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As children, the world is our playground, our parents are both almighty heroes and merciless adversaries, and our homes are the territories where big and small battle for dominance. As adults, we lament the innocence, boundless wonder, and simple pleasures of childhood. In this fourth installment of Yang Liu’s best-selling pictogram series, the award-winning designer encapsulates the delights and debacles of family life with her characteristic measure of wit. Combining minimal infographics with incisive and touching observations about human nature, the crisp pictorials draw upon Liu’s Chinese heritage; as in traditional calligraphy, the simpler the depiction, the deeper-seated the truth that is expressed. With graphic precision, Big meets Little takes on the daily happenings of a family home by visually pairing the perspectives of grown-ups and our tiny counterparts. Simultaneously humorous and honest, Liu distills the parenting narrative into bite-sized, insightful lessons. Over 128 pages, the clothbound volume cleverly contrasts the reality of parenthood with the glossy family portraits we’re often sold—though not without a dose of tongue-in-cheek humor.

Already an online phenomenon, East Meets West is the first volume in designer Yang Liu’s successful infographic series. Conceived and designed with perceptive wit and her signature graphic simplicity, Yang Liu’s pictograms convey the obvious and sometimes not so obvious discrepancies in life on opposite sides of the globe.

Drawing on her own experiences of China and Europe, Yang Liu explores a rich range of differences between Eastern and Western experience, from sleeping patterns to the role of senior citizens, from leisure activities to attitudes towards beauty, property, and public space. With their clarity, insight, and fundamental fondness towards both cultures, Yang Liu’s work has become not only a social media and magazine darling, but also a favorite with professional training programs around the world.

Yang Liu uses her wonderfully apt pictograms to display the discordances between American and European customs with wit and wisdom. In Europe meets USA she captures her own experiences of living on both sides of the Atlantic, twinkling a fresh light onto the more obvious confusions. She also reveals the less conscious prejudices that exist between the denizens of the small continent of Europe and those of the giant United States.

If the usual view of our divergences is full of clichés in which there are grains of truth, the same is true in reverse. From shopping to commuting, from going to school to romance, from working to annual leave, from football to heros—with 128 pages, this linen-bound booklet invites each side to appreciate the anomalies, change perspective and look at the world through the other’s eyes.

Dans ce troisième opus de sa série réalisée pour TASCHEN, la célèbre designer graphique Yang Liu confronte nos modes de vie d’autrefois avec ceux d’aujourd’hui. Sur le modèle de ses précédents livres qui ont connu un immense succès, Hier/aujourd’hui, mode d’emploi utilise le principe des paires de pictogrammes saisissants pour évoquer les transformations et les défis de notre monde en constante évolution.

Liu s’est fait connaître par son mélange de subtilité graphique et d’observation perspicace de nos comportements. Dans Hier/aujourd’hui, mode d’emploi, son regard aiguisé sur nos goûts et nos tendances se fait plus ambitieux puisqu’il en vient à juxtaposer passé et présent pour aborder les changements profonds de notre société. Au fil des pages, l’auteur nous fait observer les idéologies en opposition, les menaces universelles passées et actuelles, notre relation à l’environnement et l’immense impact de la technologie sur nos modes de vie, nos modes de pensée et sur notre façon d’aimer, du commerce en ligne à l’avènement d’un «homo numericus».

Attentive à un grand nombre de sujets, de la géopolitique à nos tendances à la concentration, Liu intègre à son panorama chaque détail de la vie quotidienne comme des grands événements historiques. À travers des thèmes comme Facebook, le gaspillage alimentaire, les modes de déplacement, la tendance à la concentration, Hier/aujourd’hui, mode d’emploi promène un regard espiègle mais perspicace sur ce que nous sommes et d’où nous venons.

Imagine a setting in which a man wearing a dress might be as habitual as a woman in trousers. Where a woman exposing herself in public wasn’t sexy, but as creepy as a male flasher. Where professional status and success presented the same prospects for both sexes.

In this volume in her series for TASCHEN, leading graphic designer Yang Liu tackles one of the hottest, and one of the oldest, topics of all: he and she. Drawing on the experiences, challenges, and many perspectives on men and women she has encountered in her own life, Yang Liu distills the vast, swirling question of gender into bold, binary pictograms.

Dealing with a whole host of situations from the bedroom to the boardroom, Yang Liu’s designs are as simple and accessible in their presentation as they are infinite in the associations, evocations, and responses they elicit. Combining age-old stereotypes with topical discrepancies, this fresh approach to the roles and relationships of men and women is, above all, an effort to synthesize a notoriously thorny issue into a fun and refreshing graphic form, and thus to lighten and enlighten our mutual understanding and tolerance.

Imagine a setting in which a man wearing a dress might be as habitual as a woman in trousers. Where a woman exposing herself in public wasn’t sexy, but as creepy as a male flasher. Where professional status and success presented the same prospects for both sexes.

In this volume in her series for TASCHEN, leading graphic designer Yang Liu tackles one of the hottest, and one of the oldest, topics of all: he and she. Drawing on the experiences, challenges, and many perspectives on men and women she has encountered in her own life, Yang Liu distills the vast, swirling question of gender into bold, binary pictograms.

Dealing with a whole host of situations from the bedroom to the boardroom, Yang Liu’s designs are as simple and accessible in their presentation as they are infinite in the associations, evocations, and responses they elicit. Combining age-old stereotypes with topical discrepancies, this fresh approach to the roles and relationships of men and women is, above all, an effort to synthesize a notoriously thorny issue into a fun and refreshing graphic form, and thus to lighten and enlighten our mutual understanding and tolerance.

Imagine a setting in which a man wearing a dress might be as habitual as a woman in trousers. Where a woman exposing herself in public wasn’t sexy, but as creepy as a male flasher. Where professional status and success presented the same prospects for both sexes.

In this first in a new series for TASCHEN, leading graphic designer Yang Liu tackles one of the hottest, and one of the oldest, topics of all: he and she. Drawing on the experiences, challenges, and many perspectives on men and women she has encountered in her own life, Yang Liu distills the vast, swirling question of gender into bold, binary pictograms.

Dealing with a whole host of situations from the bedroom to the boardroom, Yang Liu’s designs are as simple and accessible in their presentation as they are infinite in the associations, evocations, and responses they elicit. Combining age-old stereotypes with topical discrepancies, this fresh approach to the roles and relationships of men and women is, above all, an effort to synthesize a notoriously thorny issue into a fun and refreshing graphic form, and thus to lighten and enlighten our mutual understanding and tolerance.

In this third installment in her pictogram series for TASCHEN, leading graphic designer Yang Liu brings the way we were face to face with the way we are. Hot on the heels of its best-selling predecessors, Today meets Yesterday deploys the same vivid pictogram pairings to explore the transformations, and the challenges, of our ever-evolving world.

Liu has made her name with a combination of graphic precision and incisive observation of behavior patterns. In Today meets Yesterday, her eye for tastes and trends takes ambitious scope, juxtaposing past with present to explore fundamental shifts in society. Along the way, we encounter the tussle between competing ideologies, historic and current global dangers, our interaction with the environment, and the wholesale impact of technology on our ways of living, learning, and loving, from online retail to the rise of the “smombie.”

With an eye on everything from geopolitics to concentration spans, Liu’s panorama incorporates the details of daily experience as much as the momentous happenings in history. Through Facebook, food waste, collectivism, and much more, Today meets Yesterday casts the familiar situation in a crisp and discerning light, bringing fresh awareness, as well as some ironies, to who we are and where we came from.

Leading graphic designer Yang Liu brings the way we were face to face with the way we are. Reissued in four languages, Today meets Yesterday deploys vivid pictogram pairings to explore the transformations, and the challenges, of our ever-evolving world.

Liu has made her name with a combination of graphic precision and incisive observation of behavior patterns. In Today meets Yesterday, her eye for tastes and trends takes ambitious scope, juxtaposing past with present to explore fundamental shifts in society. Along the way, we encounter the tussle between competing ideologies, historic and current global dangers, our interaction with the environment, and the wholesale impact of technology on our ways of living, learning, and loving, from online retail to the rise of the “smombie.”

With an eye on everything from geopolitics to concentration spans, Liu’s panorama incorporates the details of daily experience as much as the momentous happenings in history. Through Facebook, food waste, collectivism, and much more, Today meets Yesterday casts the familiar situation in a crisp and discerning light, bringing fresh awareness, as well as some ironies, to who we are and where we came from.

In the mid-1950s, Yves Klein (1928–1962) declared that “a new world calls for a new man.” With his idiosyncratic style and huge charisma, this bold artist would go on to pursue a brief but bountiful career, producing more than 1,000 paintings over seven years in an oeuvre now considered a mainstay of postwar modernism.

Klein made his name above all with his large monochrome canvases in his own patented hue of blue. International Klein Blue (IKB), composed of pure pigment and binding medium, is at once rich and luminous, evocative and decorative, and was conceived by Klein as a means of evoking the immateriality and infinitude of the world. The works of this “Blue Revolution” seem to draw us into another dimension, as if hypnotized by a perfect summer sky. Klein was also renowned for his deployment of “living brushes,” in which naked women, daubed in International Klein Blue, would make imprints of their bodies on large sheets of paper.

This Basic Art introduction presents key Klein works to introduce an artist who was at once a showman, inventor, and pioneer of performance art. With page after page of the ever-alluring International Klein Blue, it is both an essential guide to a modern art master and a meditation on the unique effects of a single color.

In the mid-1950s, Yves Klein (1928–1962) declared that “a new world calls for a new man.” With his idiosyncratic style and huge charisma, this bold artist would go on to pursue a brief but bountiful career, producing more than 1,000 paintings over seven years in an oeuvre now considered a mainstay of postwar modernism.

Klein made his name above all with his large monochrome canvases in his own patented hue of blue. International Klein Blue (IKB), composed of pure pigment and binding medium, is at once rich and luminous, evocative and decorative, and was conceived by Klein as a means of evoking the immateriality and infinitude of the world. The works of this “Blue Revolution” seem to draw us into another dimension, as if hypnotized by a perfect summer sky. Klein was also renowned for his deployment of “living brushes,” in which naked women, daubed in International Klein Blue, would make imprints of their bodies on large sheets of paper.

This Basic Art introduction presents key Klein works to introduce an artist who was at once a showman, inventor, and pioneer of performance art. With page after page of the ever-alluring International Klein Blue, it is both an essential guide to a modern art master and a meditation on the unique effects of a single color.

In the mid-1950s, Yves Klein (1928–1962) declared that “a new world calls for a new man.” With his idiosyncratic style and huge charisma, this bold artist would go on to pursue a brief but bountiful career, producing more than 1,000 paintings over seven years in an oeuvre now considered a mainstay of postwar modernism.

Klein made his name above all with his large monochrome canvases in his own patented hue of blue. International Klein Blue (IKB), composed of pure pigment and binding medium, is at once rich and luminous, evocative and decorative, and was conceived by Klein as a means of evoking the immateriality and infinitude of the world. The works of this “Blue Revolution” seem to draw us into another dimension, as if hypnotized by a perfect summer sky. Klein was also renowned for his deployment of “living brushes,” in which naked women, daubed in International Klein Blue, would make imprints of their bodies on large sheets of paper.

This Basic Art introduction presents key Klein works to introduce an artist who was at once a showman, inventor, and pioneer of performance art. With page after page of the ever-alluring International Klein Blue, it is both an essential guide to a modern art master and a meditation on the unique effects of a single color.

Zaha Hadid was a revolutionary architect, who for many years built almost nothing, despite winning critical acclaim. Some even said her audacious, futuristic designs were unbuildable.

During the latter years of her life, Hadid’s daring visions became a reality, bringing a unique new architectural language to cities and structures as varied as the Rosenthal Center for Contemporary Art in Cincinnati, hailed by The New York Times as “the most important new building in America since the Cold War”; the MAXXI Museum in Rome; the Guangzhou Opera House in China; and the London 2012 Olympics Aquatics Centre.

At the time of her unexpected death in 2016, Hadid was firmly established among the elite of world architecture, recognized as the first woman to win both the Pritzker Prize for architecture and the RIBA Royal Gold Medal, but above all as a giver of new forms, the first great architect of the noughties.

From her early sharply angled buildings to later more fluid architecture that made floors, ceilings, walls, and furniture part of an overall design, this essential introduction presents key examples of Hadid’s pioneering practice. She was an artist, as much as an architect, who fought to break the old rules and crafted her own 21st-century universe.

Zaha Hadid was a revolutionary architect, who for many years built almost nothing, despite winning critical acclaim. Some even said her audacious, futuristic designs were unbuildable.

During the latter years of her life, Hadid’s daring visions became a reality, bringing a unique new architectural language to cities and structures as varied as the Rosenthal Center for Contemporary Art in Cincinnati, hailed by The New York Times as “the most important new building in America since the Cold War”; the MAXXI Museum in Rome; the Guangzhou Opera House in China; and the London 2012 Olympics Aquatics Centre.

At the time of her unexpected death in 2016, Hadid was firmly established among the elite of world architecture, recognized as the first woman to win both the Pritzker Prize for architecture and the RIBA Royal Gold Medal, but above all as a giver of new forms, the first great architect of the noughties.

From her early sharply angled buildings to later more fluid architecture that made floors, ceilings, walls, and furniture part of an overall design, this essential introduction presents key examples of Hadid’s pioneering practice. She was an artist, as much as an architect, who fought to break the old rules and crafted her own 21st-century universe.

Zaha Hadid was a revolutionary architect, who for many years built almost nothing, despite winning critical acclaim. Some even said her audacious, futuristic designs were unbuildable.

During the latter years of her life, Hadid’s daring visions became a reality, bringing a unique new architectural language to cities and structures as varied as the Rosenthal Center for Contemporary Art in Cincinnati, hailed by The New York Times as “the most important new building in America since the Cold War”; the MAXXI Museum in Rome; the Guangzhou Opera House in China; and the London 2012 Olympics Aquatics Centre.

At the time of her unexpected death in 2016, Hadid was firmly established among the elite of world architecture, recognized as the first woman to win both the Pritzker Prize for architecture and the RIBA Royal Gold Medal, but above all as a giver of new forms, the first great architect of the noughties.

From her early sharply angled buildings to later more fluid architecture that made floors, ceilings, walls, and furniture part of an overall design, this essential introduction presents key examples of Hadid’s pioneering practice. She was an artist, as much as an architect, who fought to break the old rules and crafted her own 21st-century universe.

Zaha Hadid (1950 - 2016) was a revolutionary architect. For years, she was widely acclaimed and won numerous prizes despite building practically nothing. Some even said her work was simply impossible to build. Yet, during the latter years of her life, Hadid’s daring visions became a reality, bringing a new and unique architectural language to cities and structures such as the Port House in Antwerp, the Al Janoub Stadium near Doha, Qatar, and the spectacular new airport terminal in Beijing.

By her untimely death in 2016, Hadid was firmly established among architecture’s finest elite, working on projects in Europe, China, the Middle East, and the United States. She was the first female architect to win both the Pritzker Prize for architecture and the prestigious RIBA Royal Gold Medal, with her long-time Partner Patrik Schumacher now the leader of Zaha Hadid Architects and in charge of many new projects.

Based on the massive TASCHEN monograph, this book is now available in an extensively updated and accessible edition covering Hadid’s complete works, including ongoing projects. With abundant photographs, in-depth sketches, and Hadid’s own drawings, the volume traces the evolution of her career, spanning not only her most pioneering buildings but also the furniture and interior designs that were integrated into her unique, and distinctly 21st-century, universe.

Zaha Hadid (1950 - 2016) was a revolutionary architect. For years, she was widely acclaimed and won numerous prizes despite building practically nothing. Some even said her work was simply impossible to build. Yet, during the latter years of her life, Hadid’s daring visions became a reality, bringing a new and unique architectural language to cities and structures such as the Port House in Antwerp, the Al Janoub Stadium near Doha, Qatar, and the spectacular new airport terminal in Beijing.

By her untimely death in 2016, Hadid was firmly established among architecture’s finest elite, working on projects in Europe, China, the Middle East, and the United States. She was the first female architect to win both the Pritzker Prize for architecture and the prestigious RIBA Royal Gold Medal, with her long-time Partner Patrik Schumacher now the leader of Zaha Hadid Architects and in charge of many new projects.

Based on the massive TASCHEN monograph, this book is now available in an extensively updated and accessible edition covering Hadid’s complete works, including ongoing projects. With abundant photographs, in-depth sketches, and Hadid’s own drawings, the volume traces the evolution of her career, spanning not only her most pioneering buildings but also the furniture and interior designs that were integrated into her unique, and distinctly 21st-century, universe.

Zaha Hadid (1950 - 2016) was a revolutionary architect. For years, she was widely acclaimed and won numerous prizes despite building practically nothing. Some even said her work was simply impossible to build. Yet, during the latter years of her life, Hadid’s daring visions became a reality, bringing a new and unique architectural language to cities and structures such as the Port House in Antwerp, the Al Janoub Stadium near Doha, Qatar, and the spectacular new airport terminal in Beijing.

By her untimely death in 2016, Hadid was firmly established among architecture’s finest elite, working on projects in Europe, China, the Middle East, and the United States. She was the first female architect to win both the Pritzker Prize for architecture and the prestigious RIBA Royal Gold Medal, with her long-time Partner Patrik Schumacher now the leader of Zaha Hadid Architects and in charge of many new projects.

Based on the massive TASCHEN monograph, this book is now available in an accessible edition covering Hadid’s complete works, including ongoing projects. With abundant photographs, in-depth sketches, and Hadid’s own drawings, the volume traces the evolution of her career, spanning not only her most pioneering buildings but also the furniture and interior designs that were integrated into her unique, and distinctly 21st-century, universe.

“A celebration of all that is brave and audacious in her work.”
— Australian Financial Review

Zaha Hadid (1950 - 2016) was a revolutionary architect. For years, she was widely acclaimed and won numerous prizes despite building practically nothing. Some even said her work was simply impossible to build. Yet, during the latter years of her life, Hadid’s daring visions became a reality, bringing a new and unique architectural language to cities and structures such as the Port House in Antwerp, the Al Janoub Stadium near Doha, Qatar, and the spectacular new airport terminal in Beijing.

By her untimely death in 2016, Hadid was firmly established among architecture’s finest elite, working on projects in Europe, China, the Middle East, and the United States. She was the first female architect to win both the Pritzker Prize for architecture and the prestigious RIBA Royal Gold Medal, with her long-time Partner Patrik Schumacher now the leader of Zaha Hadid Architects and in charge of many new projects.

Based on the massive TASCHEN monograph, this book is now available in an accessible edition covering Hadid’s complete works, including ongoing projects. With abundant photographs, in-depth sketches, and Hadid’s own drawings, the volume traces the evolution of her career, spanning not only her most pioneering buildings but also the furniture and interior designs that were integrated into her unique, and distinctly 21st-century, universe.

“A celebration of all that is brave and audacious in her work.”
— Australian Financial Review