The property, consisting of three separate yet interconnected guest houses, rests on a sequestered patch of land in France’s Vaucluse region, in the commune of Valreas. The hosts, a Belgian couple named Ilhem and Michael, had been re-visiting the area for more than 20 years before they came across this particular estate. “We immediately felt its potential as a restful and invigorating location to be appreciated by family, friends and other kindred spirits; a place to isolate and completely immerse oneself in nature,” Ilhem says.

The couple engaged Sam Peeters and Toon Martens of the Antwerp-based architecture firm Contekst, and Knokke-based interior stylist Bea Mombaers to assist with the conversion, both of whom have extensive experience in transforming historic interiors through a sensitive lens. Neither, however, had encountered a project quite like this before. “It was rare in that it was so untouched,” Toon says; “A truly unique location; you don’t find places like this anymore,” Bea adds.

The overarching concept of the project was to recreate a French village, where the trio of guest houses are connected via a series of pathways, evoking a sense of journey and discovery. Together, ‘Àme’, ‘Île’ and ‘Tour’, as they’re named – Àme being the smallest and Tour being the largest – can accommodate 13 adults.

Across the three houses, the design intent remains the same: to honour the building’s legacy and connection to the landscape. “At Contekst, we design spaces that flirt with the past – a key aspect of our practice that can be observed in Calin. We like to fade the boundaries between the new and the existing,” Sam says. The building’s sand-coloured concrete and raw stone exterior led Sam and Toon to dress the interiors in a similar palette, creating a link between inside and outside, new and old.

“At the start of each project, I like to get a sense of the location and how I would like to live there. What’s really important is how the home can exist in harmony with nature,” Bea says. She made each design choice, from the colour of the fabrics to the shape of the furniture, with this in mind, resulting in spaces that ground inhabitants in their surroundings. Most pieces were sourced from Belgium, with the exception of some local treasures found while on expeditions into neighbouring French villages. Local rumour also has it that Câlin used to be a place for art and artists, so it was important to Bea that she carried on the tradition, sourcing works from both young and established artists to fill the spaces.

Beyond the design itself, Câlin stands as an extraordinary avenue through which to experience Vaucluse. Ilhem and Michael remain close by at all times, eager to impart 20 years’ worth of knowledge to their guests; fresh, locally-grown produce is served every morning for breakfast and throughout the day; and nearby, activities range from hiking in orchards and swimming in lakes to truffle picking – Vaucluse is the home of the French truffle. “Every time I return to Câlin, I am in awe of its uniqueness. I would live here all year round if I could,” Bea says.

This feature originally appeared in est magazine issue 50: Celebrating 50.