极简线条+裸露质感：印度大地之亭住宅 / Studio SANGATH

编译：王子萱 | 校对：王子萱 | 2026.01.29 10:37

设计单位 Studio SANGATH

项目地点 印度艾哈迈达巴德

建成时间 2023年

原文撰文 Sridevi Nambiar

本文英文原文由Studio SANGATH提供，由有方编译。

在距离艾哈迈达巴德约四十公里处，Sameer与Hemangini Sinha的农庄坐落于一片缓缓起伏的坡地与蜿蜒的林地之间。建筑呈现出清水混凝土与玻璃构成的鲜明形态。Sameer说道：“我一直很喜欢安藤忠雄这类建筑师所构想的建筑，极简的直线、裸露的质感与当代建筑风格。”

Forty kilometres outside Ahmedabad, Sameer and Hemangini Sinha’s farmhouse stands amidst gentle sloped grounds and a winding forested expanse. It is a stark structure of exposed concrete and glass. “I have always liked the kind of architecture imagined by people like Tadao Ando. The very straight-lined, bare and contemporary style of architecture,” Sameer says.

Hemangini是Sameer的妻子，曾是一名技术官员，在美国生活十年后回到艾哈迈达巴德，转而投身农业。两人对这座住宅的期待，是一处远离城市、深深扎根于场地并与土地保持紧密联系的庇护所。

Hemangini, his wife, is a former technocrat who transitioned to farming upon returning to Ahmedabad after a decade in the US. What they sought with the home is a sanctuary away from the city, rooted in its surroundings and deeply connected to the earth.

这座名为“大地之亭”（Terra Pavilion）的住宅顺应地形自然起伏而建，面向高尔夫球场的第六与第七球道。Sameer说道：“它坐落在坡地之上，如我们所愿，是一座线条简洁利落的建筑，同时最大化了景观视野。”

Called Terra Pavilion, the home is built to complement the natural contours of the landscape, looking out to the 6th and 7th fairways of the golf course. “It is seated on a slope. And as we wished for, it is a very straight, clean building that maximizes the views,” says Sameer.

住宅建成历时五年。Sinha夫妇与建筑师Khushnu Panthaki Hoof和Sönke Hoof均希望以一种审慎、不急于求成且协作的方式，寻找最契合住宅气质的建筑表达。

It took ﬁve years for the home to materialize. Both the Sinhas and their architects, Khushnu Panthaki Hoof and Sönke Hoof of Studio Sangath, wanted a deliberate, unhurried and collaborative approach to ﬁnd the most suitable architectural expression for the home.

最终呈现的是一座多层结构，包括屋顶层、面向外部的地面层亭式空间，以及隐藏其下的私密地下层，设计团队将这一层称为“大地层”（earth level）。

The result is a multilevel structure that comprises a roof level, an outward-facing pavilion at ground level, and tucked under it, a private subterranean level which Studio Sangath refers to as the earth level.

无论从建筑外部还是内部来看，地面层的亭式空间都令人印象深刻。从周围场地望去，它呈现出一种极具标志性的形态，一片巨大的屋顶仿佛悬浮于空中，漂浮在倾斜的地形之上，由纤细的钢柱与钢筋混凝土墙体支撑。

The pavilion level stuns for different reasons from both outside and inside the house. As seen from the surrounding grounds, it is a remarkable form—a singular, expansive roof that is seemingly suspended in mid-air, or ﬂoating above the sloped landscape, supported by slender steel columns and reinforced concrete walls.

室内则呈现出令人愉悦的材质与肌理交织，四周环绕的推拉玻璃门、黑色涂装钢构件，以及自然色泽的混凝土之上，是一整片木质格栅天花。

Inside is a delectable medley of materials and textures—sliding glass doors that envelop the level from all sides, black painted steel, and naturally coloured concrete, all of which is topped by a large wooden slat ceiling.

所有对外开放、具有社交属性的空间都集中在这一层，包括休息室、起居室、餐厅和开放式厨房，空间之间在尺度与视觉上彼此贯通，形成强烈的整体感。这一层的每个角落都与环绕建筑的游廊相连。

All the outward-facing, social spaces are located on this level—the lounges, living and dining areas, and open kitchen—and a sense of volume and interconnectedness echo throughout. Every corner of this level opens out into the surrounding verandas.

“事实上，这个亭子本身就是一处巨大的游廊，宛如坐在一棵榕树的树荫之下，”Sönke说道。空间中陈列着夫妇二人在过去十五年间精心收藏的一小部分艺术作品。Sameer表示：“我收藏艺术已有一段时间，但在这座住宅中，我很明确只想使用大尺幅作品，以匹配设计师在建筑中营造出的壮阔尺度。”

“The pavilion is in fact a large veranda, almost like seating under the foliage of a banyan tree,” says Sönke. On display in these spaces are a small selection of artworks from the collection that Sameer and Hemangini have gingerly built over the last 15 years. “I’ve been collecting art for some time. But for this house, I was clear I only wanted to use large pieces, to suit the spectacular scale delivered by Sönke and Khusnhu in the architecture,” Sameer says.

位于其下方的“大地层”是住宅的私密区域，低调地嵌入亭式空间之下，包含夫妇二人及其两个儿子的三间卧室，以及一处家庭活动室。设计团队通过材料与形式的细微转换，清晰界定了公共与私密空间的边界。

The earth level, the private zone of the house, is discreetly nestled beneath the pavilion level and houses three bedrooms for the Sinhas and their two sons, as well as a family room. With simple switches in materials and forms, Studio Sangath deﬁnes which spaces are public, and which are private.

Khushnu解释道：“相较于亭式层中钢与玻璃所呈现的轻盈感，大地层更强调一种贴近大地的气质，所有混凝土构件均被染成黑色，象征性地强化了与地下土地深处黑暗感之间的联系。”

“In contrast to the lightness of steel and glass prevalent on the pavilion level, the earth level embraces a grounded aesthetic, with all concrete elements pigmented black, symbolically reinforcing the connection to the darkness of the subterranean earth,” notes Khushnu.

建筑在形式上与周围景观展开对话，而材料体系则赋予住宅一种极简而本质的气质。夫妇二人对材料的取舍十分明确。

While the architecture plays around the surrounding landscape, the material palette gives the home a certain minimalist or fundamental character. The Sinhas were very clear on their preferences.

Sameer说道：“我们很清楚不想使用大面积的大理石、不想用瓷砖，也不想采用任何覆层，我们希望整座房子呈现出一种近乎‘毛坯房’的完成状态，墙面上甚至保留了铆钉痕迹，从这个意义上说，它是非常原始的。”

“We knew that we did not want to use any giant marble, did not want to use tiles, we did not want to use any cladding,” Sameer says. “We wanted a very bare-shell kind of ﬁnish to the house. We’ve left rivet marks in the wall. So it’s very raw in that sense.”

对设计师而言，这一材料策略同样伴随着实验性，这是他们首次使用着色混凝土。Sönke表示：“在施工初期，我们与承包商合作时遇到挫折，但最终实现了理想的效果，这一经验也为我们之后在项目中更广泛地使用这种材料铺平了道路。从某种意义上说，这些挑战本身正是通往创新与协作的契机。”

The material palette came with a bit of experimentation for Khushnu and Sönke as well. This was the ﬁrst time they worked with pigmented concrete. “There were initial setbacks and some trial and error with the contractor, but we eventually achieved the desired consistency,” says Sönke. “This has now paved the way for its widespread use in subsequent projects for us, and in some ways these experiences were a chance to see how challenges can serve as gateways to innovation and collaboration.”