Archello Awards 2026 · Enter your projects before 30 September 2026
Archello Awards 2026 · Enter your projects before 30 September 2026

House Husarö

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The location is the outer Stockholm archipelago. Tall pines give the forested site an untouched character. The house is placed in a clearing with a high position in the landscape, on a plateau facing the sea in the north. The property has been in the family for a long time with a couple of small complementary buildings, a boathouse and a guesthouse, that has been used for vacation stays. As the family grew with a new generation, the need for a larger house with more space followed.


The light conditions, the sea view and the flat and smooth bedrock were some of the qualities that constituted the starting point for the house. A relatively low budget also influenced the design, resulting in the idea to use tectonic rationality to support a specific spatial structure. The house, a pitched roof volume in two levels, is divided into an open social area at ground floor and a more private upper level, with bedrooms and a playroom. Within the square plan, a freestanding box holding kitchen, bathroom and the stair, organizes the ground floor into a sequence of interconnected spaces. Large sliding windows open up to the views in all directions and allow the sunlight to fill the interior. On the upper level a skylight that runs along the ridge of the roof underscores the verticality of space and subtly enhances the experience of seclusion.


The exterior is entirely clad with folded black sheet metal of varied widths that integrate the position of the windows. Three glazed sliding doors with frames of hard wood provide entrances and direct access to the outdoor areas on the naturally flat part of the bedrock. All construction and finishes are made out of wood. The open plan is made possible with glulam wooden beams. Between these beams plywood sheets has been bent to form a series of vaults that add direction to the interior spaces.


Brand description
The Eye of an Architect. The world´s leading architecture magazines do it, as the world´s leading architects. Publishing firms, artgalleries, advertising agencies and glossy lifestyle magazines do it too. Do what? Use the services of Swedish architectural photographer Åke E:son Lindman. His distinguished portfolio includes palaces and cabins, Italian gardens, functional-style buildings, embassies, and the most fabulous lofts. Hotels and guesthouses, private homes, cities and restaurants. From the most ancient to the very, very latest. Many of us has wondered: what does he see that seems to escape the eyes of so many other photographers? Is it the subject matter, the angle, the light and shadows, which in his images interplay to create an almost perfect reproduction of the spatility? Is it his passionate interest that lets him perceive so quickly the perfection inherent in the architecture he is depicting? “Above all, it is his ability to see what can be photographed, what can be used to make an image,” answers Peder Alton, architecture and photography critic. He doesn´t need to think for a long time to find the best angle. He is quick, gets a great deal done, and presumably would like to photograph everything if only that were possible.” Olof Hultin, former editor-in-chief of Arkitektur magazine, has this to say: “Åke E:son Lindman is the Swedish architectural photographer who continually and with a sure instinct seeks to develop his proffessionalism- which as an editor one appreciates. Not all photographers share his genuine interest in architecture. This means that he sees the architecture, not the image, as what is most important. As a result he is now succeeding more and more in photographing the space and not the object. That is where the wheat is really seperated from the chaff!” Lindman himself believes that his strength lies in being able to depict a space precisly as it is, often straight on from a central perspective. As soon as his gaze falls on an object he knows what the image will be and exactly where he should stand with his camera. “I have the eye of both an architect and a photographer,” he says. He studied photography at the University Collage of Arts, Crafts and Design (Konstfack) in Stockholm at the end of the 1970s but it was only a decade later that he chosed to focus solely on architecture. His decision was the result of a commission to record for posterity a housing fair in Upplands Väsby near Stockholm. While doing the job he realised that not many photographers specialised in spatiality. He therefore allowed his already deep-rooted interest in art and architecture to blossom. Before choosing to specialise he had also worked in fields of artphotography and documentaries. His architectural photographs seldom contains people, partly because of their long exposure times and partly because people are seldom as perfect and timeless as the spaces he is depicting. “We humans are far more dated because of our clothing fashions,” he says. “Architecture is more timeless, even though it is also marked by time in things like the choice of materials and designs.” Looking back on his career now Lindman says that since he decided to focus on architecture hardly a single commission has felt uninspiring. His passion is evident in his smile as he explains the ambition behind his work: to make the image a little better than the reality. Text: Susanne Helgeson
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