Temple of wind… and light
Aiming to leave a deep impression on the public, in 2012 the foundation started promoting its “Let’s Sense Light ‡ City Project” in locales such as Tainan, Pingtung and Chiayi. These local projects highlight important locations in these cities in moving ways.
The idea for the campaign came from Chiang Hsun after a trip he took to Shanghai to deliver a lecture. From the airport, his car gradually approached the city, and the LED billboards on either side of the elevated highway were overbearingly bright. Chiang was overcome with an uneasy feeling: “Technology ought to be about improving people’s lives. How has it turned into light pollution?”
Chiang reflected about the impact of technology on the environment and came up with the Let’s Sense Light − City Project. The first site selected was the Fengshen (Wind God) Temple in Tainan.
With so many temples throughout Taiwan, why pick this one? Yao explains that the Fengshen Temple has had an unusual history compared to other Qing-Dynasty temples in Taiwan.
Consequently, the foundation invited Chou Lien, an internationally famous lighting designer who was formerly president of the American lighting firm BPI, to take the helm of the project. Two years later, in September of 2013, the new lighting was ready.
After the reconfiguration, the jarring street lights had been removed, and new lights had been positioned low on walls. The temple’s stone bell tower was also lit up to highlight its open structure, and the red lanterns at the entrance were exchanged for hanging square lights. At night, the temple is now bathed in a warm yellow glow, and the tranquil aura of the old temple imparts a sense of its deity’s blessings.
As far as the foundation’s executive team is concerned, the completely new visual design for the temple was just a first step: The ultimate goal is to use directed lighting to get people to reexamine the traditional culture near them that they have gradually forgotten about. Once properly highlighted again, that historical legacy is certain to inspire great pride.
After renovations, the temple’s new look attracted the public’s notice and helped to bring back some of the place’s splendor, with a market coming to the front courtyard. The young daughters of the temple’s caretaker, who used to be only concerned with Japanese and Korean pop stars, now have begun to bring their classmates to their own family shrine. They are gaining an understanding about the glory and treasures of extended families, with three generations living under one roof.
And that is precisely CCAF’s objective. “Eventually,” says Yao, “even if it’s just a start, you want people to notice and treasure what is being forgotten around them, so that locales can regain some of their original vitality.”
The Fengshen Temple renovation was the first of the foundation’s city lighting projects, and many counties and municipalities took notice. That in turn gave the team increased confidence.
Nevertheless, Fanny Hsu reveals that at the beginning of the temple project, CCAF, which had only recently been established and was inexperienced with marketing, intended to name the project the “Light Environment Demonstration Project.” That proposal immediately got shot down by foundation board member Lin Hwai-min: “People who weren’t in the know would have thought it was the name of some sort of government project,” says Hsu. Eventually, Lin came up with the new name for these projects after being inspired by the Japanese architect Tadao Ando’s “Church of the Light.”
After renovations, the Fengshen Temple's new look attracted the public's notice and helped to bring back some of the place's splendor.