Книги и публикации дизайнеров и других авторов

Akerman, Nordal. Kan Vi Krympa Sverige?

Stockholm: Raben & Sjogren, 1980.

Brecht, Bertolt. Gesammelte Werke.

Frankfurt, Germany: Suhr-kamp Verlag, 1967.

Cleaver, Eldridge. Sou! on Ice.  London: Jonathan Cape, 1969.

___. Eldridge Cleaver: Post-Prison Writings and Speeches.

London: Jonathan Cape, 1969.

Debray, Regis. Revolution in the Revolution.  Middlesex: Penguin, 1968.

Deshusses, Jerome. The Eighth Night of Creation.

New York: The Dial Press, 1982.

Dow, Alden B. Reflections.  Midland, Michigan: Northwood Institute, 1970.

Fanon, Frantz. The Wretched of the Earth.  Middlesex: Penguin, 1967.

Fischer, Ernst. The Necessity of Art: A Marxist Approach.

Middlesex: Pelican, 1964.

Freire, Paulo. Cultural Action for Freedom.  Middlesex: Penguin, 1972.

___. Educacao como Prdtica da Liberdade.  Sao Paulo: P. P. C, 1967.

.__• Pedagogy of the Oppressed.  Middlesex: Penguin, 1972.

Frisch, Bruno. Die Vierte Welt: Modell einer neuen Wirklichkeit.

Stuttgart: DVA, 1970.

Gardner, John. On Moral Fiction.  New York: Basic Books, 1977.

Gonzales, Xavier. Notes About Painting.  New York: World, 1955.

Greene, Herb. Mind  & Image: An Essay on Art and Architecture.

Lexington: University Press of Kentucky, 1976.

Greenough, Horatio. Form and Function.

Washington, D.C.: privately published, 1811.

Guevara, Che. Bolivian Diary.

London: Cape & Lorrimer 1968

___. Guerrilla Warfare.  Middlesex: Penguin, 1969.

Harris, Marvin. Cultural Materialism: The Struggle for a Science of Cult

New York: Random House, 1979.

Kennedy, Robert F. Го Seek a Newer World.

London: Michael Joseph, 1968.

Koestler, Arthur. Arrow in the Blue.  London: Hutchinson, 1969.

___. Dialogue with Death.  London: Hutchinson, 1966.

___. The Invisible Writing.  London: Hutchinson, 1969.

___. Scum of the Earth.  London: Hutchinson, 1968.

Laing, R.D. The Politics of Experience.  Middlesex: Penguin, 1970.

Mailer, Norman. The Armies of the Night.  Middlesex: Penguin, 1970.

___. Miami and the Siege of Chicago.  Middlesex: Penguin, 1971.

Mao Tse-tung. Collected Writings.  5 vols. Peking:

Foreign Language Press, 1964.

___. On Art and Literature.  Peking: Foreign Language Press, 1954.

___. On Contradiction.  Peking: Foreign Language Press.

___. On the Correct Handling of Contradictions among the People.

Peking: Foreign Language Press, 1957.

Marcuse, Herbert. Das Ende der Utopie.  Berlin: Maikowski, 1967.

___. One-Dimensional Man.  London: Routledge & Kegan Paul, 1964.

Marin, John. The Collected Letters of John Marin.

New York: Abelard-Schuman, n.d.

Miller, Henry. My Bike and Other Friends.

Santa Barbara, California: Capra Press, 1978.

Myrdal, Jan. Confessions of a Disloyal European.

London: Chatto & Windus, 1968.

___. Report from a Chinese Village. Middlesex:  Penguin, 1967.

___. Samtida. Stockholm:  Norstedt, 1967.

Perlman, Janice E. The Myth of Marginality:

Urban Poverty and Politics in Rio de Janeiro.

Berkeley: University of California Press, 1976.

Richards, M.C. Centering: In Pottery, Poetry and the Person.

Middletown, Connecticut: Wesleyan University Press, 1964.

Saarinen, Eliel. Search for Form.  Detroit: Kennikat Press, 1970.

Safdie,Moshe. Beyond Habitat.

Cambridge, Massachusetts: M.I.T. Press, 1970.

___. For Everyone a Garden.  Cambridge, Massachusetts: M.I.T. Press, 1974.

___. Form and Purpose.  Boston: Houghton Mifflin Co., 1982.

St. Exupery, Antoinede. Bekenjitnis einer Freundschaft  Dusseldorf,

Germany: Karl Rauch, 1955.

___. Garnets.  Paris: Gallimard, 1953.

___. Flight to Arras.  Middlesex: Penguin, 1967.

___. Freiden OderKrieg?  Diisseldorf, Germany: Karl Rauch, 1957.

___. Gebete der Einsamkeit.  Diisseldorf, Germany: Karl Rauch, 1956.

___. Lettres a Vamie inventee.  Paris: Plon, 1953.

___. Lettres a so mere.  Paris: Gallimard, 1955.

___. lettres dejeunesse.  Paris: Gallimard, 1953.

___. The Little Prince.  Middlesex: Penguin, 1970.

___. NightFlight.  Middlesex: Penguin, 1939.

___. A Sense of Life.  New York: Funk & Wagnalls, 1965.

___. Wind, Sand and Stars. Middlesex: Penguin, 1971.

___. The Wisdom of the  Sands. New York: Harcourt, Brace, 1952.

Servan-Schreiber, Jean Jacques. The American Challenge.  

London: Hamish Hamilton, 1968.

___. The World Challenge.  New York: Simon & Schuster, 1981.

Shahn, Ben. The Shape of Content.  Cambridge, Massachusetts:

Harvard University Press, 1957.

Soleri, Paolo. Arcology: The City in the Image of Man.

Cambridge, Massachusetts: M.I.T. Press, 1970.

Sontag, Susan. On Photography.

New York: Farrar, Straus and Giroux, 1977.

Sullivan, Louis H. The Autobiography of an Idea.  Chicago: Peter Smith, 1924.

___. Kindergarten Chats.  Chicago: Scarab Fraternity, 1934.

Thoreau, Henry David. Walden and Essay on Civil Disobedience.

London: Dent.

Van Gogh, Vincent. The Complete Letters of Vincent Van Gogh

in Three Volumes.  London: Thames & Hudson, 1958.

Weiss, Peter. Notizen zum Kulterellen Leben in der Demokratischen Republik

VietNam.  Frankfurt, Germany: Suhrkamp Verlag, 1968.

Wills, Philip. Free as a Bird.  London: John Murray, 1973.

___. On Being a Bird.  London: David & Charles, 1977.

___. Where No Birds Fly.  London: Newnes, 1961.

Wright, Frank Lloyd. Autobiography.

New York: Duel, Sloane & Pearce, 1943.

___. The Disappearing City.  New York: William Farquhar Payson, 1932

___. The Living City.  New York: Horizon, 1958.

___. The New Frontier: Broadacre City.  Springreen, Wisconsin:

Taliesin Fellowship Publication, vol. 1, no. 1, October, 1940.

___. A Testament.  New York: Horizon, 1957.

___. When Democracy Builds.  Chicago: University of Chicago Press, 1945.

Wright, Olgivanna Lloyd. The Shining Brow.  New York: Horizon, 1958.

Yevtushenko, Yevgeny. Collected Poems.  London: Calder & Boyars, 1969.

___. A Precocious Autobiography.  New York: Dutton, 1963.

Истоки дизайна

Arnheim, Rudolf. Art and Visual Perception.  London: Faber, 1967.

___. Film as Art.  London: Faber, 1967.

___. Toward A Psychology oj Art.  London: Faber, 1967.

Bayer, Herbert, and Gropius, Walter. Bauhaus  1919-1928.

Boston: Branford, 1952.

Berenson, Bernard. Aesthetics and History.

New York: Pantheon Books, 1948.

Biederman, Charles. Art as the Evolution of Visual Knowledge.

Redwing, Minnesota: Charles Biederman, 1948.

Boas, Franz. Primitive Art.  New York: Dover, 1955.

Burckhardt, Lucius. Der Werkbund.  Stuttgart: DVA, 1978.

Conrads, Ulrich, and Sperlich, Hans G. The Architecture of Fantasy.

New York: Praeger, 1962.

Danz, Louis. Dynamic Dissonance in Nature and the Arts.

New York: Longmans Green, 1952.

___. It is Still the Morning.  New York: Morrow, 1943.

___. Personal Revolution and Picasso.  New York: Longmans Green, 1941.

___. The Psychologist Looks at Art.  New York: Longmans Green, 1937.

___ .ZarathustraJr..  New York: Brentano, 1934.

Dorfles, Gillo. Kitsch: An Anthology of Bad Taste.

London: Studio Vista, 1970.

Ehrenzweig, Anton. The Hidden Order of Art.  London: Paladin, 1970.

Feldman, Edmund B. (ed.). Art in American Higher Institutions.  Washington,

D.C.: The National Art Education Association, 1970.

Friedmann, Herbert. The Symbolic Goldfinch:

Its History and Significance in European Devotional Art.  

Princeton, New Jersey: Bollingen Series,

Princeton University Press, 1946.

Gamow, George. One, Two, Three... Infinity, rev. ed.

New York: Viking, 1961.

Gerstner, Karl. Kalte KunstP  Basel, Switzerland: Arthur Niggli, 1957.

Gilson, Etienne. Painting and Reality.  Princeton, New Jersey:

Bollingen Series, Princeton University Press, 1957.

Gombrich, E.H. Art and Illusion.  Oxford: Phaidon, 1962.

___. Ideals and Idok.  New York: E. P. Dutton, 1979.

___. The Image and the Eye.  Ithaca: Cornell University Press, 1979.

___. Meditations  on a Hobbyhorse.  Oxford: Phaidon, 1963.

___. The Sense of Order.  Ithaca: Cornell University Press, 1979.

Graves, Robert. The White'Goddess.  London: Faber, 1952.

Hatterer, Lawrence J. The Artist in Society: Problems and Treatment of the

Creative Personality.  New York: Grove Press, 1965.

Hauser, Arnold. The Social History of Art.  4 vols. London:

Rou-tledge & Kegan Paul, 1951.

Hinz, Berthold. Art in the Third Reich.  New York: Pantheon, 1979.

Hogben, Lancelot. From Cave Painting to Comic Strip.

New York: Chanticleer Press, 1949.

Hon-En Historia.  Catalogue. Stockholm: Moderna Museet, 1967.

Huizinga, Johan. Homo Ludens: A Study of the Play-element

in Human Culture.  London: Paladin, 1970.

Hulten, K.G. Pontus. The Machine as Seen at the End of the Mechanical Age,

New York: Museum of Modern Art, 1968.

Illich, Ivan. Energy and Equity.  London: Calder & Boyars, 1974.

___. Tools for Conviviality.  London: Calder & Boyars, 1973.

Keats, John. The Insolent Chariots.  New York: Crest Books, n.d.

Klingender, Francis D. Art and the Industrial Revolution.

London: Paladin, 1972.

Kracauer, Siegfried. From Caligari to Hitler.  Princeton, New Jersey:

Princeton University Press, 1947.

Kranz, Kurt. Variationen tiber ein geometrisches Thema.

Munich, Germany: Prestel, 1956.

Langer, Susanne K. Feeling and Form.  London:

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.