Дизайн для реального мира

___. 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

Proportion Symmetry Rhythm. Vol. 5, The Man-made Object. Vol. 6, Sign Image, Symbol. New York: George Braziller, 1966.

___. (ed.). The Visual Arts Today. Middletown, Connecticut: Wesleyan University Press, 1960.

Klee, Paul. Pedagogical Sketch Book. London: Faber, 1968.

___. The Thinking Eye. London: Lund Humphries, 1961.

Kranz, Stewart, and Fisher, Robert. The Design Continuum. New York: Reinhold, 1966.

Kuebler, George. The Shape of Time. New York: Schocken, 1967.

Kumar, Satish (ed.). The Schumacher Lectures. London: Blond & Briggs, 1980.

Larrabee, Eric, and Vignelli, Massimo. Knoll Design. New York: Abrams, 1981.

Lethaby, W. R. A Continuing Presence: Essays from Form in Civilization. Manchester, England: British Thornton Ltd., 1982.

___. Architecture, Mysticism and Myth. New York: George Braziller, 1975.

___. Architecture, Nature & Magic. New York: George Braziller, 1956.

Lovins, Amory B. Soft Energy Paths. New York: Harper & Row, 1979.

Malevich, Kasimir. The Non-objective World. Chicago: Paul Theobald, 1959.

Mayall, W. A. Principles in Design. New York: Van Nostrand Rein-hold, 1979.

Moholy-Nagy, Laszl6. The New Vision. 4th ed. New York: Wittenborn, 1947.

___. Telehor. Bratislava, Czechoslovakia: 1968.

___. Vision in Morion. Chicago: Paul Theobald, 1947.

Moholy-Nagy, Sibyl. Moholy-Nagy: Experiment in Totality. New York: Harper, 1950.

Mondrian, Piet. Plastic and Pure Plastic Art. New York: Wittenborn, 1947.

Mundt, Ernest. Art, Form & Civilization. Berkeley: University of California Press, 1952.

Nelson, George. How to See. Boston: Little, Brown, 1977.

___. On Design. New York: Watson-Guptill, 1979.

___. Problems of Design. New York: Whitney Publications, 1957.

Newton, Norman T. An Approach to Design. Boston: Addison-Wes-ley Press, 1951.

Niece, Robert С Art: An Approach. Dubuque, Iowa: William C, Brown & Co., 1959.

Papanek, Victor. «Big Character» Poster No. 1: Work Chart for Designers, Charlottenlund, Denmark: Finn Sloth Publications, 1973.

___. Design For Human Scale. New York: Van Nostrand Rein-hold, 1983.

___. «Die Aussicht von Heute» [The view from today] in Design ist Unsichtbar (Design is Invisible). Vienna, Austria: Locker Verlag, 1981.

___. «Kymmenen Ymparistoa» [Environments for discovery]. Ornamo magazine (bilingual). Helsinki, Finland: February, 1970.

___. «Socio-Environmental Consequences of Design»

In Health & Industrial Growth. Holland: Associated Scientific Publishers, 1975. (CIBA Symposium XXII).

___. «Areas of Attack for Responsible Design» In Man-made Futures. London: Hutchinson, 1974.

___. «Friendship First, Competition Second» Casabella (Milan), December 1974.

___. «Project Batta Koya» Industrial Design, July-August 1975.

___. «On Resolving Contradictions Between Theory and Practice» Mobilia (Denmark), July-August 1974.

Papanek, Victor, and Hennessey, James. How Things Don't Work. New York: Pantheon Books, 1977.

___. Nomadic Furniture. New York: Pantheon, 1973.

___. Nomadic Furniture 2. New York: Pantheon, 1974.

Pentagram. Living by Design. London: Lund Humphries. 1978.

___. Pentagram. London: Lund Humphries, 1972.

Pile, John F. Design. Amherst: University of Massachusetts Press, 1979.

Potter, Norman. What is a Designer. Things, Places, Messages. London: Hyphen Press, 1980.

Pye, David. The Nature & Aesthetics of Design. New York: Van Nostrand Reinhold, 1978.

Rand, Paul. Thoughts on Design. London: Studio Vista, 1970.

Schumacher, E. F. Good Work. New York: Harper & Row, 1979.

Vignelli, Massimo, and Vignelli, Leila. Design: Vignelli. New York: Rizzoli, 1981.

Промышленный дизайн

Aluminum Company of America. Design Forecast No. 1&.N0. 2. Pittsburgh: Aluminum Company of America, 1959, 1960.