Artists Concept

Description of the design intent of the artwork:

Our design intent for this artwork, to be placed on the East Elevation of the Library building in the new HKUST Campus (GZ), is to evolve the theme that we originally developed for the  relief Mural artwork incorporated into the “Circle of Time”* concept, along with  the Red Bird Sculpture, at HKUST in Clearwater Bay in 1991. The theme for this original mural is:

‘The History of Chinese Science and Technology’

This was based on the life-time work of Professor Joseph Needham that culminated in his great work: “Science and Civilization in China”.

 It is our intention to continue the theme of this artwork while developing the imagery further, historically, but also to incorporate contemporary and international developments, in the field of science and technology, as a clear illustration and confirmation that the HKUST (GZ) Campus is truly International and to show the World that we can learn from each other and in accordance with the aspirations of Professor Shyy: “ to show how far we have all come”(humanity).

In this approach we are also responding to the University brief: to celebrate great inventions and possible transitions to more and more iterations. Also, keeping in mind that the Library, in keeping with a modern 21st century ethos is continually changing overtime and in a contemporary contract, acting like a hub while being “symbolic of knowledge without boundaries”.

Our inspiration for this specific artwork comes from the notion that if one, symbolically, were to ‘peel open’ the end walls of the Library building, it would reveal within, the whirling layers of human activity associated with science and technology being created, symbolically, throughout human history.

 These swirling images, almost dreamlike while expressing the scientific creative principle of the human mind, visually build one upon the other in layers, like a Coral Reef, all being expressed in a kaleidoscope of shifting shadows. This could also be thought of as a form of Quantum ‘Superposition’ while is also suggestive of Quantum ‘Entanglement’. According to theory, at a Quantum level there is no ‘Arrow of Time’ such as we experience in our everyday lives. Experiments confirm that sub- atomic particles move forwards and backwards in time, at random, at this level of ‘reality’. The effect of this, is that all ‘Probable’ outcomes of cause and effect are equal, until an observer collapses the ‘Wave Function,’ thus unwittingly creating a selected ‘Reality’, (amongst infinite possible outcomes), that then becomes our everyday experience. Extraordinary as it may seem, all the ‘Roads Not Taken’ by the observer continue to exist as potential ‘Probabilities’ at a Quantum level.

In the end we are all merely shadows . A major aspect of our interpretation of Quantum ‘Probability Theory’ in the context of our artwork through which we explore the ephemeral nature of what lies behind the façade of ‘reality’ as we conjure it in to being.

This is where Art and Science meet: a fascinating synthesis and fusion of human endeavor particularly inspiring for us as artists, where we fashion the surface of granite, one of the hardest of materials, to express the most ethereal of juxtaposed images formed entirely of shadows.

Also, we must emphasize, stylistically, that the artwork we used to illustrate our design concept, as presented so far, was simply taken from the original relief mural we created as part of the Red Bird project at HKUST, Clearwater Bay, in 1991, referred to above.

We do not intend to reproduce this artwork within the proposed Library mural even though we will be exploring this ancient history with similar and complimentary themes. The artwork for the library would be entirely original – but visually seen as an extension of the existing Mural in CB. It should be understood as an evolution of thought and ideas- all developed from the HKUST at Clearwater Bay ethos, into the complimentary, but distinct philosophy of the emerging Campus at HKUST (GZ).

We fervently believe that our artwork, when produced and installed, will contribute in placing the new, magnificent Library Building, created by KPF Architects, at the HKUST Campus GZ , in the company of such acclaimed buildings as The Bibliotheca Alexandrina in Egypt, The Central Library Ciudad Universitaria, Mexico City, and many other iconic Library buildings Worldwide

Charles Smith & Joan Walsh-Smith

Concept Development: 2022

The creative inspiration behind our approach to the design of this great mural is firmly rooted in our original ‘Circle of Time’ artwork comprised of the Red Bird Solar Clock and the History of Chinese Science & Technology relief mural at HKUST in Clearwater Bay, Hong Kong.

We have previously shown segments and ‘clusters’ of our initial concept and we would now like to present a complete, visually integrated artwork albeit in a sketch format, to allow for alterations and additions at the request of Senior Management.

As an expression of the concept that all life emanates from our Sun, visually our artwork continues the Red Bird or ‘Feng Huang’ theme already established in CWB, becoming, symbolically, the great ‘Heart’ of the University and forming the central point of energy and the nexus at the hub of the mural. The Feng Huang also expresses the perfect duality of Yin Yang which also represents Fire, the Sun, Justice, Obedience and Fidelity, stalwartness: a truly inspiring basis for this great mural.

The great point of energy at the centre of the mural, as described above, is made up of the Red Bird, the Sun, the Yin Yang motif and water imagery – all reflective of the HKUST Campus, with the 100 Birds symbolism extending the metaphor further.

 The Yin Yang emblem, which is encompassed within the form of the Red Bird, is an amazingly ancient symbol, which, through the medium of a few simple lines, visually captures the ‘bridge’ between the Yin Yang concept and Quantum Mechanics. The forms and shapes point to unique features of Quantum ‘Motions’ such as Wave – Particle Duality, Particle Tunnelling, ‘Spin’, Quantization, Uncertainty Principle, etc., all originating from Yin Yang ‘Entanglement’…i.e., the interaction between real and imaginary motions in complex space. Physicists in Hong Kong and elsewhere have already undertaken extensive research into the area of Yin Yang – Quantum Synergy. 

Thus, the core of our artwork concept, visually exploding outwards across the east end wall of the library building, on a radiating burst of Photons, symbolic of all the scientific achievements of HKUST, in so many disciplines, from sustainability through the harnessing of solar power to water management, LED display technology, drones, autonomous vehicles and Biometrics, etc., dramatically captures, visually, the myriad of achievements that has made HKUST one of the foremost universities of science & technology in the World.

 This design also reflects the ‘journey’ of the HKUST students through the Halls of Learning of this great institution and celebrates the joy of scholarship engendered in this special place and its extraordinary achievements.

As set out in previous documents, underlying our creative impulse in designing this artwork, is our lifelong interest in Quantum Theory, with the concepts of ‘Entanglement’ and Quantum ‘Superposition’ deeply influencing our design approach.

Indeed, the theory that everything in the Universe is connected at a sub-atomic level was, staggeringly, understood by philosophers in ancient China.

Therefore, our overall design strives to express in visual form, the concept of the  ‘interconnectedness of everything’ e.g. basic farming technology led on to the development of tools which became the basis of the sophisticated technology that could only be produced by inventions and developments in metallurgy. An important example of this is the invention of tuned drums, bells and chimes which have so many technical/scientific associations. Although important orchestral instruments, the bells’ original function was that of time markers and measuring devices in agriculture and out of which grew many developments culminating in bells of acoustical complexity and of rich physics content.

Despite our design criteria of complete ‘randomness,’ an insidious narrative developed as we proceeded. Even though primitive technology was practised by Homo Sapiens, from the very early origins of our species, it was only through the development of agriculture that the first settled communities were created which, in turn, provided the perfect conditions for Science and Technology to evolve. The obvious need to maximise physical effort in the sowing and reaping of various food crops, plus the processing and storage of these, provided the vital stimulus for human ingenuity to invent an enormous variety of tools to aid them in this process.

The ‘Feng Huang’ visually draws its creative energy from the Sun while expressing the ultimate duality of ‘balance’ in all things, the Yin Yang, out of which radiates a kaleidoscope of creative inventiveness, marking our journey as a sentient species, out of the primordial origins of life up to the present day and on to the future.

Thus, our mural concept evolves visually from the base upwards, beginning with primitive agriculture, and the associated technologies it inspired, at ground level, upwards through layer after layer of human ingenuity and inventiveness, all co-existing and interacting outside of space and time until we visually reach for the stars, symbolised by the Milky Way arching over all our endeavours, at the highest level of the mural. Integral to this, is the understanding of the Atom as the basis of all matter and energy which we place at the lower level, central to this incredible human effort of early development in agriculture and engineering, manifest particularly in China, which we believe, was the Cradle of Civilisation. We combined the Atomic symbol with the Olduvai Hand Axe, from Tanzania, considered to be the Swiss Knife of the Neolithic Age and is a symbol of the earliest Human achievements in the area of technology, being the oldest recorded ‘Tool’. This brings us back to our origins, as tool making hominids, combined with the ultimate origin of everything, the Atom. Here we also include Einstein’s astounding equation which revealed the underlying structure of time and space and the interchangeability of energy and matter.

Emerging out of this and moving upwards through the mural surface are depictions of the other crucial areas essential in the development of Humanity: engineering of various disciplines; mechanical and structural, from agriculture to bridges, roads, shipping, such as the magnificent fleets of Zheng He and the technology developed for the building of Canals …..with its major engineering achievement through the invention of Pound lock gate technology – rising to the massive accomplishment of the Grand Canal which can be seen weaving from top to bottom throughout the mural. The Great Wall also appears at intervals – each expressed in this way like a sub-conscious ‘acknowledgement’ of their all -pervading Presence- while never in actuality seen, as an entirety.

The Silk Road is focused on also, whilst also appearing in segments, from the Han Dynasty first envoi to Rome, the Silk Moth, on through Greek influences, Alexander the Great and the Fergana (Heavenly) Horses; Bactrian camels and Arab Traders – to the Roman ‘Silk Minerva’ -referring to the famous upheaval in ancient Rome when the purchase of Silk from China reached such a level that it created a major economic problem for the Empire.

Continuing upward, Communication Technology is manifest in various forms, from the earliest instances of ‘writing’: Neolithic signs, (Glyphs) through the Oracle Bone inscriptions of the Shang Dynasty, including the all-important invention of paper to the most contemporary technology.

Following on, the great achievements of traditional Chinese medicine – TCM are celebrated through motifs and symbols, surrounding the image of the Yellow Emperor, author of the ‘Materia Medica-Manual of Corporeal Knowledge’ and ‘repository of all knowledge’.

The powerful concept of the Five Elements are joined by electromagnetic spectrum waves symbolic of life and energy. These are surrounded by Pharmacological ingredients- herbs and treatment methods, including the first treatments in immunology: Variology. Symbolic figures represent Tai Chi and Qigong, and Chinese medical scientists are also depicted such as Sam Simeo and Zhang Zhonqjing: the ‘Chinese Hippocrates’. The interface with modern medicine is symbolised by the Tianjin neuromorphic brain chip.

 As mankind continues its endeavour to reach ever higher upward, mathematics and science are celebrated in the depiction of crucial early Chinese and modern achievements in Quantum Computing, beginning with the Chinese development of Decimalisation, and the Binary Code through the invention of Counting Rods leading on to the Abacus and then higher mathematics, as recorded in the “Nine Chapters” history This was the title given to the worlds most advanced quantum computer recently developed in China.

 In this area is also an image of Richard Feynman who was the first person to suggest building a quantum computer or even pointing out that such a thing was even possible, linked with the great Chinese mathematician: Liu Hui

All these scientific achievements are balanced by the celebration of the Humanities expressed as a great surge of energetic figures and symbols, flying out in a celebratory’ dance of life’, from the Red Bird central feature, interspersed by musical instruments. These figures are based on Classical Chinese Dance from 5000 years ago which is the basis of Chinese gymnastics and martial arts today. The poet Li Bai brings the Humanities into Space technology, as in many instances throughout he mural we have alluded to the traditional basis and links for many wonderful advances which have their foundation in the seemingly obscure past and mythologies.

As the images rise to the top of the wall, the aspirations of mankind are symbolized, literally, by ‘reaching for the stars’ – or as the commissioner’s brief, suggests:

focus on the evolution of flight and “ how humans go to the sky against gravity”-  with the inclusion of historical developments in Aviation and Space travel.

This ranges from the Pterodactyl, (the fossils of which were assumed to be flying Dragons and thought to have inspired flight) to exploration as manifest in the Long March Rocket and the Zhurong Mars Rover including many other technological achievements by Chinese people.

Other significant elements are depicted, as an expression of the aspirations and achievements of mankind, including the Chinese astronomer Zhang Heng, who designed the Armillary Sphere and the Seismograph in conjunction with Su Songs Mechanical Clock. And most importantly, the Magnetic Needle Compass and other direction-finding devices, crucial to transportation.  

 Finally, as we have interlaced images of electro magnetic spectrum waves throughout the mural, as a means of interweaving all scientific and  technological developments and achievements of mankind, we have also intertwined Western achievements and historical scientific developments together, most of which were preceded by early Chinese philosophers and scientists.

Joan Walsh Smith & Charles Smith.

July 20th 2022.