Дизайн для реального мира - [129]
Rapoport, Amos. House, Form and Culture. Englewood Cliffs, New Jersey: Prentice-Hall, 1969.
Read, Sir Herbert. The Grass Roots of Art. New York: Wittenborn, 1955.
___. Icon and Idea? London: Faber, 1955.
___. The Philosophy of Modem Art. London: Faber, 1965.
Rosenberg, Harold. The Tradition of the New. London: Paladin, 1970.
Sahlins, Marshall. Stone Age Economics. London: Tavistock Publications, 1974.
Scheidig, Walther. Crafts of the Weimar Bauhaus. London: Studio Vista, 1967.
Sempter, Gottfried. Wissenschaft, Industrie und Kunst. Mainz, Germany: Pierian Kupferberg, 1966
Singer, Charles (ed.). A History of Technology. 5 vols. Oxford University Press, 1954–1958.
Snaith, William. The Irresponsible Arts. New York: Atheneum, 1964.
Thomson, E.P. William Morris: Romantic to Revolutionary. New York: Pantheon, 1977.
Von Neumann. Game Theory. Cambridge, Massachusetts: M.I.T. Press, 1953.
Willet, John. Art & Politics in the Weimar Period. New York: Pantheon, 1978.
Wingler, Yans M. The Bauhaus. Cambridge, Massachusetts: M.I.T. Press, 1969.
Youngblood, Gene. The Expanded Cinema. London: Studio Vista, 1971.
Albers, Anni. On Designing. New Haven, Connecticut: Pellango Press, 1959.
Anderson, Donald M. Elements of Design. New York: Holt, Rinehart & Winston, 1961.
Art Directors' Club of New York. Symbology. New York: Hastings House, 1960.
___. Visual Communication: International. New York: Hastings House, 1961.
Baker, Stephen. Visual Persuasion. New York: McGraw-Hill, 1961.
Bayer, Herbert. Visual Communication, Architecture, Painting. New York: Reinhold, 1967.
Bill, Max. Form. Basel, Switzerland: Karl Werner, 1952. Text in German, English, French.
Doxiadis, Constantinos. Architecture in Transition. London: Hutchinson, 1965.
___. Between Dystopia and Utopia. London: Faber, 1966.
___. Elastics. London: Hutchinson, 1968.
Gropius, Walter. Scope of Total Architecture. New York: Harper, 1955.
Itten, Johannes. The Art of Color. New York: Reinhold, 1961.
___. Design and Form. New York: Reinhold, 1963.
Kandinsky, Wassily. On the Spiritual in Art. New York: Wittenborn, 1948.
___. Point to Line to Plane. New York: Guggenheim Museum, 1947.
Kepes, Gyorgy. Language of Vision. Chicago: Paul Theobald, 1949.
___. The New Landscape in Art and Science. Chicago: Paul Theobald,
___. Vision-Value Series. Vol. I, Education of Vision. Vol. 2, Structure in Art and Science. Vol. 3, The Nature and Art of Motion. Vol. 4, Module
Proportion Symmetry Rhythm. Vol. 5, The Man-made Object. Vol. 6, Sign Image, Symbol. New York: George Braziller, 1966.
___. (ed.). The Visual Arts Today. Middletown, Connecticut: Wesleyan University Press, 1960.
Klee, Paul. Pedagogical Sketch Book. London: Faber, 1968.
___. The Thinking Eye. London: Lund Humphries, 1961.
Kranz, Stewart, and Fisher, Robert. The Design Continuum. New York: Reinhold, 1966.
Kuebler, George. The Shape of Time. New York: Schocken, 1967.
Kumar, Satish (ed.). The Schumacher Lectures. London: Blond & Briggs, 1980.
Larrabee, Eric, and Vignelli, Massimo. Knoll Design. New York: Abrams, 1981.
Lethaby, W. R. A Continuing Presence: Essays from Form in Civilization. Manchester, England: British Thornton Ltd., 1982.
___. Architecture, Mysticism and Myth. New York: George Braziller, 1975.
___. Architecture, Nature & Magic. New York: George Braziller, 1956.
Lovins, Amory B. Soft Energy Paths. New York: Harper & Row, 1979.
Malevich, Kasimir. The Non-objective World. Chicago: Paul Theobald, 1959.
Mayall, W. A. Principles in Design. New York: Van Nostrand Rein-hold, 1979.
Moholy-Nagy, Laszl6. The New Vision. 4th ed. New York: Wittenborn, 1947.
___. Telehor. Bratislava, Czechoslovakia: 1968.
___. Vision in Morion. Chicago: Paul Theobald, 1947.
Moholy-Nagy, Sibyl. Moholy-Nagy: Experiment in Totality. New York: Harper, 1950.
Mondrian, Piet. Plastic and Pure Plastic Art. New York: Wittenborn, 1947.
Mundt, Ernest. Art, Form & Civilization. Berkeley: University of California Press, 1952.
Nelson, George. How to See. Boston: Little, Brown, 1977.
___. On Design. New York: Watson-Guptill, 1979.
___. Problems of Design. New York: Whitney Publications, 1957.
Newton, Norman T. An Approach to Design. Boston: Addison-Wes-ley Press, 1951.
Niece, Robert С Art: An Approach. Dubuque, Iowa: William C, Brown & Co., 1959.
Papanek, Victor. «Big Character» Poster No. 1: Work Chart for Designers, Charlottenlund, Denmark: Finn Sloth Publications, 1973.
___. Design For Human Scale. New York: Van Nostrand Rein-hold, 1983.
___. «Die Aussicht von Heute» [The view from today] in Design ist Unsichtbar (Design is Invisible). Vienna, Austria: Locker Verlag, 1981.
___. «Kymmenen Ymparistoa» [Environments for discovery]. Ornamo magazine (bilingual). Helsinki, Finland: February, 1970.
___. «Socio-Environmental Consequences of Design»
In Health & Industrial Growth. Holland: Associated Scientific Publishers, 1975. (CIBA Symposium XXII).
___. «Areas of Attack for Responsible Design» In Man-made Futures. London: Hutchinson, 1974.
___. «Friendship First, Competition Second»
