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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 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.

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.

New York: Hastings House, i960.

___. 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: Witten-born, 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: Witten-born, 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"

Casabella (Milan), December 1974.

___. "Project Batta Koya" Industrial Design, July-August 1975.

___. "On Resolving Contradictions Between Theory and Practice"

Mobilia (Denmark), July-August 1974.

Papanek, Victor, and Hennessey, James. How Things Don't Work.

New York: Pantheon Books, 1977.

___. Nomadic Furniture. New York: Pantheon, 1973.

___. Nomadic Furniture 2. New York: Pantheon, 1974.

Pentagram. Living by Design. London: Lund Humphries. 1978.

___. Pentagram. London: Lund Humphries, 1972.

Pile, John F. Design. Amherst: University of Massachusetts Press, 1979.

Potter, Norman. What is a Designer. Things, Places, Messages.

London: Hyphen Press, 1980.

Pye, David. The Nature & Aesthetics of Design.

New York: Van Nostrand Reinhold, 1978.

Rand, Paul. Thoughts on Design. London: Studio Vista, 1970.

Schumacher, E. F. Good Work. New York: Harper & Row, 1979.

Vignelli, Massimo, and Vignelli, Leila. Design: Vignelli.

New York: Rizzoli, 1981.



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