These are the design books that were the best sellers at Rizzoli Bookstore in New York during June 2012.

1

The Sky’s the Limit Add to My Reading List

Robert Klanten
Sven Ehmann
Sofia Borges

Unleashing the creative potential offered by the latest developments in design and construction, this book presents spectacularly formed buildings, facades, and interiors as well as inspiring temporary projects and urban interventions by both young and established talents. The projects featured here have all been built, are actively in use, and transport us to the outer limits of our spatial imagination.

2

Dutch Architects and Their Houses Add to My Reading List

Frank Visser
Photographs by Mirjam Bleeker

Contains 16 extensive reports on the lofts, apartments or houses where leading Dutch architects such as as Herman Herzberger, Gunnar Daan, Felix Claus, and others live. Each report is accompanied by a text in which the architect expounds his/her own vision on architecture.

3

Type Matters! Add to My Reading List

Jim Williams
Foreword by Ben Casey

A book of tips for everyday use, for all users of typography, from students and professionals to anyone who does any layout design on a computer.

4

Design in Question Add to My Reading List

Elisava School of Design Editor
Design2context Editor

In 2009, Ruedi Baur, Design2context, and the renowned Elisava School of Design in Barcelona launched a call for “Questions on Design” in order to create a typographical wall in the entrance area of Elisava. About a hundred persons from all over the world, designers as well as students, took part in the exercise. As of today, more than 700 questions have been gathered and put onto the wall. Among them, Vera and Ruedi Baur have selected the wittiest questions for this publication. They scrutinize different facets of design which are currently relevant in diverse fields, such as the natural sciences and society as a whole.

5

From Ornament to Object Add to My Reading List

Alina Payne

In the late 19th century, a centuries-old preference for highly ornamented architecture gave way to a budding modernism of clean lines and unadorned surfaces. At the same moment, everyday objects—cups, saucers, chairs, and tables—began to receive critical attention. Alina Payne addresses this shift, arguing for a new understanding of the genealogy of architectural modernism.