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Site specic IndiaDust Breedin

David AYOU


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The wait, becoming aware of what makes the wait

a neutral act, rolled up in oneself squeezed in circles

from the most central to the most extreme, coincide,

absent mindedness waiting and returning until the

unexpected.

MAURICE BLANCHOT,

LAttente, loubli.


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perceiving .

.

.


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gathering behind oneself ..

. ..


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conquering this point .


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Changing countries, changing places, changing contexts,

changing time.I observe

Changing the story line, changing languages, intersecting

languages and entangling brushes.

I sweep(away).

I chose to be transversal. To welcome what comes from bot -

tom to the top, from left to right. My hand guides me in these

choices.

Not to act. The dust settles, confusing the spaces, hiding the

limits, covering, and in a gesture, rises, suspends.

Not to act. My hand guides me. The broom dances and I visit

the arid grounds. Draw and pick up everything lying about.

The slow obsession turns and each day its place. Turns. Its

dust and its leaves turn round in the centre of the columns,

the ceilings and the walls. Dust is raised.

All around, I operate, I align and centre, bring together and

match

To passers. Questions are asked but the dust makes them

ee. Origin. Language. Why and How. The encounters, the

effort, the sun which hits. The smile which burns

I accumulate.


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We are a world of concrete contents

with a boundless periphery, we have inside

us a countless multitude of relationships

and connections , which is always inside

us even if it does not enter our feelings or

representations.

HEGEL


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At the top of the stairs which leads to the library, a win-dow. It opens up to the ceiling , a rectangular central

surface in rhythm from the left to the right by drain pipes

forming two lines.

The overlooking tree has formed at its base a thick

carpet of leaves and branches , yellowish-brownish.

The space is littered with cardboard boxes and plastic

objects. To access, you must jump on the window sill

and down a staircase of black metal which is not set.

From the top, I overhang the school entrance, I observe

the movement of students and cars. One must raise

the head to see me. I am both visible and exposed, hid -

den and protected. Under my feet, the carpet of leaves

crack. I sink little in there.

From the centre of the rectangle, my foot open a circu-

lar space. The ground is grey. All around gathered ele-ments in a spiral. The ground is little moist. Each day, I

return to ensure its cleanliness.


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I reach to the roof of the building through a me-tal ladder. Seven meters of rust to climb. Dan-gerous path. At the top, the roof is composed

by a series of terraces. Small walls protect me

from the fall. I have vertigo.


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On the ground, gravel and bitumen. By

rising the eyes, we see the river, tree-tops and the monkeys coming. A family

lives here. I am not welcome, I escape

slowly.


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Down, the parking. Nothing denes the locations, nomarks on the ground, no indication. However the vehi -

cles settle according to a perfectly denite order, asso-ciated with architecture. Between the places, trees.

. They mask the sight of the avenue. On the right, the

administration is installed on two oors, in a rectangular

building of red brick, opened in the centre by a gate.

Shankti Upadyay had made draw up a structure. Monu-mental, it was covered with mirrors. This rectangular

block culminated with ve meters between the trees. Im -perfections related to its construction was decreasing the

feeling of unit in the structure and affecting its relevance

as for its orientation in space. The joints of the mirrors,

badly xed, left too visible openings in which the glance

came to be lost. To question this intervention, at this

exact site, I traced a labyrinth of only one feature, drai -ning the ground with my foot, outside towards the interior.


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The entrance of the Print-making Department is dark.

A series of windows, clogged by dirt, is lighting a space

whose ceiling culminates with about ten meters. A stair-

case, on the left, makes it possible to reach on the three

levels a corridor, which leads to the library. The last win -dow at the top of steps gives on the platform of outside, it

carries the rst mark of an intervention. Inside, the white

of the walls is marked by moisture, scaled a little eve -

rywhere.

To obtain a clean framework, it was necessary to scrape

old painting around the window for a margin of thirty of

centimetres to paint in white. With the friction, white dust

was deposited on the ground.


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A staircase of bamboo, xed with a string,

leads to the oor. The parquet oor is

perforated at many places. Sawdust

covers the ground. The cover was depo-

sited to allow work. Later, dimensions of

the place exceeded me: not being able

to contain it in only one circle, I decided

to build another one.


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Meanwhile, the workmen arrived. We share few words before I end to leave them with their work, circles under the eyes.


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Only these workers has attended and beneted from the work.


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Visible from the roof and, at the ground oor, from two

windows, a concrete agstone forms a rectangular sur-face of one-meter thickness starting from the ground.

Its access is occulted. It is necessary to circumvent the

building by a path that does not exist, while skirting the

river. From that point, also, it is visible. This yellow dust

brought back by the winds and monsoon covers the

ground, on the agstone. Its color is different from the

ground which one nds everywhere.

Ten years ago, the students were coming here to wash

their lithographic stones. Many of them are pilled up

here for no apparent reason.

The mill is now dry.


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Ground oor.


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The input of the building is prolonged by this

rectangular concrete extension. Behind the

Banian, the octagonal building is in ruin. A

homeless family settled there to take part in

the rebuilding of a brick wall. Here, workmen

have taken the habit to shelter from the sun. A

thick dust of dead leaves, plastic goblets and

paperboards compose the ground that the

frequent wind and passages renew regularly.


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. settling


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sweeping the place

. .

.


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Isolated, visible, crossed.


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which at a stretch of wind, disappeared

At about ten minutes in rickshaw, a com-plex of workshops of artists is installed in

the middle of the garden. From the barrier,

which gives on the road, it is necessary to

traverse two hundred meters of a broad

dirt track before reaching an input.. A worn

concrete ground nishes the path. One har-dly notices it under dust. On the right of one

of the workshops, the gardeners regularly

light a re, by preoccupations with mainte-

nance. In spite of their presence, the sheets

on the ground are still numerous in the

middle of stones and of the ground.

Here, the trees are an essential shelter

against heat. It obliges to preserve useless

effort. In the long term, to collect stones on

the ground becomes sufciently exhausting

not to want to move them too far.

After a re, ashes always rest in heap in

waiting to be dispersed. To make on a stony

ground raises of a sufciently stupid chal-

lenge so that it appears absurd. Especially

when its objective is that of a circle of which

the proportions increase with each inter-

vention. To spread out with the brush adds

some inevitably. The roof is reached when

dimensions escape the body and that it is

necessary to use of esthetics to rebalance

the unit.


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Dogs are naturally attract by the center of the circle. This one died due to a car accident, after sleeping and pausing for a drawing.


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A garden of plants and animals. Faculty is inhabited

of monkeys, birds, insects and lizards. Each being

lives here near human in a relation of respect and

authority of territory. The gardeners are there to

sweep, sprinkle, scrape, collect, cut or burn, in an

order of actions not imposed ; to maintain the dignity

of the plants and the trees in life.


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While entering faculty, a vast ground space is fra-med by a wall, which isolates from the boulevard.

The building Departments Sculpture and Painting

skirts its left part. It rises, in balconies, on two oors.

Five years earlier a concrete circle had been made to

accommodate performances of music and dances.

This circle disappeared today.


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The presence of the gardeners is not enough

to maintain Faculty in state. A considerable

quantity of sheets still papers many places.

Sufcient so that very joined together, they

cover the surface of the old concrete circle in

a diameter of fteen meter. Burned since its

center, re is spread on the sides at constant

speed. It ends naturally.


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Between the two buildings, a space opens on the

river and its jungle. It ends in a slope. In top a ruin

is held: a red brick well around whose the plants

cling and waste piles up and burns. The blazing

sun reveals the smells. To release, air and open

the point of view. For a simple breathing. To depo-

sit and x in balance, at the node of the ruin, a

stem of metal bandaged in circle, so that space

proposes nally with contemplation.


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covering

.

.

.


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bringing back

. .. . .

. ..


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building ::


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Behind the canteen, the low wall, carved in low

reliefs, skirts the river to mark the limits of the

faculty of Article Opposite is drawn up, white and

nine, the building of the Faculty of Law. In the

center of the low wall, an end of what was for-merly toilets survived. Neutral, salts, and marked:

lives the revolution, it is almost invisible here.


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The moments which followed the installation of the

at tints revealed a new presence. Architecture

awoke and revealed the green landscape, which

took shape at the bottom. The possibility of a dia -logue between the ruin and the low-relief opened

then which frames it like a set of interventions. Its

attraction force escaped to me completely: the

students only found themselves there or with seve-

ral to share meals, to nd insulation or to open with

another thing.


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The drawing acts like the witness of the intervention.


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Like continuity of a transitory experiment, a bronze bell in the shape of dome, perfect Indian architectural object, could come to protect the circles from the rain. Object of visual and sound resonance.


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to maintain maintaining


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preserving, gathering, condensing.


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openning


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