Upload & Sell: On
Here's an example, and I have photographed this very home. It faces West.
This example is the only image of his I can see on my iPad, so I'll take a crack at it without knowing anything of his interior work.
I think the facade and interior were all done at night, with artificial light. Look at the shadows thrown by the two main setbacks: reading from right to left, the shadows get longer, which implies a light source at camera right, but not very far away. The Sun would throw shadows equal in length from both setbacks, assuming they're both the same depth (and it looks like they are). This also implies the use of an elliptical gradient filter in post, to even out the lighting across the facade.
There's another light source near the camera, dialed back to provide fill in the shadows; perhaps more than one, because there's a double shadow at the left setback, but only a single shadow at the right setback. There's a third light source behind the coach house at left, illuminating the side wall of the main house and the underside of the eave above it: it looks like he should have dialed that one down a bit more, because it's the brightest spot on the exterior. The grass in front of the fence and the sky were shot in daylight, but much closer to midday than the simulated sunset lighting he provided for the exterior would lead you to believe.
I don't know how many layers were composited together, but I'm guessing it's at least three, and probably several more: it would be easier to light the interior one space at a time, and certainly would take less gear. To my taste, the interior is over lit, and uninteresting.
The overall effect is a subtle disorientation--or perhaps a not so subtle disorientation--in the mind of the viewer, due to the multiple conflicting cues.