For the public art project, the organizer, Taiwan Power Company, invited Chiou Lien, an international lighting master who had designed the lighting for the Statue of Liberty in the United States, and the well-known lighting design team, YI.ng Lighting Design Consultants, to jointly plan the lighting design for the 13 Layer Remains. Designing the lighting for the 13 Layer Remains is not an easy task from design to construction, and the difficulties encountered include: Because it is not easy to obtain complete drawings of the buildings and structures during the design process, the team spent two years in the design process to conduct numerous site surveys and visits before designing. Because of the limitations of the unique terrain of tiers upon tiers, it is not possible to use machines, so all the construction materials such as lamps and lanterns need to be hand-carried, and in addition to the weight of 10 to 20 kilograms, there are heights of 2 meters to 12 meters for each layer, which need to be manually climbed, and it often takes more than an hour to just walk to the construction site. The design team not only focused on the color of the light itself, but also on the luster of the light that was seen on the building. After testing a variety of colors, the team finally chose a combination of 2100K low color temperature yellow light and amber light. The lighting design of the 13 Layer is matched with a total of 360 sets of lighting fixtures with 15 different wattages and angles, and the brightness (luminance) ranges from less than 1 nits at the lowest level to 5 nits on the upper level, which is close to the brightness of the surrounding villages. By integrating into the surrounding environment and highlighting the golden splendor of the past mining history and culture of the 13 Layer, it presents the natural beauty of "Divine Beauty in the Universe Without Words" as stated by Zhuangzi.When Joyce Ho first visited the remains in the Wonderland Landscape, the seeming remains showed the traces of time, which made her start to think about how to present the neglected scenes in a microcosmic way, and thus Joyce Ho created the work I, where the penetrating nature of light itself does not confront the environment, but rather creates a relationship with it. Hence, even if visitors can't get a close look at the installation, they can still find a way to feel the environment by imagining the light of "I" from a distance.In 2014, U Theatre came to the Huang Jinshan City in the northeastern corner of Taiwan, taking the Jinguashi Gold Ecological Park as the axis, extending upward to the Jinguashi Geopark's Benshan base, and downward to the Shueinandong base, using the Nature Eco-Theater as the blueprint, as well as instructing Liandong Elementary School Children Drumming, and established a local Adult Drumming Class, etc. to join in with local environments and combine with the community's strengths of cohesion and agglomeration to create a U-Theatre eco-colony in this area. The specially created performance program Bright Island is presented in a ceremonial way, which not only introduces the ancient text of the Underground Palace Temple, but also invites the Sakizaya Nation's Rufus Prayer Group to conduct several surveys before the performance to feel the call from the land, and on the day of the lighting ceremony, they also carry out a Decontamination Ritual at the venue first. Ms. Pan Huimin, the prayer leader, said, "Jinguashi was the traditional domain of the Ketagalan people in the past, but later they were forced to leave the land, so we are actually using our own rituals to comfort the ancestors and to bless." In addition, through the performance of Bright Island, we also offer our blessings to the land and the people who participated in it.
Chiou Lien and YI.ng Lighting Design Consultants jointly plan the lighting design "Divine Beauty in the Universe Without Words" for the 13 Layer Remains, which is a penetrating light that blends into the surrounding environment and creates a harmonious dialogue with the mountains, the settlement and the sea, as well as highlights the past mining history and culture of the 13 Layer, presenting the natural beauty of "Divine Beauty in the Universe Without Words" as stated by Zhuangzi. The design allows public art to revitalize the cultural assets within the Pollution Control Zone and to re-attract the attention of tourists, enhancing the sense of local identity and local self-confidence of the local residents.Joyce Ho's work I uses the art installation "I" (also means "I") to erect in the abandoned factories, tunnels, staircases, and sieving plants on the winding mountain road leading to the 13 Layer. During the daytime, it looks like a landmark on the map, and at night, "I" turns into a luminescent body, which is just like light coming through the doorway, opening up the door to the imagination of the night scenery. Even if visitors can't get a close look at the installation, they can still find a way to feel the environment by imagining the light of "I" from a distance and follow the light to explore the veins of the site, the space as well as the history and culture of the mining industry.If you are a voyager on the sea and sail past the foot of the Keelung Mountains in the northeastern corner of Taiwan, you will see an extremely bright sea island at night from afar; when you get close to the great island, you will see a landmark that is even brighter than a lighthouse, which is the 13 Layer Remains. The U Theatre has created a large-scale outdoor performance of Bright Island for the 13 Layer, with nearly 100 people performing on a grand stage 50 meters wide. Bright Island is a performance art work by U Theatre and local residents to worship the ancient land of Jinguashi and Shueinandong through a performance art festival; After the 13 Layer are illuminated, the trajectory of the light in the rituals illuminates the huge ancient buildings and the great island of Taiwan possesses the carrier of extending the memory of the historical souls due to the light on the ancient buildings, linking the ancient and modern times of the land. It not only introduces the ancient text of the Underground Palace Temple, but also invites the Sakizaya Nation's Rufus Prayer Group to conduct several surveys before the performance to feel the call from the land, and on the day of the lighting ceremony, they also carry out a Decontamination Ritual at the venue. The work about light across time and space is thus called Bright Island, because of that light, which is like the bright light in the faith of all Taiwanese, guarding all the people on the island of Taiwan and the spirits of the natural land, always giving Taiwan blessing and hope.
