Through the story of the creator, Yang Shiyi (A-Gui), the narrative intertwines the care and warmth between the Big Fish and the environment, selflessly binding personal destiny with the land in a symbiotic relationship. This metaphor delicately reflects our lives in Taiwan, where differing perspectives and positions in reality gradually lead us to ignore the essence and value of life. We fail to cherish blessings and appreciate what we have, instead relentlessly chasing unattainable illusions.

As we listened to this story, we were inspired to tightly integrate the lighting environment with the story's background. Unlike the conventional, unplanned lighting installations often seen in tourist areas, which impose a heavy burden on the environment, we sought a more thoughtful approach.

During our first site inspection, we noticed how the existing lighting would impact the future of the Big Fish installation. Our initial task was to reduce the environmental impact of lighting to zero. This “resetting to zero” did not mean turning off all lights but rather adjusting the function and efficiency of existing lights. We modified the light poles along the pier to be more user-friendly and comfortable.

There were also a few particularly glaring lights on-site. Based on practical needs, we shielded some of the diffuse light, aligning with the artist's theme, and began shaping the light distribution across various scales and perspectives.

Upon hearing the designer's story of the Big Fish, our team immediately associated it with the Daoist classic Zhuangzi's "Free and Easy Wandering". The text begins with, "In the northern darkness, there is a fish, and its name is Kun. The Kun is so large, it is unknown how many thousand miles it spans." This analogy resonates perfectly with the extension of the island where Tainan's Anping Kunshen is located.

The emotional connection of the Big Fish to the ocean, and the grand ambition of the Great Peng soaring through the skies, align with the Confucian values expressed by the designer—looking up in reverence and bowing in gratitude. The ocean’s depth provides the capacity to carry all things and responsibilities, whereas stagnation leads to stranding. Many aspects of this story harmonize seamlessly with the current state, making it fascinating from the observer's perspective.

In translating the psychological and conceptual aspects of lighting design into technical execution, we divided it into two main categories: functional and non-functional lighting.

Functional Lighting

The purpose is to achieve goals related to user movement, operation, interpretation, recognition, and safety. Examples include:

• Downlights at the Big Fish entrance.
• Handrail lighting on the stairs.
• Downlights for the pathways on the second floor.

Non-Functional Lighting

The purpose is to achieve visual balance within the light environment while incorporating aesthetics and artistry. Examples include:

• Projection lighting on the heart area’s fish-back mesh structure.
• Concealed uplighting for the whale-bone-like railings under the fish’s chin and tail fins.

Control

To enhance the Big Fish’s nighttime interaction with people, we based the lighting control on the movement of ocean waves, linking the heartbeat of the fish’s heart to the viewer’s breathing rhythm.