Chronology of the construction

1. Advertising is launched around October for its realization and in November for the various newspaper agendas where the events and the opening of the nativity scene will appear starting in early December.

2. I order the most beautiful Christmas tree for the choir of the Temple from Mr. Roland Rapin, the forest ranger of the Menthue group.

3. Before the strong frosts, I collect about 20 square meters of natural moss, being careful not to exhaust my favorite spots. Throughout the year, I also gather various plants that I dry and dye if necessary. I also create small plants suitable for the landscape using artificial plants.

4. It is only 15 days before the opening on December 6, St. Nicholas Day, that I take a break and the preparations begin:
   
   a) Bringing down all the nativity scene materials stored in the bell tower of the Temple.
   b) Removing the first three rows of benches facing the choir, filling the side aisles, and rearranging the back of the church for reception.
   c) Setting up the tree, adjusted to the height of the choir with its base around 7-8 meters high.
   d) Finding about ten old tables from the village's Great Hall.
   e) Decorating the tree using the old ladder from the Temple.
   f) Arranging the tables for the background landscape in a semicircle while integrating the tree (saving on volumes of cardboard and crates).
   g) Then, stacking tables, stools, empty cable reels, etc.
   h) Placing the dominant elements of the decor: windmill, Herod’s castle, Noah's Ark, Egypt, etc.
   i) Filling the empty volumes with cardboard, crates, and various materials for this first third of the background landscape, already imagining the relief when it is covered with paper.
   j) Applying the rock paper to this first third of the landscape: the rock paper I use is a type of kraft paper painted on one side to resemble rock, which I buy in rolls of 3 meters by 80 cm. I unroll it completely and gently crumple it along its length and width to make it into a crumpled ball. I lightly uncrumple it to staple it here and there onto the supports (cardboard, crates, etc.), keeping the pleats that interest me.
   k) As this first third is covered, I, of course, integrate the lighting, extension cords, etc., necessary for the decorative elements.
   l) Placing the moss, animals, and various plants (both natural and artificial), trying to bring the decor to life. Everything is only placed in a fragile balance.
   m) Setting the template for the river, the stable, and the elements (houses, churches, etc.) for the second third: adding tables, wooden crates, boxes, cardboard, etc. As I empty the storage boxes, I use them in the relief.
   n) Electricity, covering with rock paper, decor, just like for the first third.
   o) Setting up the last third in the same way.
   p) Finishing the border and barrier to hold back the public: placing spotlights on it and wiring under the line of bark that serves as a brake for children, as it cracks when walked on!
   q) Adjusting the various spotlights to find the optimum lighting while keeping the backlighting that adds charm and depth to the landscape.

It took me about 10 days for the nativity scene alone, averaging 15 hours per day.

Other Decorations

A nativity scene of this importance in a dreary setting immediately encouraged me to decorate the Temple. For several years, an Advent calendar was organized in the village through the decorated windows of residents. The missing dates and those for the concert, Christmas stories, and December 24 and 25 could be found on the Temple’s windows.

All the windows of the Temple are thus adorned for Christmas. The entry vestibule, the entrance, and the exterior all contribute to creating this unique atmosphere.

It took about three more intensive days for the entire decoration.

By December 6, I arrive a bit worn out, fatigued from this hyper-focus, for the daily opening from 5 PM to 7 PM. Numerous touch-ups have been necessary; I am never completely satisfied with the result, but this ten-day timeframe is essential to wrap things up at some point. During the stress of the setup, I still dedicate an afternoon or two to putting up posters all over the Vaud Plateau and Fribourg Broye.

Back home, I take the opportunity to send out emails in all directions (press, tourist offices, etc.) for publicity, and I compose some press articles.

I am almost always present during opening hours. During these hours, I answer questions about the why and how, ensure discipline, and conduct my internal self-critique every evening. I often find myself making adjustments where possible before visitors arrive.

It is in these moments, following the reflections of the visitors, that I realize I have a bit of a crazy streak to undertake such an endeavor.

Outside of public opening hours, I receive groups by appointment: EMS, schools, foundations, company committees, etc. The success is such in such a short time that the schedule is very tight, especially since a good free snack awaits them at the end of the visit, with everyone free to contribute something to the collection box.

Without stairs, the Temple is accessible to people with reduced mobility.

When I finish tidying up and thoroughly cleaning the Temple, I feel a bit nostalgic about all this activity, but at the same time, I am very relieved that it is over. The bout of craziness has passed, and I hope the two years between these events don’t go by too quickly. Indeed, I need to gather courage and manage the growing doubts about continuing or stopping this ephemeral creation.