Дизайн для реального мира - Виктор Папанек

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___. The Sense of Order. Ithaca: Cornell University Press, 1979.

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Hulten, K.G. Pontus. The Machine as Seen at the End of the Mechanical Age, New York: Museum of Modern Art, 1968.

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___. Tools for Conviviality. London: Calder & Boyars, 1973.

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___. The Voices of Silence. New York: Doubleday, 1952.

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___. Icon and Idea? London: Faber, 1955.

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Scheidig, Walther. Crafts of the Weimar Bauhaus. London: Studio Vista, 1967.

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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.

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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.

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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.

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___. 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

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

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

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

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

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___. Telehor. Bratislava, Czechoslovakia: 1968.

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