In the living room of the architect Rafael Urzúa Arias’s home in Concepción de Buenos Aires, Mexico, family photos line the walls and traditional equipal chairs from Zacoalco de Torres sit around a cement and Cantera San Andrés stone table.

In one of the guest rooms, a reproduction of a Sacred Heart of Jesus painting and an Art Nouveau glass and brass lighting fixture over twin beds; the nightstand and the bed on the left are made by the Mexican artist León Muñiz. The wood ceiling is painted indigo blue and poppy red and decorated with brass stars.

In the old kitchen, Urzúa created a dining nook with a banquette and a cement and Cantera San Andrés stone table. A photographic reproduction of a José Clemente Orozco drawing was a gift by the artist to Urzúa.

In one of the corridors on the main patio, clay pots, a wooden sculpture of Melchizedek and an early 20th-century wood and woven palm bench.

A glass lantern from the studio of Mauricio Preciado in the town of Tlaquepaque hangs over twin beds carved by Muñiz and topped with mauve bedcovers woven in Oaxaca for Estudio Pomelo.

Glass, earthenware and ceramic pieces from the collection of María del Rosario Zambrano, Urzúa’s wife, line a set of shelves in the dining room.

Earthenware pots in the home’s old kitchen are charred black from years of use over open flames. The painted tiles around the window were installed by Urzúa in the 1930s.

A George Nelson pendant lamp hangs from a restored painted-canvas ceiling in the front gallery, which was formerly Urzúa’s studio.

Agustín Elizalde Urzúa, the director of the Guadalajara-based design studio Estudio Pomelo and Urzúa’s grandson.

An oil painting of Saint Augustine hangs over a wooden bed frame in the principal bedroom, which once belonged to Urzúa and his wife.

In the dining room, a photograph of Michelangelo’s “David” hangs over a table covered in a pink cotton tablecloth designed by Estudio Pomelo and handwoven on a pedal loom in Oaxaca. The floor is made of early 20th-century vitrified clay tiles.

The home’s former corral, now used as a plant nursery, with an original cast-iron lantern designed by Urzúa hanging to the far left. The street lamps and wrought-iron balustrades, recovered by Urzúa from a demolition site in Guadalajara, were used for a time in Concepción’s central plaza and now await their next revival.

Guests ate at long wooden tables arranged in the courtyard of La Clínica — a new arts venue in Oaxaca, Mexico — with a view of the open kitchen. At center are three of the travertine seats that the artist Adeline de Monseignat made for the exhibition “Elementos Vitales: Ana Mendieta in Oaxaca.”

The curator and writer Su Wu.

Chef Thalia Barrios Garcia worked with a mostly female group of ceramists, cooks and spice traders to bring the meal to life.

Wu chose long tables to encourage a communal spirit. 

Garcia designed special clay cups and dishes for the meal with a ceramist from her hometown, San Mateo Yucutindoo.

Garcia designed special clay cups and dishes for the meal with a ceramist from her hometown, San Mateo Yucutindoo.

The meal’s margaritas featured mezcal distilled and processed on Yola Jimenez’s family farm.

Agua de maíz was served in bespoke ceramic cups designed to encourage diners to enjoy the drink slowly.

Sharon Fainstein (left) of Masa gallery and Wu.

“I want to broaden the definition of what it means to be from a place,” said Wu. ”And to think about community in terms of shared longing.”