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The bathrooms were modeled after Japanese ryokans. Here in the main bathroom, muted Fireclay tiles clad the shower, which features a built-in bench and Purist fixtures from Kohler.

Belgian artist Eva Claessens bought a decaying, 1,000-year-old stone structure in a village in Provence and turned it into a home and studio.

An opening in Eva’s closet looks into her bedroom. The photograph she is adjusting was taken by her friend and fellow artist Julian Lennon. “He is the only person I take design advice from,” she says, adding that the circular opening was his idea. On her bed are Rose and Lili, the mother-and-daughter pair who have traveled the world with Eva.

In the guest suite is a staircase that goes nowhere. Eva initially wanted to connect the space to her bedroom above but changed her mind. “I told the workers, ‘Leave the stairs,’ ” she says. “Then I started to put some stones and pieces of leftover chaux. It’s full of objects that aren’t really anything.”

In the sculpture studio on the top floor, Eva turned an existing opening into a decorative nook. The fabrics on the bench are antique nets used for olive picking. “They have all these olive stains that are gorgeous—they are like pieces of art,” she says.

Below the window is a bench Eva made using an old wooden plank and loose stones found during the building’s renovations. The curtains were handsewn from pieces of lace she bought at a flea market in nearby Arles.

The primary bathroom is decorated with found stones, a handmade porcelain candleholder, and other small objets d’art.

Behind Eva is one of her canvases. Vintage Moroccan rugs are strewn on the floor of the second story.

Ernesto designed the villa’s kitchen more “for every day,” he says, but the one added to the courtyard has a professional range and parrilla to accommodate groups. “I don’t need super-fancy equipment,” Ernesto says. He and Yektajo designed the bar stools.

“This is where we had a little fun with the carpentry work,” says Yektajo, referring to the slatted-wood inserts covering the openings in the villa’s primary suite, as well as ones in the guest suite and loft. “You can’t add more windows in the facade of historic buildings, so that was the only way to get ventilation,” he adds. Ellen designed the bed frames with built-in nightstands for every room.

The bathroom epitomizes Mike and Jewlsy's approach of working within the constraints of the existing apartment, with paint and waste timber used to dramatic effect.

The oval form of the dining table is inspired by the hull of a traditional Irish curroch boat, and it features a bowl carved directly in its top surface. The table is made from 366 pieces of CNC machined birch ply. Similarly, the Unfurl chairs are made by layering 26 individual profiles of CNC machined timber to create a form that echoes the shape of the human body.

The small stool in front of the storage wall was made using spare timber from the production of the dining table and chairs. The way the form is created from a single repeated element gives the stool its name: 'Riff'. "

Most of the artwork that adorns the walls is also by Mike and Jewlsy. The framed palm fronds above the credenza, for example, are inscribed with the original deeds to Jewlsy's family home in Kerala, India, and are approximately 300 years old.

"Our books create a wall of intense detail: color, texture, and scale,

Located in Galesburg, Michigan, the 1951 Pratt House offers a peaceful oasis, complete with an open floor plan and multiple terraces. It sits next to another Frank Lloyd Wright creation, the 1953 Eppstein House.

Client Izabel Duval worked with designer Robert Sweet to select the interior surfaces and furniture, favoring soft tones and an array of textures.