The Avant-Garde meets the Rustic in Pierre Yovanovitch’s Alpine Penthouse

Likewise, although the design appropriates several elements of local alpine architecture, it ingeniously integrates them into the aesthetic so as to eschew looking conspicuous or kitsch. Thus, the ubiquitous wooden picket fence has been re-imagined as a sculptural balustrade, the village’s typical red roof tiles have been transformed into an eccentric wall treatment in the vestibule and the chalet’s iconic A-frame shape has been reborn as playful wooden alcoves.

Solid wood is also featured in many of the bespoke furniture designed by Yovanovitch, such as the angular sofa of grey-tinted larch wood and matching daybed in the living room, and the two semi-circular benches of solid oak in the entrance hall, both manufactured by French carpenters Pierre Elois Bris. The tailor made furnishings, which also include dining and coffee tables, armchairs, standing lights, fire places, rugs and cushions, are complemented by an eclectic selection of high-end, 20th century Scandinavian, European and American antiques such as Swedish designer Axel Einar Hjorth’s pine wood pieces from his 1930s Sportstugemöbler line, Chilean artist Roberto Matta surrealist totem chairs from the 1970’s, also in pine wood, and American designer John Dickinson’s three-legged “African table” sculpted in cast composite.

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