halol Darwaza to Machi Haveli) Machi Walk (Machi Haveli to Sat Kaman) Bhadrakali Walk (Machi Haveli to Makai Kothar) Mauliya Walk (Lakulisha Mandir to Naulakha Kothar) Kalikamata Walk (Machi Haveli to Kalikamata Mandir) design for lived experience of history map of heritage walk professional work
  56. 56. Eight thematic walks were designed. These walks were part of the Champaner-Pavagadh Archaeological Park Integrated Conservation Plan, prepared for management of the World Heritage Site.Each walk took the visitors through various building typologies. Jahapanah Walk (Halol Darwaza to Jama Masjid) hissar-i-khas Walk (Shaheri Masjid to Godhra Darwaza) Ek Minar Walk (Gaben Shah Vav to Ek Minar Ki Masjid) Atak Walk (Halol Darwaza to Machi Haveli) Machi Walk (Machi Haveli to Sat Kaman) Bhadrakali Walk (Machi Haveli to Makai Kothar) Mauliya Walk (Lakulisha Mandir to Naulakha Kothar) Kalikamata Walk (Machi Haveli to Kalikamata Mandir) brochure for heritage walk
  57. 57. acrylic paintings on canvas for landscape inquiry Through close study of natural elements of landscape, I devise patterns and methods to representing their elemental qualities. Using techniques of layering, and erasures; the elemental qualities of growth, decay, renewal, and recovery are represented as textures. More paintings here growth and decay series: tree bark
  58. 58. erosion and sedimentation series: rocks
  59. 59. the sarajevo winter olympics: after thirty years—a photo and media retrospective 2014 Student hourly, International and Area Studies Library), University of Illinois at Urbana- Champaign Venue Main Library, University of Illinois at Urbana- Champaign To celebrate the Winter Olympic Games, the International and Area Studies Library has partnered with Bosnian-American sports photographer, Ivica (John) Jurisic, to exhibit photography and highlight media advertising coverage of the Games from across the globe. The materials featured in this exhibit come from the personal collection of Ivica (John) Jurisic, the University Archives’Avery Brundage and Olympic Collections, the History, Philosophy, and Newspaper Library, and the International and Area Studies Library. exhibition design miscellaneous
  60. 60. built heritage of champaner-pavagadh archaeological park 2001 Director, People for Heritage Concern Client World Monuments Fund Venue Kala Ghoda Art Festival, Mumbai, India exhibition design sample exhibition panels
  61. 61. rabindranath tagore research guide 2014 Student hourly, International and Area Studies Library), University of Illinois at Urbana- Champaign Website link miscellaneous libguide design home page screenshot
  62. 62. posters for brown bag events and conferences 2015 Intern, Center for South Asian and Middle Eastern Studies (CSAMES), University of Illinois at Urbana- Champaign poster design sample poster
  63. 63. timeline: hundred years of indian cinema 2013 Student hourly, International and Area Studies Library, University of Illinois at Urbana-Champaign miscellaneous poster design a-0 size poster
  64. 64. detail of a part of poster
  65. 65. bookmarks featuring a compilation of selected book covers representing various area studies 2013 Student hourly, International and Area Studies Library, University of Illinois at Urbana-Champaign bookmark design miscellaneous
  66. 66. past. present. future: indian cinema at 100 2013 Student hourly, International and Area Studies Library), University of Illinois at Urbana- Champaign Website link website design home page screenshot
  67. 67. miscellaneous published drawings maps of jamshedpur, india 2011 Sinha, Amita and Singh, Jatinder. Jamshedpur: Planning an Ideal Steel City in India.” In Architecture+Design. xxviii: 1. pp. 106-117. Doctoral candidate, Department of Landscape Architecture, University of Illinois at Urbana- Champaign
  68. 68. . published drawings maps of jamshedpur, india 2011 Sinha, Amita and Singh, Jatinder. “Jamshedpur: Planning an Ideal Steel City in India.” In Journal of Planning History.10:4. pp. 263-281. Doctoral candidate, Department of Landscape Architecture, University of Illinois at Urbana- Champaign
  69. 69. . theater lighting design, stage-set design, direction 2008-2014 In-house designer, Mithya Theater Company, University of Illinois at Urbana-Champaign set design, lighting design, 30 days in september armory free theater 2011 set design, direction red oleander channing murray foundation 2012 miscellaneous
  70. 70. teaching undergraduate design theses guidance 2001-2008 Assistant Professor, SCET, Surat, India Undergraduate architecture students, semester 10 2001 Sushma Shetty, Centre for Sustainable Development at Bedvan, Gujarat 2002 Yatin Acharya, Urban Redevelopment at Machi Plateau, Champaner-Pavagadh, Gujarat Leena Dhakate, Training Centre for Rural Technology, Baroda, Gujarat Nimisha Godhani, Community Centre for Kadva Patel at Sidsar, Gujarat Rupali Nayak, Institute for Visually Impaired and Blind, Ahmedabad 2004 Manjari Narayan, Royal Embassy of Saudi Arabia, New Delhi Sandeep Paul, Revival of Sabarmati Riverfront, Ahmedabad, Gujarat 2005 Hemali Kapadia, Centre for Water Interpretation, Champaner-Pavagadh, Gujarat Niraj Naik, Community Housing at Dang, Gujarat Urvi Sheth, Umaid Housing at the foothill of Umaid Palace, Jodhpur, Rajasthan 2006 Chaitali Babar, Venue for International Film Festival of India, Panjim, Goa Juhi Mehta, Revitalization of Jaleb Chowk, Jaipur, Rajasthan Arnika Shroff, Gujarat Habitat and Environment Centre, Ahmedabad, Gujarat 2008 Anand Jariwala, Transformation Center—a scientific-spiritual center, Surat, Gujarat Rujul Joshi, Childhood Center—a comprehensive model for primary school, Ahmedabad, Gujarat Nidhi Khosla, Redevelopment of City Core, Margao, Goa Kanku Trivedi, Revitalization of cotton mills for urban social use, Ahmedabad, Gujarat
  71. 71. sonalmithal@gmail.com +217 418 9368 https://sonalmithal.wordpress.com/ https://embodiedlandscapes.wordpress.com/

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