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Pato’s dog, Helmut, snoozes in the luminous bedroom. “The only fixed idea I had was that I wanted to preserve the essence of the original house in terms of its aesthetics and the size of each room,” says Pato, who, despite being nervous about fixing up his first house, gave his team a lot of creative license.

“We were working with a casa chorizo, which is a distinctly Argentinean type,” says Giusto. The equivalent of a tenement, these buildings, which date mostly from the turn of the 20th century, were designed to house multiple families in separate rooms with a shared bathroom.

The table in the well-lived-in kitchen is a loose replica of a Donald Judd design made by a beloved 70-year-old local carpenter whom Pato knows only by his first name, Gustavo. A Ries chair sits opposite the dining table, while a painting by Josefina Alen (instagram.com josefina__alen) hangs above the sink.

Landscape designer Ignacio Montes de Ocafilled the house with native South American plants. A rising star in Buenos Aires design circles, Montes de Oca drew inspiration from his northern home province of Misiones and its tropical vegetation, adapting a lush jungle look to the temperate local climate. He chose plants that would eventually grow to engulf the house.

When nature calls, the primary bathroom, which looks out onto a patio planted with ample greenery, is ready. The rusticated marble sink basin was shaped by Guillermo Ciocca, a designer based in Córdoba, Argentina.

"I wanted sunlight, good ventilation, and an intimate relationship between the interiors and exteriors,

A mirrored wall in the courtyard bounces light into the living room, where a Sticotti lamp stands next to a desk by Buenos Aires designer Antonella Marini.

Tall glass doors give the bedroom a sense of being nested in the plants outside.

The resulting home is overflowing with greenery—and it's the perfect place for its owner, Patricio Martinez, and his girlfriend, Nati Malamute, to unwind.

Floor Plan of Amagansett Dunes Beach House by Studio Rozu

Reilly created her own version of a Japanese garden in the front of the house with a rock she chose from a local landscaping company. “It really does clear your mind when you focus on raking the sand.”

New mahogany decking replaced a plastic-like composite all around the house.

Reilly, pictured here, deleted the original front door in order to create an expanse of uninterrupted wall in the living room. The existing slider is now the main entry point. She clad the exterior with planks marketed as a shou sugi ban product that reads as burned, knotty cedar. A new, corrugated metal roof replaced asphalt shingles.

The Charlotte Perriand cylindrical wall sconces by Nemo in the primary bedroom were a key element from the start. Reilly designed the white oak plywood side tables. The Moroccan horsehair rug has a speckled effect with neutral stripes.

The chimney is clad with Tadelakt, a lime plaster composite, with a polished wax finish.

The bench Reilly made when she was a student at Rhode Island School of Design sits under industrial-style hooks in the entry.

Reilly slotted a utility room behind the kitchen to house the oven, an extra fridge, pantry cabinets, and the laundry. A Navajo rug that Reilly found at a local yard sale adds a touch of color. The countertop and backsplash are stainless steel. She found the counter stools at a local thrift shop. “I scour every secondhand shop and go to ever yard sale in the Hamptons,” she says. “Each piece is the result of weeks of searching.”

Reilly identified the Santa & Cole Tekiò linear suspension light as a statement piece early in the design process; its metal frame is wrapped in Japanese washi paper. The Gaggenau induction cooktop integrated into the counter on the back wall is nearly invisible. The undercounter fridge drawer is entirely inconspicuous. “I made this as minimal as modern as I could because the last kitchen I designed was very traditional,” Reilly explains. The steel column was added for support after taking down a wall.