Brick has been widely recognisable as part of the image of an ‘authentic’ Indian architecture. The brutalist quality of an exposed brick facade is emblematic of some of India’s most remarkable architecture from the ‘50s onwards, a symbol of modernity and vernacular tradition at the same time. This preference was also partly informed by the scarcity mindset in design from that era and the acceptance of the brick as a sustainable, 'local material' for construction. Indian modernist architecture, particularly, sought a constant search for an answer to Louis Kahn's perennial question: What does a brick want to be? This is a search that has taken on many forms, in various typologies, by Indian architects all over the country, not least among them, BV Doshi. The material and aesthetic qualities of the unassuming brick, with its rich terracotta hues, colour every space of a recent project by Ahmedabad-based Studio Sangath, signifying a lineage to the fascination with brick for architects with modernist sensibilities in the country.

Meant as a weekend home for a couple, the project is envisioned as a peaceful retreat in the midst of nature. Poised on an undulating site in rural Gujarat, the distinctive residential architecture is defined by terraces and deep verandahs. The quiet home, an escape from the demands of urbanity, doubles as a sanctuary for visiting writers, artists and filmmakers—friends of the homeowners—offering them a tranquil space as a creative retreat. The deep-set verandahs, liberally designed openings and thoughtfully carved out alcoves engender this tranquillity, while splicing the verdant context into a series of frames. "From the outset, it was evident that the home needed to balance privacy with a strong connection to the surrounding landscape, while also offering a variety of spaces—some suited for gathering and others for quiet retreat," the studio's principals, Khushnu Panthaki Hoof and Sönke Hoof note in conversation with STIR.

Elaborating on the almost instinctual layout of the private residence, they continue, "The clients enjoy hosting guests from diverse backgrounds, so the plan provides a balance between private spaces and shared areas that support conversation and interaction, influenced by the time of day and seasonal changes." The architecture, receding into and yet conspicuous against its natural landscape, unfolds as a series of muted geometrical forms. The manner in which the design frames its context, coming through in the formal demeanour and a vibrant colour palette, brings to mind Mexican architect Luis Barragan's structures, with the design team insisting on a pavilion-like morphology to create a fluidity to the interior spaces. One enters the house at the highest point of the site, before descending into the private domestic core. This also suggests a certain implicit hierarchy to the home, orchestrated through defined openings and demarcated levels. Further, the residence creates a sense of openness with a courtyard right at the entrance, which leads onto a terrace.

As the Indian architects note, the aim was to create a flexible structure where the breeze could circulate freely, adhering to climatic considerations. A heightened degree of flexibility was a key consideration, the team notes, with the layout meant to allow adaptation over time based on the occupants’ needs and routines rather than assigning rigid functions to each space. In the home, the living spaces pivot around the courtyard, creating a sense of movement within.

From the terraces, one can also descend into the home’s garden, which is planned on the lowest level of the slope, acting as an extension of the rolling hills. The staircase leading to this open space is bracketed by a terracotta beam that cuts into the clear sky beyond. Just as open and breezy as the public areas of the house are, the bedrooms are designed to ensure privacy, with the openings offering unique views of the hills. Apart from the master bedroom, the guest rooms are placed in the layout almost as additions to the main structure, like self-contained apartments.

A seemingly simple layout that adheres to its context's demands—it is the verandahs and sculptural openings of the design that add intrigue to the residential form. Moreover, the robust jaalis, complementing the brick walls, add a tactile sense to the architecture. There is a certain air of calmness to the spaces that is not only attributable to the time of day they were photographed in. The burnt umber the house is drenched in makes it seem almost like a sculpture, with the Bankura horses strewn across different spaces adding to this allure. For a layout that prioritises views to the outside, terracotta becomes a resonating motif as the Indian architects note, acting as a contrast to the greens beyond.

"Nothing can match the warmth of terracotta. Moreover, it was a constraint that we put on ourselves to use a minimal colour palette. Building on a site with little surrounding context, it felt essential that the structure be grounded—both visually and materially—in its environment," explains the design team. Underscoring their attentiveness to sustainability, the team notes that the facade design employs compressed stabilised brick blocks made from crushed and powdered waste from kilns.

While in their last residential project, Terra pavilion, the ‘pavilion’ as typology resulted in a concrete structure that asserted itself on its flat surroundings, here the pavilion-like quality offers a signal of the studio’s evolving considerations of region-specific lifestyles, influenced by local craftsmanship. It gives an interesting insight into modernist architecture from the subcontinent, defined by Western morphologies and adapted to the Indian context. "[Terracotta] has long been one of our favourite materials for its timeless quality, tactile appeal and ability to age beautifully," they continue on the material language that is the most distinctive quality of the home. A way to honour Indian tradition, while staying true to the modernist idiom of Studio Sangath, the house in Alloa Hills is an exercise in poetic restraint.