About The Shaw Prize 2

Message from Secretary for Home Affairs 3

Foreword 4

The Jurors

Sheila Levrant de Bretteville 6

Ju Ming 7

Grace Kao 8

Henry Steiner 9

The Winners

First Prize 10

Second Prize 14

Third Prize 18

Special Recognition Prize 22

ContentsContents

The Shaw Prize is established under the auspices of

Mr. Run Run Shaw as a tribute and encouragement to

men and women dedicated to the advancement of

civilization. The Prize honours individuals, regardless of

race, nationality and religious belief, who have

achieved significant breakthrough in academic and

scientific research or application, and whose work has

resulted in a positive and profound impact on mankind.

The Shaw Prize consists of three annual awards: the

Prize in Astronomy, the Prize in Life Science and

Medicine, and the Prize in Mathematical Sciences.

Each Prize carries a monetary award of US$1 million.

Nomination for the Prize is by invitation, which is sent

to designated nominators all over the world between

May and June every year. The adjudication process

begins in August, and the Prizes are presented in

September the following year, commencing in 2004.

The Shaw Prize is an international award managed

and administered by The Shaw Prize Foundation based

in Hong Kong.

About The Shaw Prize

The Shaw Prize is a visionary initiative with

far-reaching implications on men and women

all over the world who have dedicated their

time, energy and passion to the advancement of

human civilization. Like other great prizes, it

calls for a world-class design that is elegant

and ever-lasting, encapsulating the visions and

values of the Prize in artistic lines and shapes.

I congratulate The Shaw Prize Foundation

on commissioning an International Design

Competition for The Shaw Prize award. I am

heartened to learn that it has attracted talents

in different parts of the world to take part in the

competition. I am sure the dexterity, creativity

and enthusiasm of these ingenious people will

result in a set of remarkable designs for the

jurors to select.

May I wish the International Design

Competition for The Shaw Prize award every

success and a fruitful result.

Patrick C. P. Ho

Message fromSecretary for Home Affairs

The Shaw Prize is, in many ways, a hallmark of the new millennium. In thepast century, we witnessed unprecedented progress in technology and spaceexploration, mathematics and the life sciences. At the rate we have beenadvancing, who knows what human inventiveness will generate next? With thisin mind, The Shaw Prize International Design Competition was established toseek a superlative design for the award, symbolic of the timeless spirit ofdiscovery, innovation and achievement that forms the foundations of ourcivilization which The Shaw Prize, itself, celebrates.

Hong Kong is unique in its ability to embrace both eastern and westerncultural influences, allowing them to blend freely; this has been demonstrated inthe design field, in particular. A city where its own culture has truly flourishedwithin the last forty years, it is fitting that Hong Kong be the center to which theselected designers were invited to submit proposals for the Shaw Prize design.

Altogether 117 internationally renowned designers and postgraduate designinstitutions were contacted; among them, 40 parties were invited to participate,resulting in 30 submissions. These entries came from far and wide: Britain,Germany, Japan, Malaysia, the United States, China, Hong Kong, and Taiwan.

The designers' challenge was to create both a three-dimensional design of theaward, and a two-dimensional design of the accompanying emblem, certificateand stationery. These designs, it was hoped, would reflect the values that TheShaw Prize represents - the complexity of human endeavour and elegance ofthought. This was no easy task, as the competition juror, Sheila Levrant deBretteville, observed:

Ideally each entrant would have had a complete proposal that met thechallenge of working in both three dimensions and two dimensions with equalsuccess. Most artists are not skilled in two dimensional design and typography,while most designers are not experienced in creating three dimensional forms.We soon observed that the majority of the entrants in this competition found itdifficult to create both a resolved physical object as well as a transformation oftheir physical object into a two dimensional logo and a typographicallysophisticated certificate.

ForewordForeword

After two days of deliberation, the panel offour jurors, comprising two artist/educators, onedesigner and one sculptor, selected three finalists,to be given first, second and third prizes. A fourthentry was awarded the Special Recognition Prizefor exemplary originality. As competition jurorGrace Kao noted:

The panel of judges enjoyed lengthydiscussions identifying the merits of each piece.Certain projects elicited animated debate amongthe jurors, but did not make it to the final round.These projects engaged interesting and contextualconcepts that were not realized in simple forms.Most highly praised were refreshing and simpleworks with thoughtful responses to the idea,meaning, material and form.

The varied configuration and uses of materials mirrored thediversity of the entries. Some combined bold concepts with long-established time-honoured elements such as metal and jade, whileothers united traditional considerations with modish material such ascrystal. A more contemporary approach, incorporating holography, orthe use of a computer display for both the two-dimensional and three-dimensional designs was the favoured medium chosen by a fewcontestants.

Neither the names of the designers, nor the place of origin weremade known to the jurors in order to ensure a fair evaluation process.Nevertheless, the contestants who emerged as winners were all ofChinese descent. It may indicate that modern Asian aesthetics havefinally arrived. I do believe that this is noteworthy.

The Shaw Prize has been created to commemorate successes inastronomy, life sciences and medicine, and mathematical sciences.Important feats of humanity will be honoured and, at the same time,our humility before the grandeur of the universe acknowledged. As welook forward to a new age of triumphs, our vision is at once holisticand protean. Facets of this vision are manifested in the winning worksof the competition we have the pleasure of browsing here.

Nancy M. Tong

The JurorsThe JurorsSheila Levrant de Bretteville

Sheila Levrant de Brettevillereceived a B.A. in art history fromColumbia University, Barnard College,and an M.F.A. from Yale UniversitySchool of Art, as well as honorarydoctorates degrees from CaliforniaCollege of Arts and Crafts and MooreCollege of Art. She is a fully tenuredProfessor in Yale University's School ofArt where she is director of Studies ofGraphic Design. Her posters and finepress editions are in special collectionsin the Museum of Modern Art, NewYork, the Victoria and Albert Museumin London and many American publiclibraries. Her permanent publicinstallations in Los Angeles, Boston,Connecticut, Rhode Island and NewYork have been the subject of books,magazines and exhibitions, here andabroad, among them Architecture of theEveryday, Berke Harris editors,Princeton Architectural Press; Lure ofthe LocaI, Lucy Lippard, The NewPress; Design Culture Now, Catalog forthe National Design Museum'sTriennial; A Century of GraphicDesign, Jeremy Aynsley, MitchellBeazley Publishers. Magazines: Print,IDEA, Spazio e Societa, CommunicationArts, Eye, DesignNET, krk, FiD (Futureof Industrial Design).

Born in Taiwan in 1938, Ju Ming istoday one of the world's most famousChinese sculptors. He started as anartisan in central Taiwan carvingtemple statues. In the late 1960s, helearned modern sculpture from YuyuYang, a famous Taiwan sculptor whohad just returned from Italy. Ju's TaiChi Series , first exhibited in Japan in1978, won him wide acclaim andestablished him as a great artist. Themajestic sculptures capture themovements of Tai Chi boxing inabstract forms, demonstrating acombination of strength and grace,motion and serenity. The series hasbeen on display in different countriesfor decades and is currently beingexhibited around Europe. In 1981, Juwent to New York to further his art,experimenting on a variety of materialand developed the Living WorldSeries . Ju houses his works in the JuMing Museum he founded himself.The 11-hectare Museum was opened in1999. He received an honorarydoctorate from Fu Jen CatholicUniversity in Taiwan earlier this yearfor his contribution to the arts.

Ju Ming

Grace KaoAfter receiving her Master of Fine

Arts Degree from Yale University,Grace Kao practiced with Swissdesigner Willi Kunz and in 1981founded an award winning designpractice in New York City. She returnedto Hong Kong in 1992, and served asRegional Creative Director for Burson-Marsteller. In 1998 she joined theDepartment of Design, Hong KongInstitute of Vocational Education(Shatin) as Principal Lecturer andAcademic Leader for Graphic andMedia Design Courses. Recently sheassumed the position of AcademicLeader for the Foundation Program.

A firm believer in strong linkagesbetween design education, designindustry and community, Graceintroduced new modules of designstudies, encouraged partnerships withindustry and successfully launched theindustry related design unit, DeTech,for the Department. She served asmember in the accreditation of majordesign institutions in Hong Kong, andhas recently completed a research studyon Setting Up of a Visual ArtsAcademy in Hong Kong for the HongKong Arts Development Council.

Henry SteinerBorn in Vienna, raised in New

York, where he graduated from HunterCollege, Henry Steiner was awarded aMaster of Fine Arts from YaleUniversity and then studied at theSorbonne under a Fulbright Fellowship.He came to Hong Kong in 1961 andhas since continued to exert a markedinfluence on graphic design in thePacific Rim, winning numerous awardsand international awards.

Henry is past President of AllianceGraphique Internationale, Fellow of theChartered Society of Designers,member of the American Institute ofGraphic Arts and the New York ArtDirectors Club. He received the 1990Hong Kong Designer of the Year Awardand was cited by Next Magazine as oneof the 100 most important peopleaffecting Hong Kong's developmentsince1841. He was presented theOutstanding Achievement Award in2002 by The Hong Kong Print Awards.

Henry is co-author of Cross-Cultural Design: Communicating in theGlobal Marketplace (Thames &Hudson 1995).

1stRoyce YC Hong

Royce Hong is a co-founderand Executive Director ofDeliriumCybertouch (DCT), oneof the largest e-business consultingand service firms across Asia,specializing in delivering internet-based business solutions to Asia'stop enterprises. Prior to co-founding DCT, Royce spentseveral years as Creative Directorof PC home Online, one of thethree major portal sites in Taiwan,where he is widely known as a toplocal web designer. He had alsopreviously worked for MatsushitaElectric in Osaka as a productdesigner, and is now ManagingDirector of Matsushita Electric(Taiwan). He holds a Bachelor'sdegree in Industrial Design fromRhode Island School of Designand a Bachelor's degree in GraphicDesign from the Art CenterCollege of Design in California.

The WinnersThe WinnersFirst PrizeFirst PrizeRoyce YC Hong & Grace S Cheung

tGrace S Cheung

Graduated from ColumbiaUniversity with a Master ofArchitecture in 1994, Malaysia-born Grace Cheung had workedwith the Patkaus of Vancouver,Bernard Tschumi in New York,and was a senior associate ofOMA Asia in Hong Kong. She hasextensive experience in large scalearchitectural projects, master-plans, and has developedexperimental and theoretical workon urbanism and architecture. Shehas lectured at various universities,and is a frequent guest critic inarchitecture schools in Hong Kongand Taiwan. Her works have beenexhibited, published and presentedin the USA, Holland, South Korea,China, Hong Kong and Taiwan.She has led winning teams ininternational competitions in-cluding an honorable mention inthe Great Egyptian MuseumInternational Competition . Herrecent building projects include a15,000 sq.m. service station inTaichung, and a 1,500 sq.m.memorial plaza and park in Taipei.She has participated recently in theTaiwan delegation to the WorldCultural Forum sponsored by theFord Foundation.

1The Looking Glass ofHuman Endeavor

Scientific discovery, like cinema, is built upon the power of vision. Bothdisciplines tell the human story by uncovering the complexity of simplicity inthe world around us; offering new or alternate ways of seeing as a lookingglass of human endeavour. The Shaw Prize trophy design embodies thiscultural significance by transforming the principle of the kaleidoscope into alooking glass device, an open tool for seeing that invites interaction. Pedestalfree, the looking glass sits within a presentation frame as a new horizon forforward vision. As science impacts the everyday, common materials - blackmarble, wood and aluminum - are chosen to represent Astronomy, LifeScience and Medicine, and Mathematical Sciences respectively.

Royce YC Hong & Grace S Cheung

1st

The contrasting elements of the frame's limitation and the kaleidoscope'sdiversity created a symbolic unity in its form and meaning. The jury membersare attracted to its modern simplicity and unusual format as an award.

- Grace Kao

This entry offers the most metaphoric form. The notion of a discipline as aframe is a very attractive one, as we can see it as an edge or boundary around abody of knowledge. The refracting prism - in its most common usage as akaleidoscope - is another kind of seeing that enables us to go beyond the frameand changes how we see many things. Using three distinct materials to house theprism references the three disciplines.

- Sheila Levrant de Bretteville

The frame design breaks new ground in its conceptual daring and minimalexecution. It eliminates the usual trophy plinth and makes the frame part of thedisplay, either standing or horizontal. The suggestion of a horizon is especiallyoriginal.

- Henry Steiner

Comments

2ndWilliam Ho is Fellow Member

of the Hong Kong DesignersAssociation and member of theAmerican Institute of GraphicArts. He graduated with distinctionfrom the First Institute of Art &Design, among the first batch ofgraduates of the Institute'scommercial design department. Hefurthered his studies at the SaintMartin College of Art and Designin London, specializing incorporate image and directionalsigns, and graduated in 1973. Hohad worked for renowned designfirms Graphic Atelier and DateKeller & Associates after returningto Hong Kong. He had beencreative director of Furama Inter-continental Hotel for five years. Hefounded Design Dynamics in 1982and William Ho Design AssociatesLimited in 1984.

Second PrizeSecond PrizeWilliam HoDesign Associates Limited

d

In 1987, Ho held a solo exhibitionof 100 industrial and commerciallogos he had designed; the event wasthe first of its kind in Hong Kong. Hohas a worldwide network of clients.He has turned to markets in Europeand China in recent years. He haswon a number of design awards inHong Kong and China as well asinternationally, and has judged atvarious competitions.

2Better Tomorrow,Brighter Future

The theme of the design is: the goal is the high peak, which is withinreach ahead. The design of the logo and trophy of The Shaw Prize originatesfrom my belief and hope that "tomorrow will be better and a bright future isahead." The curves of the logo are formed by an 'S'(Shaw) and a 'P'(Prize); thetriangular space in between represents symbolically 'high peak', 'brightness',and 'ahead'. The trophy is a three-dimensional extension of the logo. Thedifferent facets of the trophy represent the individual disciplines of The ShawPrize. The dark matt metal body of the trophy symbolizes the origin andinfinity of all things.

William Ho

2ndThe success of this piece embodies the elements of art and design: a designthat has a definite sculptural sensitivity and artistic form from different vantagepoints. This is one of the few pieces that demonstrated a consistency in two-andthree-dimensional applications.

- Grace Kao

This entry offers the most resolved graphic figure in space - a mini sculptureon its own pedestal. The translation of the three dimensional form of this objectwas most successfully translated into a two dimensional mark.

- Sheila Levrant de Bretteville

Comments

Eddy Yu

Eddy Yu, 43, graduated fromThe Hong Kong PolytechnicUniversity with a master's degreein design. He has about 20 years ofprofessional experience in graphicdesign. Before setting upCoDesign Ltd., he had worked forvarious graphic design firms,including Kan & Lau DesignConsultants and Alan Chan DesignCompany. Eddy has won morethan 70 design awards in local andinternational design competitions.His works have been published invarious prestigious design journals.He is now Honorary Secretary ofthe Hong Kong DesignersAssociation.

3rdThird PrizeThird PrizeCoDesign Ltd.

CoDesign Ltd. was co-founded by Eddy Yu and Hung Lam in early 2003. Thecompany specializes in brand and corporate identity, packaging and publicationdesign.

Hung Lam

Hung Lam, 29, graduated fromthe design school First Institute ofArt & Design. He had worked withEddy in Kan & Lau DesignConsultants for more than 6 yearsbefore his partnership with EddyYu. Hung has participated activelyin cultural design projects andcompetitions and won severalprominent international designawards, including a Silver Awardin Nagoya Design Do in 1998,which gained him an invitation byShinnoske Sugisaki, one of the topgraphic designers in Osaka, Japan,to a cultural and design studyproject in 2002. A report on thestudy, Elements of Elementism ,written by Hung, is to be publishedby the end of 2003.

d

3New Frontiers ofHuman Civilization

The portrait of Mr. Run Run Shaw reflects his continuous spirit inrecognizing the achievements of mankind through this prestigious award.Like an unpolished stone, solid colour is chosen to signify the mystery anduntapped frontiers of the universe. It is through the courage and unyieldingefforts of dedicated individuals that new horizons for the benefit of mankindare explored. The silvery crescent represents the aura of this spirit and thediscovery of new frontiers of human civilization. It is the epitome of thetrophy and it symbolizes the essence of The Shaw Prize.

CoDesign Ltd.

3rdA simple classic approach with a touch of elegance made visible by the

graduating brim around the disc-like trophy. The drama derives from the astutecontrast of the disc and the silvery brim. The fact that it is devoid of any uniqueform and shape lends itself to a timeless quality.

- Grace Kao

This entry offers the most complete presentation as well as the most familiarand most traditional approach to the challenges. It stood out in a field of so manyincompletely resolved projects. The dark stone and gleaming metal will behandsome and easily given and received.

- Sheila Levrant de Bretteville

Comments

SRS

Born in 1955 in Chaozhou, Guangdongprovince, Wang Xu graduated from the DesignDepartment of Guangzhou Fine Arts College in1979. He came to Hong Kong in 1986 and hadbeen working as a graphic designer until 1995when he went back to Guangzhou and foundedthe Wang Xu & Associates Ltd. Wang's designfirm has been in ally with Studio Dumbar inHolland and Garry Emery Design in Australiasince 1999. He set up his Beijing office in 2000.Wang has edited and designed more than 60design books and magazines and has beenfeatured in various publications, such as Idea(1993), High Quality (1997), AIGA Journal ofGraphic Design (1999 Vol.17, No.1),International Professional Scene 90 (PhaidonPress, 2002) and World Graphic Design(Merrill Publishers, 2003). Wang is member ofthe New York Art Directros Club and AllianceGraphique Internationale. He has received morethan 60 international design awards, includingwinning the Silver Medal twice in the NewYork Art Directors Club Annual Awards, andthe Golden Bee Awards twice in theInternational Biennale of Graphic DesignMoscow. He has also judged at internationalcompetitions and given lectures and speecheson many occasions. Wang is at presentprofessor at the Hunan University.

Special Recognition PrizeSpecial Recognition PrizeWang Xu & Associates Ltd.

RSR

The Joy ofthe New Century

What is the design direction of the21st century? New elements, new waysto understand everything, or non-committal concept? This is the mainissue we have been considering increating design proposal for The ShawPrize. The Shaw Prize is set up in the21st century, we should considermaking the design of the Prize suitableto this century with modern elements.The adoption of various reasonableindustrial elements and humanizeddesign concept allow the recipientsenjoy and taste the happiness of theachievements they have made within anenvironment full of refreshing flavour -the joy that belongs to this new century.

Wang Xu

A daring concept of combining and transforming a static award andcertificate into a digital format, emitting the energy of the technological age.

- Grace Kao

This entry offers the most contemporary approach by seeing data as form.The proposal integrates the two dimensional functions of the certificate date aspart of the display in a physical form that is also a computer.

The use of the circle, as a traditionally resonant form, is combined with a barthat extends beyond its perimeter and could stand for the kind of extension thatinnovative scholarship performs for a discipline.

- Sheila Levrant de Bretteville

Comments

Project Team

International Design Competition

School of Creative Media, City University of Hong Kong

Nancy M. Tong (Project Leader) Jeffrey AranitaPaul FoxPaul NingWinston Yang

Acknowledgements

Sponsored by

The Shaw Prize Foundation Limited

Organized by

School of Creative Media, City University of Hong Kong

Convened

July - September 2003

Prize Presentation

3 November 2003, Hong Kong

The Shaw Prize

InternationalDesign

Competition