A Modern Monastery: Ørslev Monastery Work Refuge in Højslev, Denmark

We first encountered the restoration work at Ørslev Monastery through finishes company Linolie & Pigment. Founded around 1200 as a Benedictine nunnery, reformed into a Baroque manor in the 18th century, and nearly lost to decay by the early 20th, the structure that stands today is the result of centuries of adaptation—and a devotion to stewardship. That stewardship began with Countess Olga Sponneck, who saved the monastery from collapse in 1934, restoring the building and, by the early 1960s, shifting its purpose into a creative work refuge. Today, under the direction of Janne Fruergaard Keyes, a medieval archaeologist dedicated to preservation and living use, the most recent restoration continues that tradition.

Rather than imposing a fresh surface, the work focuses on continuity: repairing what exists, revealing what has been obscured, and selecting finishes for integrity. Linseed oil paints and historical pigments were chosen for their compatibility—materials that breathe with centuries-old masonry, timber, and plaster, and that reinforce the monastery’s original character.

At present, Ørslev Monastery functions as a creative residence, inhabited by writers, artists, scholars, and musicians who come for long stretches of focused attention. That use feels natural to the architecture: shared spaces with monastic precedent and small rooms that encourage concentration. Bringing a historic building like this into the future requires a precise recipe: two parts respect for craftsmanship and one part innovation. Here, we walk through the halls and grounds of Ørslev Monastery for a closer look.

Photography by Helene Høyer Mikkelsen for Linolie & Pigment.

Above: The monastery sits within a historic landscape shaped by forest, meadow, and former agricultural land. Above: Vaulted ceilings in the former service spaces date back to the medieval period and were carefully repaired rather than redone. Above: Linolie & Pigment supplied custom-mixed linseed oil colors based on historic pigments coordinated with architects and conservators to find balance between preservation and renewal. Above: While the paint colors are custom to the project, a similar shade to that seen here is Brobygger 23. Above: Original stone and brick floors were retained wherever possible, repaired with traditional methods rather than replaced. A similar shade to that applied to the ceiling here is 68 Erindring. Since 1969, Ørslev Monastery has functioned as one of Scandinavia’s longest-running creative residences. Guests stay for extended periods, often weeks or months at a time working on a defined project and scope. Above: The bath adjacent to monastery rooms is fitted with traditional fixtures and a Provendi soap and holder. Above: Linseed oil paint was chosen for its durability and permeability, allowing old masonry to continue breathing. A similar shade to that seen here is Spiring 97. Above: A key to the historic renovation and palette. Above: Traces of masonry remain intentionally visible beneath layers of limewash, marking earlier building phases. Above: A bold custom shade of yellow was applied to this bedroom wall. A similar shade is Strandgul 86. Above: Many of the monastery’s walls measure nearly a meter thick, creating deep window reveals and a natural thermal buffer. Much of the existing historic furniture, such as the canopy single bed seen here, were restored with linseed paint (a similar color is Essentielt 7). Above: In the 18th century, the complex was adapted into a Baroque manor without erasing its medieval core.

For more historic Danish spaces, see our posts:

• The House of Dinesen, Reimagined by Copenhagen-based Mentze Ottenstein
• How Architects Remodel: A Design Couple Convert an Old Barn Into Their Low-Impact Family Home
• Woodland Wonder: A House of Douglas Fir in a Forest in Denmark
• Guest House No.16 in Denmark: Norm Architects’ Seaside Retreat Inspired by Hammershøi Paintings