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Reference Project
Right by the water in Tisvildeleje stand three old fishermen’s cottages that Mette Kjær and Jacob Houlind, majority owners of TONI Copenhagen, had admired for years. When the houses eventually came up for sale, they decided to take them on. The main house dates from 1891. Today, two of the original cottages are connected, while the third serves as a guesthouse.
The renovation took three years. Rather than returning the houses to one particular period, the ambition was to build on the history already present. Later additions were removed, original details were brought back into focus, and a former flat roof was replaced with thatch. Inspiration came from the older houses in the area, the Open Air Museum near Copenhagen and historic images of Tisvilde.
Inside, the result is intentionally more romantic and informal than the couple’s everyday home in Frederiksberg. Colours, furniture and objects were introduced gradually and sourced from many different places. Murano lamps from Venice sit alongside Swedish furniture classics, inherited pieces and artworks depicting the surrounding landscape. What connects them is that they have been chosen to be used, and to become part of the house over time.
Much of the house was made specifically for the setting. The kitchen cupboards, bathroom furniture and joinery are bespoke, while the materials were chosen with both the history of the cottages and the practicalities of present-day life in mind.
In the yellow kitchen, the traditional face-frame cabinetry takes cues from French country kitchens and is designed as a room where many people can gather around the preparation of food. The large Christiansborg faucet on standpipes that was originally developed for professional kitchens, where generous space beneath the spout was needed for large pots, sits naturally within a domestic kitchen conceived as a working space as much as a place to spend time.
Elsewhere, Swedish Öland stone, Moroccan zellige tiles and brick floors inspired by older Danish houses are brought together throughout the interiors. Christiansborg, Cross-Handle and SP fixtures appear across the houses in different finishes. Like the bespoke joinery around them, the fixtures are assembled by hand, and the traces of making are an important part of the whole. The aim is less about perfection than about materials and objects that can withstand daily use and gradually acquire a history of their own.
The sea is present throughout the house. From the dining table, the bedrooms and the many windows, the view forms a constant part of the interior, and on clear days Sweden can be seen to the east.
Outside, the garden has also been shaped in response to its exposed position between the sea and dunes. An existing conservatory was preserved and fitted with new windows so that views could continue through the building, while a former shed further down the garden was converted into a sauna, with an SP outdoor shower in patinated brass.
The third fishermen’s cottage is called Liv, after the former resident of the house, who became known as the Green Lady locally. Although the guesthouse in its current form is new, it was designed to feel like a natural continuation of the older buildings. A blue kitchen, patterned wallpaper and curtains sewn and naturally dyed using Japanese techniques give it a character of its own, while SP faucets in burnished brass ads a discreet nod to endurance.
Across the three houses, there is a clear sense of continuity. Old stories are allowed to sit alongside new ones, and nothing feels too precious for everyday life. It is a summer house made for long meals, guests, sand on the floor and year after year by the sea.
