Vastushilpa Sangath’s Shiv Nader School in Chennai, India, is unified by a sweeping red roof that weaves through existing vegetation, creating a porous campus that intertwines architecture and ecology. Built around 1,400 mature trees the school is composed of low-slung, modular structures linked by deep verandahs and shaded courtyards. Designed to grow in phases, the campus is thoughtfully responsive to both its climate and context, treating the site’s natural, cultural, and hydrological layers as integral parts of its design logic.

The architects have devised the design language by looking to Tamil traditions, particularly the Chettinad thali, a composition of varied dishes served on a banana leaf. This is reimagined here as a sequence of spatial experiences, unfolding through a series of modest, dispersed volumes unified by sweeping curved roofs and deep verandahs. These transitional spaces also become functional learning environments in their own right, remaining shaded, open, and deeply rooted in local traditions of gathering and exchange.

all images by Edmund Sumner

Vastushilpa Sangath stages the campus as a loop of low volumes

Vastushilpa Sangath’s master plan breaks the built mass into modular units organized in a loop that is adjusted around the existing trees based on their age, species, and ecological significance. The architects prioritized creating the school with minimal environmental impact, and so the construction preserves biodiversity as much as possible and allows for the uninterrupted movement of birds, insects, and small wildlife.

Circulation paths bend and branch around trees, while rooflines are punctuated to allow canopies to pass through. This consideration for the site’s ecological character extends to the construction system featuring prefabricated structural components, including parasol-like roofs, that were assembled on-site to reduce disruption. Footings and service trenches were also combined into a single system, minimizing root disturbance while allowing for future infrastructure updates.

Shiv Nader School sits in Chennai, India

climate responsiveness is integrated throughout

Vastushilpa Sangath has worked with a material palette that draws from local economies and circular reuse for low-impact construction. Grey granite flooring, sourced from the region, supports both thermal comfort and traditional stonecraft, while a secondary skin of reclaimed ship timber wraps parts of the building in a weathered, tactile finish that quietly anchors the new architecture in tactile memory.

Environmental systems are also integrated sensitively throughout Shiv Nader School: solar panels generate roughly a third of the school’s energy needs, while a hybrid ventilation system merges natural airflow with mechanical cooling to optimize air quality, a particularly vital consideration for the architecture studio in a post-pandemic context. Climate responsiveness is equally embedded in water infrastructure. A defunct on-site lake was restored as both an ecological park and a learning resource. The campus now harvests all its domestic water needs through surface runoff and roof collection.

a sweeping red roof unifies the structure

solar panels generate roughly a third of the school’s energy needs

built around 1,400 mature trees

the school is composed of low-slung, modular structures linked by deep verandahs and shaded courtyards 

the material palette draws from local economies and circular reuse for low-impact construction

the campus now harvests all its domestic water needs through surface runoff and roof collection

the architects prioritized creating the school with minimal environmental impact

project info:

name: Shiv Nader School

architect: Vastushilpa Sangath

location: Chennai, India

principal architect: Rajeev Kathpalia

design director: Vijay Patel

project lead: Rajesh Suthar

architects: Anandita, Aniruddha, Drasthi, Lipi, Rahul, Rachit

MEPF: Jhaveri associates

structural designer: Manjunath BL and V .R Shah Engineers

landscape designer: Beyond greens, RAA

contractor: Larsen and Toubro

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On the outskirts of Ahmedabad, India, Achyutam Designs’ Carapace House takes shape within a duo of monolithic concrete shells. The farmhouse replaces the familiar image of the home and its rectilinear plans and upright walls with two organic, sculptural forms — one of which houses shared spaces for living and gathering, while the other contains two private bedrooms.

Allowing this distinct tubular geometry to become the defining characteristic, the project’s material strategy remains consistent and direct, utilizing poured concrete shaped into curved profiles that eliminate the distinction between wall and roof. Cuts are also introduced along edges and at the core, carefully skewed to form arcing thresholds or open voids. These strategic openings also frame greenery, modulate light, and connect views across the property.

all images courtesy of Achyutam Designs

cuts along the concrete tubes open the house up to nature

The natural landscape becomes essential to the architectural experience of Carapace House. A meandering path lined with dense vegetation leads up to it, and along the way the monolithic structures are gradually revealed. Water features, trees, and arc-shaped corridors orchestrate movement across the site, while a series of nested outdoor areas such as courtyards, gazebos, a pool, and a barbecue area extend the living space into the garden. The architecture further participates in nature, offering a spatial reciprocity.

Achyutam Designs crafts the interiors to follow the same logic of material restraint and integration. Furniture is cast in concrete and integrated into the architecture itself, with beds, benches, and side tables emerging from the same surface language as the walls. The flooring is polished Kota stone, its muted, earthy tone reflecting daylight and echoing the subdued palette throughout. 

Achyutam Designs creates a family farmhouse in Ahmedabad, India

set within a duo of monolithic concrete shells

composed of two organic, sculptural forms

an open, fluid interior space

furniture is cast in concrete and integrated into the architecture itself

the curves frame greenery, modulate light, and connect views across the property

interiors follow the same logic of material restraint and integration of the architecture

tubular concrete profiles

cuts along edges and at the core are carefully skewed to form arcing thresholds or open voids

a series of nested outdoor areas such as courtyards, gazebos, a pool

project info:

name: Carapace House

architect: Achyutam Designs | @achyutam_designs

location: Ahmedabad, India

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Just outside Gandhinagar, India, the Alloa Hills Weekend House folds gently into the land, allowing the terrain to dictate its rhythm. Studio Sangath approached the residential project with quiet attentiveness, designing a retreat that prioritizes stillness and intimacy with the surrounding topography. Tucked into a bend in the Sabarmati River’s landscape, the house offers its residents a reprieve from the acceleration of city life, but also extends its welcome to artists, writers, and filmmakers seeking time away to create.

At the core of the brick and terracotta residence is a courtyard that both divides and anchors the interior spaces. The inner garden draws the horizon inward, reframing nature as a constant companion rather than a distant view. This spatial arrangement extends outward into a stepped terrace that spills into the surrounding terrain, intended to host everything from quiet evenings under the sky to informal performances. Studio Sangath’s design orients the home to receive the landscape with open arms, dissolving barriers between shelter and scenery.

images © Vinay Panjwani

a house shaped by Recycled Earth

Designing its Alloa Hills Weekend House, the architects at Studio Sangath choose materials with consideration for the natural context. Beginning with compressed bricks composed of recycled brick kiln waste, the team brings a tactility to the structure and grounds the project in its environment. This thoughtful approach lends a sense of stewardship to the project, as the walls themselves seem to speak to the layers of earth they emerged from. The result is a home whose material story resonates with the cycles of renewal around it.

Along its longitudinal axis, the home is bordered by wide verandahs that mediate between enclosure and exposure. These shaded galleries soften the edges of the building, giving the living spaces breathing room to interact with sun, wind, and rain without confrontation. When the doors are left open, the home becomes a quiet pavilion, with air and light moving unimpeded through its rooms. Morning enters with a softness, while the evening light brushes the courtyard from within, establishing a rhythm of illumination that changes by the hour.

Studio Sangath sites its Alloa Hills Weekend House near Gandhinagar, India

A Language of Terracotta in alloa hills

Material continuity defines the sensory experience of Studio Sangath’s Alloa Hills Weekend House. Terracotta finds its way into nearly every surface, from the pigmented concrete walls to the red-toned brick floors and sun-warmed pavers. This shared language of texture and tone allows the architecture to unfold slowly and cohesively, offering a lingering, tactile warmth. In the Alloa Hills, the architects craft a home that moves with the day, is generous with its thresholds, and is fluent in the language of the land.

the open terrace extends the interior outward and creates space for stargazing or small gatherings

a central courtyard brings the surrounding landscape into the heart of the home

the home welcomes not only its owners but also artists and creatives seeking quiet inspiration

recycled compressed bricks reduce the building’s environmental impact and ground it in its setting

deep verandahs offer protection from the sun while promoting natural ventilation and shade

when the doors are open, the home becomes a breezy pavilion connected to the outdoors

project info:

name: Alloa Hills Weekend House

architect: Studio Sangath | @studio_sangath

location: Alloa Hills, Gandhinagar, India

principal architects: Khushnu Panthaki Hoof, Sönke Hoof
built area: 600 square meters

photography: © Vinay Panjwani | @panjwani.vinay

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The design of Habitat 0 by RA Design Studio begins with a simple circle. Sited in India, among a neighborhood of vacation homes is organized radially around a central courtyard, the community hub draws energy from its continuous shape. Rather than imposing direction, the circle allows the space to unfold gradually, offering each dwelling generous access to the surrounding landscape. This orientation fosters a subtle rhythm, one that moves between privacy and exposure without interruption.

A central, terraced amphitheater moves between function and gesture. It is at once a gathering space and an architectural hinge for both passage and pause. The steps rise to meet a garden rooftop and double as seating, observation point, and informal meeting ground. The architecture engages gently with the land, inviting movement through shared space without requiring a prescribed use.

images © Vinay Panjwani

RA Design Studio’s Dual-Skin Envelope

The defining form of Habitat 0, conceived by the architects at RA Design Studio, emerges through its layered skin. An outer shell of arches shields the structure, carving shadows that animate the interiors throughout the day. These shadows sometimes echo natural forms, casting curves that appear momentary and alive. Inside, a transparent glass wall maintains openness, drawing light into the homes while sustaining a visual dialogue with the gardens beyond.

The community center carries a deliberate continuity between architecture and landscape. The route from exterior garden to inner courtyard and eventually to the roof garden reflects a sequence that never breaks from its natural surroundings. RA Design Studio reinforces this relationship through an alignment of pathways, views, and transitions that celebrate the landscape and feel inherently grounded in place.

A semi-sheltered pool anchors one side of the building. Designed as part of the building’s circular plan, the space slips partially into shade beneath the curving roof. Light enters through roof cutouts, animated by the movement of water. Sloped walls around the pool guide the eye and the body into this carved retreat, which remains both secluded and open to the sky.

RA Design Studio’s Habitat 0 is organized around a circular courtyard that connects each unit to nature

habitat 0 draws from its community

RA Design Studio curates the materiality of its Habitat 0 to demonstrate a commitment to its context. The architects sourced local materials and engaged nearby artisans to realize the project, noting that the construction process embeds the community in its environment both economically and culturally. The stone, concrete, and timber used in the project speak to their origin, anchoring the homes to the landscape with both familiarity and durability.

The smaller gestures throughout Habitat 0 amplify the whole. RA Design Studio treats each surface as an opportunity for interaction between shadow and light. Arches project patterns on walls and floors, while frameless glass panels dissolve the boundaries between inside and out. Openings above the amphitheater and pool draw in the sky. At night, lighting is restrained and intentional, giving weight to stillness and reflection.

the central amphitheater serves as both a gathering space and a circulation path

arched outer walls provide shade and texture while the inner glass skin allows transparency and light

paths through gardens, courtyards, and terraces maintain a fluid transition between indoors and outdoors

the semi-sheltered pool is lit by cutouts in the roof and framed by sloping walls

shadows from the arches and skylights animate the interiors and change throughout the day

local materials and regional craftsmanship ground the project in its setting

project info:

name: Habitat 0 Community Hub

architect: RA Design Studio | @radesign_ahmedabad

location: India

lead architect: Radhika savani Dutt
landscape design: Arpit Dutt

area: 855 square meters
completion: 2024
photography: © Vinay Panjwani | @panjwani.vinay

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Located in the village of Hignigada near Baramati, Maharashtra, India, POD for Happiness is a multi-functional community structure designed by Craft Narrative. Positioned around a mature banyan tree, the intervention organizes space on a school campus where an avenue of trees separates a large playground. The POD functions as a play area, an outdoor classroom, and a communal gathering space. The structure is designed as a curving arc that partially encloses the banyan tree. Its form creates a porous connection between two sections of the playground, allowing movement across multiple points. Children can climb, slide, and traverse a raised bridge that offers views of the school and the adjacent village temple. Within the arc, small pockets are integrated for reading and quiet play.

During school hours, the POD serves as an open-air classroom. A circular seating arrangement made from bricks and repurposed terrazzo tiles accommodates group activities such as storytelling, painting, and clay modeling. The design promotes informal learning environments beneath the tree’s canopy. Construction uses ferrocement techniques with a red oxide plaster finish. Railings are made from surplus reinforcement rods, and repurposed terrazzo tiles are used for surfaces, integrating recycled materials into the build. The minimal footprint and material choices reflect both budgetary constraints and environmental considerations.

all images by Studio f/8

Craft Narrative’s POD preserves the existing village landscape

Beyond school use, the POD serves as a community space. Local residents use it during the evenings for walking, gathering, and informal social interactions around the banyan tree. The structure includes a shaded platform, or katta, reminiscent of traditional village seating areas. A library shelf within the structure offers access to reading material for both students and villagers. The POD is also used as a venue for cultural activities, such as traditional dance rehearsals, musical practice, and performances. Its stepped and accessible design allows it to function as an informal amphitheater. It also supports religious gatherings during events such as Vat Purnima, providing an appropriate setting for rituals centered on the banyan tree.

The POD for Happiness, designed by Craft Narrative’s architectural team, operates as a hybrid infrastructure, simultaneously a play structure, a learning space, a cultural platform, and a communal amenity. It is integrated into the existing landscape and contributes to the spatial and social fabric of the village.

POD for Happiness encircles a mature banyan tree in Hignigada village

the structure’s arc form connects both halves of the school playground

designed by Craft Narrative, the POD serves educational and communal functions

integrated climbing features and a slide invite playful movement across levels

quiet reading pockets are carved into the arc’s interior for solitary play

the open-air classroom supports group learning beneath the banyan’s canopy

a raised bridge offers views of the school and nearby village temple

the intervention preserves the existing tree line and playground openness

red oxide plaster and ferrocement define the POD’s material character

the multifunctional design allows year-round use across age groups and activities

circular seating made of brick and repurposed terrazzo facilitates communal activities

the shaded katta provides a place for rest and informal social interaction

Craft Narrative’s design integrates architecture with ecological and social context

project info:

name: POD for Happiness
designer: Craft Narrative

principal architect: Yatindra Patil and Vijay Kharade
design team: Bharat Yadav, Manasi, Yatindra Patil and Vijay Kharade
structural consultant: Sonal N

location: Hignigada, Maharashtra, India
photographer: Studio f/8 | @studio.f8_

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Abhishek Ajmera Architects’ Brick House is a modest dwelling in Indore, India. Set on a 6,500-square-foot plot, it spans 8,000 square feet and accommodates four bedrooms, a basement office, common areas, and an activity room. True to its name, the project celebrates exposed brick as both a material and a design language, articulating spatial transitions, filtering light, and tying the interiors to their architectural shell.

The entrance is a considered experience: a sculpted mound, floating steps, and a suspended I-beam resting on a boulder collectively form a threshold that dissolves typical boundaries between landscape and built form. Inside, the material palette — primarily brick, metal, wood, and black basalt — establishes a consistent visual language across interior and exterior spaces.

all images courtesy of Abhishek Ajmera Architects

abhishek ajmera architects creates a fluid, open interior

The interiors are organized with flexibility in mind. Instead of conventional walls, the plan uses partitions to maintain openness and fluidity. A double-height living room with a sloped ceiling forms the spatial core of the house, opening toward the north-facing pool and a southeast garden. Full-height sliding glass doors tuck into brick walls, merging indoor and outdoor zones, and above the dining area, a mezzanine level with a bold blue panel functions as a reading nook or workspace, adding depth and overlooking the space below.

A solid wood dining table anchors the area beneath a cantilevered lighting element and exposed I-beam. The kitchen, adjacent to this space, features an island designed to appear suspended, with dark veneer finishes that echo the home’s overall materiality. Throughout the house, Abhishek Ajmera Architects punctuate the palette with color — green, yellow, blue, and red surfaces enliven rooms and prevent monotony.

Abhishek Ajmera Architects completes Brick House

a hanging staircase becomes the focal point

A hanging staircase, made of solid wood and metal, rises beside a black basalt wall, all under a vaulted ceiling. Its adjacent window is positioned to cast shifting patterns of light and shadow throughout the day, an effect repeated across the house through slit windows, skylights, and carefully framed openings.

On the first floor, two bedrooms, an activity room, and a dressing area are arranged with access to natural light and ventilation. The daughter’s bedroom includes a private balcony overlooking the pool, while her dressing room is lit by a skylight that minimizes the need for artificial lighting. The master bedroom, set in a quiet corner, features a vaulted brick ceiling and views to the east and west. A terrace accessible from the eastern side extends the living space outdoors, while the west facade features planters and brick louvers that temper sunlight and enhance privacy.

set on a 6,500-square-foot plot in Indore, India

A yellow spiral staircase leads to the terrace, adding a sculptural gesture that complements the exposed brickwork. In the master suite, the ensuite bathroom incorporates vegetation and natural light, with windows that ventilate and reduce the reliance on mechanical systems. A walk-in wardrobe and central island complete the suite, flooded with daylight from an east-facing slit window. In the basement office, exposed brick and concrete walls, a Jaisalmer stone floor, and glass partitions create a warm, naturally lit work environment. Vertical ducts and well-positioned windows bring sunlight to indoor plants, mitigating the usual drawbacks of subterranean spaces. Minimal decor and raw materials, such as reclaimed rods, brick, wood, and glass, allow the architectural textures to take center stage.

the project celebrates exposed brick as both a material and a design language

brick articulates spatial transitions, filtering light, and tying the interiors to their architectural shell

the material palette primarily comprises brick, metal, wood, and black basalt

it accommodates four bedrooms, a basement office, common areas, and an activity room

a double-height living room with a sloped ceiling forms the spatial core of the house

a mezzanine level with a bold blue panel functions as a reading nook or workspace

a solid wood dining table anchors the area beneath a cantilevered lighting element and exposed I-beam

project info:

name: The Brick House
architect: Abhishek Ajmera Architects | @abhishekajmeraarchitects

location: Indore, India

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: ravail khan | designboom

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Located in Vadodara, Gujarat, India, The Houseum is a house museum developed as part of a private family estate. Designed by Milind Shivani Designs, it functions as an architectural extension of the main residence, intended to house a collection of ancestral objects and vintage cars. The program called for a space that accommodates both functional and curatorial needs while maintaining sensitivity to its historical and ecological context. Situated on a contoured 5,500 sqft plot adjacent to an existing bungalow by the late architect Suryakant Patel, the new structure was conceived to integrate with the terrain and preserve site elements such as mature trees and natural sightlines. Rather than introducing a dominant volume, the design adopts a recessed posture that follows the site’s topography. The spatial organization emphasizes continuity with the surrounding landscape and built fabric.

The pavilion incorporates ten stepped levels, designed for vehicular circulation. A ramped path enables the display of vintage cars without requiring repositioning for access, supporting efficient movement and spatial clarity. This multi-level arrangement is key to managing the site’s slope while enabling zoned display areas. The structure is built using a modular metal frame system to allow for potential disassembly and reduced environmental impact. Load-bearing brick arches and shera board paneling are combined with a fiberglass-reinforced plastic roof in a hyperbolic paraboloid form. These material choices and geometries align the structure visually with the architectural vocabulary of the adjacent bungalow.

all images courtesy of The Space Tracing Company/ Karan Gajjar

brick arches delineate internal zones within Houseum pavilion

Milind Shivani Designs’ team organizes the internal layout to support dual functions: the front of the pavilion displays the car collection, while the rear section, facing a courtyard, exhibits heirloom furniture and other antique objects. The rear wall with brick arches delineates these zones and reinforces the visual continuity of the design. Openings throughout the structure allow for porosity and cross-ventilation. Each entryway is designed as a functional threshold, enhancing flexibility of use. The roof geometry contributes to spatial definition while minimizing visual impact from the exterior. Reflecting the overall design language, the roof also supports indirect lighting and structural lightness.

A courtyard located behind the structure accommodates small gatherings and informal events. A side entrance leads through this outdoor space and into the gallery, offering a defined spatial sequence from exterior to interior. The layout, though simple, allows the space to function simultaneously as a display area and communal environment. Throughout the project, considerations for reversibility, visual restraint, and contextual integration were central. By engaging with site constraints such as low buildable height and irregular contours, the design uses lightweight materials and adaptable circulation paths to address both client requirements and environmental responsiveness. The Houseum is designed to support long-term use while maintaining the ability to evolve over time. It serves not only as a repository for artifacts but as a multi-functional structure that accommodates exhibition, assembly, and storage with equal focus. The architectural intervention consolidates dispersed heritage elements into a unified setting, enabling a more active engagement with them in daily life.

Houseum integrates into a private family estate in Vadodara

designed as an extension of the main residence, the structure houses vintage cars and heirloom artifacts

the structure combines brick arches with a modular metal frame system

porous envelope design allows natural ventilation throughout the space

heirloom furniture and collectibles are exhibited in the courtyard-facing rear zone

a side entrance guides visitors through the courtyard into the main gallery

a stepped layout supports vehicle circulation across ten levels

open thresholds enable flexible access and movement across the structure

the front section displays vintage cars in a zoned exhibition format

project info:

name: The Houseum
designer: Milind Shivani Designs | @milindshivanidesigns

location: Vadodara, Gujarat, India

photographer: The Space Tracing Company/ Karan Gajjar | @the_space_tracing_company

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Located on the northeastern edge of a large site near Surat, India, the Courtyard House by D’WELL is a 920-square-meter farmhouse designed around a central sunken courtyard. The design adopts a concentric plan, using the courtyard, measuring 9 by 9 meters, as both a spatial and climatic organizing element.

Access to the residence is through a foyer that leads into the primary living area on the southeast side. This space opens directly onto the courtyard, establishing a continuous visual and spatial connection between interior and exterior zones. The northeast and northwest sides of the courtyard are framed by the family block, which contains a secondary living space, dining area, kitchen, and powder room. These areas extend outward to a party lawn and a family seating area, emphasizing the integration between architecture and open landscape. The private wing is located along the southwest edge and includes three bedrooms, each with an en suite bathroom and dressing area. These rooms overlook an adjacent organic farm plot, ensuring cross-ventilation and daylight access. Throughout the residence, semi-open transitional spaces support passive cooling strategies, which are particularly relevant to the humid local climate.

all images by Ishita Sitwala

D’WELL employs a restrained earthen palette and form

The architectural language D’WELL’s design team followed draws from traditional tropical housing typologies, specifically early Chettinad-style dwellings. Axial views from the central courtyard extend toward the surrounding landscape, while a sloped roof over the courtyard frames the sky above, creating a controlled visual opening. The roof, clad in custom cement tiles, unifies the structure and contributes to thermal regulation.

Material selections are made in response to both context and performance. Hand-applied sand-textured plaster on walls matches the surrounding soil tone, and rough-cut Kota stone mosaic flooring spans both interior and exterior surfaces, reinforcing continuity. Wood is used selectively in furniture and door detailing to introduce material contrast. Furniture and decorative elements, including vintage artifacts and earthen vessels, are positioned within circulation and gathering spaces, aligning with the residence’s spatial rhythm. The project employs a restrained palette and form, using traditional materials within a contemporary framework. The central courtyard operates as the core spatial and environmental element, supporting the house’s broader approach to climatic responsiveness, spatial openness, and integration with the landscape.

a central sunken courtyard anchors the spatial and climatic layout

the sloped roof frames axial views and open sky above the courtyard

spatial organization extends outward to a party lawn and seating zones

courtyard layout draws from early Chettinad-style tropical homes

Kota stone mosaic floors unify indoor and outdoor zones

custom cement tiles clad the sloped roof for thermal regulation

earthen pots and vintage objects enhance spatial character

project info:

name: The Courtyard House

architect: D’WELL | @d_welldesign
lead designers: Ar. Jhanvi Shah, Ar. Rakshit Shah

design team: Jhanvi Mehta, Rakshit Shah, Sefali Balotia

Creative Stylist and team: Punit Jain, Srishhti Agarwal, Hiral Tandel and Aashna Desai of The Nouveau Studio – TNS

location: Surat, Gujarat, India

photographer: Ishita Sitwala | @ishifishy

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Casa Acentuada by Smart Arch Studio – SAS Architects addresses the challenges of urban monotony in India through a facade composed of intersecting planes and varied geometries. Drawing on principles of deconstructivism, the architectural composition incorporates angular volumes and asymmetrical layering to create spatial depth and controlled visual fragmentation. Steel trims and recessed surfaces introduce dynamic shadow patterns, responsive to the movement of the sun throughout the day. The facade is designed not as a decorative element, but as a performative system. Each projection and void is positioned to regulate solar exposure, direct natural light, or frame specific views. The integration of glazed sections against textured concrete surfaces establishes visual contrast and promotes daylight penetration into the building’s interior.

The residence is conceived as a cohesive system in which architecture and interior design are developed concurrently. The spatial planning process responded to programmatic requirements for a contemporary family, with an emphasis on spatial efficiency, environmental performance, and material integrity.

all images courtesy of Smart Arch Studio – SAS Architects

Casa Acentuada’s design employs natural stone, wood, and metal

Initial design phases involved site-specific analysis and user consultations to determine spatial hierarchy, circulation logic, and visual orientation. Conceptual development utilized 3D visualizations, material studies, and schematic layouts to align the design intent with user expectations. These were further refined through detailed construction documents including architectural drawings, lighting plans, custom joinery, and finish schedules. Construction employed a material palette of natural stone, engineered wood, bamboo, and metal components, selected for their durability and textural qualities. Where applicable, sustainable strategies were incorporated by the design team at Smart Arch Studio – SAS Architects. Coordination between architects, contractors, and fabricators ensured alignment of detailing and execution with the project’s technical and aesthetic standards.

The interior program integrated custom-designed furniture and lighting fixtures to extend the architectural language into the inhabited spaces. Upon completion, Casa Acentuada project was documented for archival purposes, with continued post-occupancy coordination to address maintenance and client feedback.

angular planes define the street-facing facade of Casa Acentuada

layered geometries introduce spatial depth and shadow variation

steel trims emphasize linear cuts in the concrete surface

recessed forms respond to sun movement with dynamic shadows

each projection is calibrated to manage light and heat exposure

glazed sections contrast with textured concrete for visual clarity

a consistent design language links exterior to interior

spatial planning prioritizes function, light, and material efficiency

natural stone, wood, bamboo, and metal shape the material palette

the architecture and interiors are developed as a unified system

interior and exterior spaces reflect a shared architectural identity

custom joinery and lighting fixtures echo architectural geometry

project info:

name: Casa Acentuada – Patel’s Residence

architect: Smart Arch Studio – SAS Architects
design team: Ar. Anupam Gupta, Ar. Diana Fabiola Espinoza Astudilla
location: India

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Studio Saransh’s MS House in Ahmedabad, India, is a brutalist home that revolves around the nine mature neem trees of the site, preserving them as central elements that shape the spatial layout, architectural form, and material palette. The influence of nature is evident from the moment one approaches the site. The boundary wall winds around a tree trunk to preserve its growth, and a downward-curving branch near the entrance lobby makes this connection stronger. The brutalist aesthetic manifests strongly in the exterior, where bold geometries of the concrete facade disappear quietly within the green foliage. Square punctures within the shell of the residence and deep chamfered window sills further maximize this effect, allowing diffused light to cast playful shadows. The wooden-strip textured concrete mirrors the textures of the trees, softening the visual presence of the structure.

all images by @ishifishy

Nature softens the Brutalist Form of the ms house in india

At the heart of the house is a double-height central bay that embraces a neem tree. This space, oriented East-West, is where the family gathers for morning tea and meals under the canopy. ‘The central bay is more than just a design element—it is the soul of the house,’ explains Malay Doshi, principal architect at Studio Saransh. It anchors two wings: the front housing the living room, verandah, and garden, and the other accommodating the guest room, kitchen, and ancillary spaces. ‘Every element of this house is shaped by the site’s natural context and the family’s needs, embodying our belief that a good design must seamlessly integrate function, individuality, and environment,’ adds Kaveesha Shah, the principal interior designer of the Ahmedabad-based studio. 

On the upper floor, the central bay transitions into a study area overlooking the dining space below. Each space establishes its own relationship with the trees outside. The architects position the master bedroom directly above the living room, opening to a shaded balcony that overlooks the trees. Occupying the quieter rear wing, the daughters’ bedrooms offer views of the backyard. The second floor serves as a social terrace with a family lounge, bar, and powder room, creating an inviting space for gatherings above the neem canopies.

wooden-strip textured concrete mirrors the textures of the trees

Materials that Connect Inside and Out

Concrete and lime-plastered walls combined with grey Kota flooring create a cohesive design that ties the interior and exterior of the MS House together. The living room incorporates smooth-polished plywood cast concrete surfaces and ethically sourced Valsadi teak paneling, with ribbon windows framing the views of the foliage outside.

The dining area houses a custom wooden table by TDW with rosewood detailing that mirrors the linearity of the concrete and Kota pattern, while teak and wicker chairs from Mistry at Finest pair with a parametric suspension lamp designed in collaboration with Andlabs. The living room is designed to function as two seating clusters: one featuring a custom sectional sofa set and an iconic Eames chair with the Arco lamp from Flos, and the other with a more formal setup featuring custom-designed fabric lamps and an abstract art rug from Jaipur Rugs.

square windows puncture within the shell of the residence

Personal Spaces with Distinctive Characters

The bedrooms reflect the personalities of their occupants, with the master bedroom, finished in ply cast concrete and Kota flooring with terrazzo detailing, featuring a custom four-poster bed with stone pedestals and wooden posts. Contrasting tones saturate the daughters’ rooms—one with graphite shades, the other with sage green walls and green marble-infused terrazzo flooring. 

The bathrooms introduce their own design narratives. The master ensuite is bathed in natural light from two skylights: a circular one above the sink and a square one hidden in the shower. The black powder room on the terrace, featuring full-height glazing, overlooks an array of Champa trees, creating an illusion of a private courtyard. 

Beyond merely preserving the neem trees, MS House takes advantage of its orientation to maximize natural light and ventilation. Heat gain is reduced through laminated double glazing, deep shaded openings, and cavity walls. The solar-powered roof of the gazebo enables the house to run on solar energy, meeting 70-80% of its needs, while lime-plastered walls eliminate the need for plastic-based paints, ensuring an eco-friendly approach. Additionally, with materials used resourcefully—leftover timber is repurposed into custom tables, while marble remnants form a console in the drawing room, ensuring minimal construction waste.

the boundary wall winds around a tree trunk to preserve its growth

at the heart of the house is a double-height central bay that embraces a neem tree

here is where the family gathers for morning tea and meals

concrete and lime-plastered walls are combined with grey Kota flooring

the living room hosts an iconic Eames chair with the Arco lamp from Flos

the living room incorporates smooth-polished plywood cast concrete surfaces

MS House takes advantage of its orientation to maximize natural light and ventilation

project info:

name: MS House
architect: Ahmedabad-based studio | @studio_saransh
location: Ahmedabad, Gujarat, India
built-up area: 605 square meters
site area: 543 square meters

client: Manish Shah
design lead: Malay Doshi, Kaveesha Shah
design team: Vishal Gohel, Anamica Gupta

structure: Sakshham Consultants
MEP: Ravi Engineering
parametric consultant: andLabs
horticulturist: Shwetal Bhavsar

doors/windows: The Window Factory

photography: Ishita Sitwala | The Fishy Project | @ishifishy

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