Дизайн для реального мира - Виктор Папанек

___. 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.

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___. 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.

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___. 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.

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___. 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.

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___. 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