Дизайн для реального мира

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. Wright, Frank Lloyd. Autobiography. New York: Duel, Sloane & Pearce, 1943. ___. 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. Yevtushenko, Yevgeny. Collected Poems. London: Calder & Boyars, 1969. ___. A Precocious Autobiography. New York: Dutton, 1963. 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: Истоки дизайна

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