Дизайн для реального мира

___. 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: Doubleday, 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, 1960.

___. 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.