Silent Expanses

I have been dre­aming of a trip to Scotland for many years. Whenever I stumble across the pic­tures of the Black Shed, the same film plays in my mind: I want to go to the High­lands, to the remote islands, visit whisky distil­leries, soak up the remote vastness of the moors and moun­tains with every breath. And, of course, see Edin­burgh, pre­ferably during the Fringe Fes­tival, which has legendary status for me.

Then I look at this house and think to myself: never mind. Wha­tever I get to see of Scotland – once I arrive at this house on the Isle of Skye, ever­y­thing will be fine. That’s all I need to immerse myself and arrive at the centre of my being at the same time.

My wife and I have often tra­velled without the glamour factor, very close to nature. Remote areas are often cha­rac­te­rised by the fact that the few neigh­bours present are par­ti­cu­larly warm and the scenery pristine and breath­taking – 180- to 360-degree pan­oramas included. Then that inner peace returns, which is often lost in the hectic daily life of Central Europe. Needs are reduced to the essen­tials and the expe­rience becomes imme­diate: What really matters and what is unnecessary luxury is com­pletely reor­dered.

I some­times secretly dream about this at my desk. Whether that’s really true, I hope to find out soon. – Ulrich Stefan Knoll, CCO HOLIDAYARCHITECTURE

Much of HOLIDAYARCHITECTURE’s work involves dealing with visual material. Some­times there is a picture that par­ti­cu­larly appeals to us – a photo that sur­prises us, fasci­nates us, or simply forces us to pay even more attention to a house or look at it from a dif­ferent per­spective. You can find this in our new series “One Picture”.

The house