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
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