Дизайн для реального мира

^{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}