Private residential listings — Europe

Est. 2014

The hour after sunset

We photograph every property at night, because that is the only honest hour to see one. Move your cursor across the façade.

We photograph every property at night, because that is the only honest hour to see one.

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Method

We work in the dark

A house in daylight is a photograph of a house. A house at night is a decision about what to show you, and every one of those decisions belongs to the architect.

A house in daylight is a photograph of a house. A house at night is a decision about what to show you, and every one of those decisions belongs to the architect.

A house in daylight is a photograph of a house. A house at night is a decision about what to show you, and every one of those decisions belongs to the architect.

We arrive thirty minutes after civil twilight, when the sky still carries some blue and the interior reads as warm rather than orange. The window is twenty minutes wide. Everything else is preparation.

We arrive thirty minutes after civil twilight, when the sky still carries some blue and the interior reads as warm rather than orange. The window is twenty minutes wide. Everything else is preparation.

We arrive thirty minutes after civil twilight, when the sky still carries some blue and the interior reads as warm rather than orange. The window is twenty minutes wide. Everything else is preparation.

What survives that hour is worth listing. What does not, we decline.

What survives that hour is worth listing. What does not, we decline.

What survives that hour is worth listing. What does not, we decline.

Ingrid Solheim, Founding Partner

Selected

Currently on the register

All eight properties

Archive

Six hundred nights of work

Drag either row

142

142

Properties placed since 2014

142

Properties placed since 2014

€1.4B

€1.4B

€1.4B

Transacted across eleven countries

38

38

38

Median days from listing to offer

6

6

6

Offices, none of them on a high street

01 — Exterior

The approach, and what the house shows the street.

01

How we read a house

Every listing begins with a walk-around before dusk and a second one two hours later. We note what the architect wanted you to see first, and whether the building still says it after dark.

02

What the plan admits

Once inside, we test circulation the way a resident would, not the way a floor plan suggests. Which rooms are actually used, where the light fails, which door is never opened.

03

The parts nobody shoots

Then the unglamorous survey: junctions, thresholds, drainage, the back of the building. It is the least photogenic hour of the process and the one buyers thank us for.

The studio

Six people, six cities

Meet the studio

  • Ingrid Solheim

    Founding Partner

    Ingrid Solheim

    Founding Partner

  • Marcus Adeyemi

    Head of Acquisitions

    Marcus Adeyemi

    Head of Acquisitions

  • Clara Benedetti

    Director, Southern Europe

    Clara Benedetti

    Director, Southern Europe

  • Tomás Ruiz

    Architectural Advisor

    Tomás Ruiz

    Architectural Advisor

  • Nadia Farouk

    Head of Private Clients

    Nadia Farouk

    Head of Private Clients

  • Elias Hoff

    Creative Director

    Elias Hoff

    Creative Director

They sent one photograph, taken at nine in the evening, and I flew to Oslo the following morning. I have never bought a house that way before.

They sent one photograph, taken at nine in the evening, and I flew to Oslo the following morning. I have never bought a house that way before.

They sent one photograph, taken at nine in the evening, and I flew to Oslo the following morning. I have never bought a house that way before.

Private client

Haus Nordlicht, acquired 2025

Field notes

@noirhaus

Follow

Villa Umbra, the hour after sunset. Torno, Lake Como.

2,841

Casa Lume, looking west. The whole house exists for this.

2,588

Nine metres without a column. Porta Venezia.

2,975

Sixty olive trees and one edge that never breaks. Sóller.

1,907

Basalt, magnolia, and a wall you cannot see past. Zürich.

4,102

Below the ridgeline by design. Comporta.

2,233

Charred pine on the north face. Nothing accidental about it.

3,216

Stair cast in place, lit from above. Alfama.

1,764

Soapstone hearth, full height. Oslo.

1,598

Villa Umbra, the hour after sunset. Torno, Lake Como.

2,841

Charred pine on the north face. Nothing accidental about it.

3,216

Basalt, magnolia, and a wall you cannot see past. Zürich.

4,102

Nine metres without a column. Porta Venezia.

2,975

Soapstone hearth, full height. Oslo.

1,598

Sixty olive trees and one edge that never breaks. Sóller.

1,907

Casa Lume, looking west. The whole house exists for this.

2,588

Stair cast in place, lit from above. Alfama.

1,764

Below the ridgeline by design. Comporta.

2,233

Villa Umbra, the hour after sunset. Torno, Lake Como.

2,841

Charred pine on the north face. Nothing accidental about it.

3,216

Basalt, magnolia, and a wall you cannot see past. Zürich.

4,102

Nine metres without a column. Porta Venezia.

2,975

Soapstone hearth, full height. Oslo.

1,598

Sixty olive trees and one edge that never breaks. Sóller.

1,907

Casa Lume, looking west. The whole house exists for this.

2,588

Stair cast in place, lit from above. Alfama.

1,764

Below the ridgeline by design. Comporta.

2,233

Written about in

Enquiries

AFTER DARK

Viewings are arranged privately and almost always after sunset. Tell us which house, and we will tell you when the light is right.

Direct

Direct

studio@noirhaus.studio

studio@noirhaus.studio

Noirhaus

A private listing studio for architecturally significant houses across Europe. We photograph after dark, and we show by appointment only.

Offices

Oslo

Zürich

Milan

Lisbon

© 2026 Noirhaus. All rights reserved.

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