Interview about Infinite Wave Lighting Installation, winner of the A' Lighting Projects and Light Art Design Award 2025
Infinite Wave is a design that materializes the flows of water and the variation of time in the Yuejin Port of Tainan, Taiwan. The installation takes on varied appearances as day transitions into night, where artificial and natural light cross paths, guiding viewers to perceive changes in both space and time. As moonlight slowly emerges, crimson rays reminiscent of blood permeate the artwork, allowing the contours to come into clarity. By the dead of night, as artificial light spreads across the installation, multidimensional light waves intertwine once again in space.
View detailed images, specifications, and award details on A' Design Award & Competition website.
View Design DetailsThe geometry of Infinite Wave was inspired by the Möbius strip, which I used as the foundation for creating a continuous and stable form. The installation is built from six structural surfaces that interlock to form this geometry. As the design evolved from surface modeling to a line-based framework, I realized that organizing all the linear elements into two layers could create a meaningful hierarchy. The primary layer, made of metal, provides the structural framework, while the secondary layer, composed of optical fibers, carries the light. Through this approach, light becomes more than a decorative feature—it acts as an essential structural element that defines both the form and the atmosphere of the installation.
With a background in both landscape and architecture, I’ve always been interested in how material textures and physical phenomena interact with their surrounding environment. During the material testing phase, I found that optical fibers are susceptible to ambient light, making them less suitable for conventional outdoor lighting applications. However, this sensitivity also revealed a fascinating relationship with the natural conditions of Yuejin Port. The variations in sunlight throughout the day and the shifting water levels over time create a dialogue with the optical fibers. In this way, the changing light and the tidal movements of the port merge into a single temporal experience, allowing the material and the environment to respond to one another.
The geometry of Infinite Wave was developed and simulated using digital tools, such as Grasshopper. The primary structure was fabricated using 5-axis CNC machining, while the secondary structure—the optical fibers—was woven through the framework like threads. Originally soft, the fibers gradually formed a solid yet translucent surface during the reinforcement process. This project combines highly digital fabrication with traditional craftsmanship. By using hollow metal tubes, we were able to neatly house all electrical components, thereby simplifying the overall form. The structural metal framework also accommodated the minor variances inherent in hand assembly. These subtle differences, rather than being seen as flaws, became an expressive part of the installation itself.
I chose CNC laser cutting to achieve the high level of precision required for the project. This approach allowed us to fabricate the irregularly shaped tubes with complete digital customization, eliminating the need for traditional molds or auxiliary supports and significantly reducing material waste. At the same time, this precision-driven method enabled us to move beyond conventional orthogonal fabrication, giving the installation a sense of floating space and enhancing the overall spatial experience.
The interaction between light and the viewer happens in two ways: through the passage of time and through differences in viewing angles. As visitors move past the installation at different times of day, they encounter changing expressions, with time acting as a natural trigger that shifts perception from blur to clarity, rather than relying on digital sensors. Additionally, the installation is composed of multiple optical fibers. From a distance, it appears as a glowing, floating volume with blurred boundaries, but as visitors approach, they begin to perceive the distinct geometric patterns embedded within. In this way, light becomes a living medium that actively shapes the spatial experience.
The Möbius strip not only symbolizes infinite cycles and the dissolution of boundaries, but it also provides a visual structure that resonates with the theme of this installation: the drifting of the cosmos. Its ring-like spatial form defines both interior and exterior spaces, allowing visitors to freely move between them and experience the undulating flow within the installation. This sense of movement also resonates with the natural tidal fluctuations of Yuejin Port, establishing a subtle dialogue between the artwork and its surroundings.
Taiwan has a strong and novel manufacturing industry, but it is rarely applied in the field of art. For this project, we utilized advanced industrial techniques for cutting irregular tubes, which significantly reduced the need for temporary molds that were traditionally required to fabricate complex forms. This high-precision approach not only improved material efficiency but also allowed traditional manufacturing practices to engage with contemporary art, opening new possibilities at the intersection of art and industry.
The red lighting serves as a form of guidance. As light travels through the optical fibers, it naturally changes over distance, and the intensity is influenced by daylight, creating a gradual, directional effect rather than a single, linear source. This allows visitors, when observing the installation up close, to experience the red light as a gradient with a sense of movement and orientation. Through these multidimensional red-light sources, the installation also invites viewers to explore the hidden geometric intricacies within the form.
Many traditional sculptures are made from durable materials to ensure structural stability. Since this installation was temporary, it provided me with the opportunity to experiment with softer materials and light as the primary medium of sculpture. This temporary format also allowed the technologically driven public art to be more interactive, inviting viewers to engage with the work in ways that are not typically possible with permanent, solid sculptures.
First, using a modular design approach allows you to test and verify the work before the full installation is completed. Second, explore new ways of using materials rather than being limited by conventional approaches. Third, identify fabrication methods that suit contemporary practice, such as 5-axis CNC machining or robotic fabrication. Last but not least, these manufacturing approaches not only expand design possibilities but also provide practical ways to manage budgets and production challenges while maintaining artistic integrity.
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