Pressure thoroughfares

The global city is a hyper-intensive system whose life is supported by hidden infrastructural networks. Just as unseen communications pulse beneath the asphalt and within the walls of buildings, a brake line—a thin but durable «nerve» designed to withstand extreme hydraulic pressure for an emergency stop—lies beneath the chassis of every city vehicle.The «Pressure Mainline» project explores the hidden architecture of these everyday utilitarian mechanisms through the lens of their aesthetic liberation. In the presented series of works, technical material stages a «rebellion» against its original function: tubes are removed from the vehicle’s life-support system, deprived of their technical fluid, and brought to the forefront as independent spatial schematics.Freed from the need to transmit physical force, the copper lines close upon themselves, outlining the void. Technical fittings and fasteners transform into points of support for pure geometry. Within these abstract structures is captured the rhythm of the global metropolis itself: the colossal kinetic energy of movement and braking translated into frozen, paradoxical statics.

Selected thematic block: «Infrastructure and Communications» (also intersects with the «Organizational Processes and Subordination» block)

Within the exhibition space, the objects function as three-dimensional graphics—a balance between flat sketch and solid form. Copper lines disrupt the conventional functional plane, filling the exhibition space with an invisible tension.

The objects can be displayed individually, emphasizing the hermetic nature of each structure, or assembled into a unified installation group (intertwining with one another). This allows the viewer to physically sense the scale and density of the infrastructural connections permeating the contemporary urban environment.

The work presents a hermetic structure in which a copper line closes into a continuous loop. Within the context of global city infrastructure, «Closed Loop» becomes a metaphor for self-referential systems—communication networks that no longer transport utilitarian flows of information or matter, but exist as pure structural forms. It is a monument to the closed cycles and autonomous circuits of the metropolis, functioning solely to maintain their own balance.

The object reproduces a minimalistic support structure, reminiscent of a junction in a transportation or engineering interchange. The «intersection» symbolizes points of stabilization and vector distribution within the city. Brass connectors fix the directions of rigid copper rays, interrupting their potential growth with stoppers. The work explores themes of control, fixation, and the distribution of flows at critical junctures of urban routes.

The most complex and chaotic piece in the series is a dense, spatial intertwining of curved copper lines. «Vector» visualizes the redundancy, overload, and entanglement of modern information and transportation networks in the global city. The absence of rigid brass connector nodes allows the form to develop freely, mimicking the spontaneous growth of infrastructural «noise» that accompanies the development of any metropolis.