Дизайн для реального мира

^{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.}