Högalidskyrkan

The church was built between 1916 and 1923 to serve a new parish carved out of Maria Magdalena parish. Tengbom won the commission after a competition among three invited architects, with fellow architect Carl Westman's backing proving decisive. His original design faced north-south with a single roofline echoing Stockholm's City Hall, then under construction across the water; when the parish secured the whole hilltop, the plan was reworked to the traditional east-west orientation with two slender towers, said to have been sized to match the height of the City Hall's tower.

The exterior is dominated by dark red handmade brick laid in monk bond, the same technique and material used at Stockholm City Hall, giving the two landmarks a visual kinship despite their different purposes. The church's basilica-like profile, with a narrower chancel flanked by tall towers, has been compared to Visby's Mariakyrkan. A tall west window with stained glass by Oscar Brandtberg and three sculpted granite portals lead into a porch with a painted timber roof by Filip Månsson, who also contributed frescoes inside.

The two towers carry their own symbolism, reportedly proposed by Archbishop Nathan Söderblom: the northern tower is named for Ansgar and represents the law, topped by a weathercock, while the southern tower, crowned with a golden cross, is named for the reformer Olaus Petri and represents the gospel. A popular local legend claims the towers are of unequal height, sometimes explained by a tale of two sisters funding the building unequally, though both towers are recorded as 84 metres tall; more recent laser measurements have suggested a marginal difference, likely due to small variations in the plasterwork applied by different masons.

Inside, the tall vaulted nave has substantial internal buttresses forming bays along its sides, linked by rounded arches to create low side passages, while a high triumphal arch marks the transition to the star-vaulted chancel. Much of the fixed decoration was designed by Tengbom himself, with contributions from artists including Olle Hjortzberg, who painted the fresco at the baptistery entrance, and Gunnar Torhamn, responsible for further frescoes and the crucifix. Einar Forseth, known for his gold mosaics elsewhere in Stockholm, painted the sacristy ceiling and decorated a three-aisled space beneath the chancel, originally built as a burial vault and later converted into a memorial chapel.

Outside, along the church's north wall, an urn grove with a columned arcade was added in 1939 to Tengbom's designs, including a large fresco from 1942 by Arvid Fougstedt, with a further circular columbarium built in 1959.