Дизайн для реального мира

Папанек Виктор

^{Routledge & Kegan Paul, 1953.}

^{___. Philosophy in a New Key. New York: Scribner, 1942.}

^{___. Problems of Art. New York: Scribner, 1957.}

^{Le Corbusier. The Modular. London: Faber, 1954.}

^{___. Modular 2. London: Faber, 1958.}

^{Lethaby, W.R. Architecture, Nature and Magic.}

^{New York: George Braziller, 1956.}

^{Malraux, Andre. The Metamorphosis of the Gods.}

^{New York: Dou-bleday, 1960.}

^{___. The Voices of Silence. New York: Doubleday, 1952.}

^{Maritain, Jacques. Creative Intuition in Art and Poetry.}

^{Princeton, New Jersey: Bollingen Series,}

^{Princeton University Press, 1953.}

^{Middleton, Michael. Group Practice in Design.}

^{London: Architectural Press, 1968.}

^{Moholy-Nagy, Sibyl. Native Genius in Anonymous Architecture.}

^{New York: Horizon, 1957.}

^{Neumann, Erich. The Great Mother: An Analysis of the Archetype.}

^{London: Routledge & Kegan Paul, 1955.}

^{Neutra, Richard. Survival through Design.}

^{New York: Oxford University Press, 1954.}

^{Nielsen, Vladimir. The Cinema as Graphic Art.}

^{New York: Hill & Wang, 1959.}

^{Okaley, Kenneth P. Man the Tool-maker. London: British Museum, 1963.}

^{Ozenfant, Amedee. Foundations of Modern Art. New York: Dover, 1952.}

^{Panofsky, Erwin. Gothic Architecture and Scholasticism.}

^{Latrobe, Pennsylvania: Archabbey Press, 1951.}

^{___. Meaning in the Visual Arts. Middlesex: Penguin, 1970.}

^{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 Revolutionar y.}

^{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.}

^{Практика}

дизайна и его философия

^{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.}