Чтение онлайн

ЖАНРЫ

Дизайн для реального мира
Шрифт:

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.

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

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