聚光燈下 : 【都市求生變形記—寄生之廟】

In the Spotlight : Parasitic Temples: A record of a city adapting to survive

建築師賴伯威長年在國外工作，離開台灣後，才讓他注意到台灣的不一樣。

他觀察到古羅馬的都市裡面到處都是浴場，代表浴場是古羅馬人慾望的體現。在台灣，則是五步一小廟，十步一大廟，你生活周邊到處都看得到廟，大到建築跟建築之間的夾縫，或是高架橋、快速道的夾縫裡面，都有辦法塞得進一間廟，它們「無所不在、無神不拜、無孔不入、無奇不有」的方式，寄生於都市之中。廟，是台灣人慾望的體現。

那些寄生於都市之中的廟，到底有多少種？賴伯威和他的團隊Willipodia以七年紀錄了108種寄生之廟，從建築視角探查廟跟都市、自然結合的關係，並為廟作3D圖學紀錄及分類表。賴伯威對此有特別觀察，他認為，現象的本質並不重要，重要的是現象本身，就像《清明上河圖》的紀錄，使我們看見宋代汴梁的都市樣貌，《寄生之廟》記錄的意義，則會是台灣當代都市的生活樣貌。

Architect Po Wei LAI has worked overseas for many years. It took leaving Taiwan for him to realize what makes Taiwan so unique.

LAI observed how the baths scattered throughout ancient Rome reflected the desires of the ancient Romans. Upon returning to Taiwan, the architect noted the small temples on every corner and the even bigger temples just a few paces ahead. These temples surround us in our everyday lives. We are able to squeeze temples into the cracks and crevices between urban architecture, under freeway overpasses, or even between major expressways. These temples use ubiquitous, polytheistic, pervasive, and wondrous adaptation techniques to form parasitic relationships with the urban environment. They also embody the desires of the Taiwanese.

Just how many of these parasitic temples are there? Po Wei LAI and his team, Willipodia, spent seven years recording 108 types of parasitic temples. The team explored the relationship between the temple, the city, and the natural environment from an architectural perspective while simultaneously creating a 3D graphic record and analytic charts. LAI Po Wei especially notes that, “The nature of this phenomenon isn’t really important. What’s important is the phenomenon itself.” Much like how Up the River During Qingming is a record that gives us a sense of the urban environment in the Song capital of Bianliang, Parasitic Temples is significant in that the book records the lifestyles of the Taiwanese in the contemporary urban environments of Taiwan.

創作這件事：【陳伯義的地景凝視】

The Creative Path: Landscapes in the Eyes of CHEN Po-I

攝影家陳伯義長期以地景形式，關注台灣遷村議題及地景變遷，繼《紅毛港遷村實錄》、《消失的海口沙漠》、《南鐵地下化》系列之後，從小在廟口長大的他，將地景攝影計畫轉向廟埕。

2019年起，他在五個縣市採集廟埕上的日常景象、信仰活動，並以廟埕廣場空間為固定構圖，將上千張拍攝的定格畫面，重新疊合在同一個廟埕廣場上，影像中大廟埕變成了大舞台，參與其中的人成為演員，宛如流動的劇場，有清晰、有虛幻、有場景、有人物彼此交錯，在虛實之間建構了台灣的集體記憶。

陳伯義所創作的《大廟埕》系列多是具悠久歷史的文化大廟，它們的存在也象徵著當地的重要地景。廟宇數年位置不變，變的多是周遭房屋景觀，因此陳伯義也拍下廟周遭的房屋，廟埕內記錄著人，廟埕外印記著聚落樣貌。

陳伯義拍攝廟近三十年，《神變》拍的是乩童的故事，《萬神殿》拍廟的地景，《神隱》拍無人的廟會，《ＮＧ廟會》拍廟會文化拼貼。陳伯義真的很愛廟，他說廟是他的根，而大廟埕是台灣聚落的寶庫。

CHEN Po-I is a photographer who uses landscapes to monitor the issues of village relocation and changing topography in Taiwan. Following a series of projects including, An Actual Record of the Relocation of Hongmaogang, The Disappearance of Haikou Dunes, and Moving Tainan Railways Underground, CHEN returned to the temples of his childhood to shift the focus of his landscape photography towards temple courtyards.

Since 2019, he has used the daily activity and religious observances in temples across five counties, as well as the square within temple courtyards, to define the composition of his work. He superimposes thousands of fixed frames into a single shot of the temple square that transforms the temple courtyard into a stage where the parishioners are merely players. The hustling and bustling temple courtyard provide clarity, fantasy, and places where interaction between these individuals constructs a collective memory of Taiwan at the intersection of fantasy and reality.

The Temple Courtyard series created by CHEN Po-I is infused with the illustrious cultural history of Taiwanese temples, which represent an important fixture in contemporary landscapes. The temple maintains a constant position for decades despite the changing face of surrounding real estate. This inspired CHEN to photograph real estate around the temple while capturing the people inside the temple square to record the state of settlements outside the temple courtyards.

CHEN Po-I has been photographing temples for almost thirty years. Notable works include: The Exorcist where he captures the story of Jitong spiritual mediums, Pantheon exploring temple landscapes, Spirit Away showing temple fairs only for immortals, and NG Temple Fair a collage of different temple courtyards. CHEN Po-I is a true temple enthusiast who describes the temples as his roots. He also considers large temple courtyards to be the treasure trove of Taiwanese settlements.