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Year 1 | Atlas for the Future

Atlas for the Future

Project details

Programme

Year 1

This year, BSc Year 1 Architecture students embarked on their academic journey by engaging with the Petrie Museum of Egyptian Archaeology at UCL, home to an extensive collection of 80,000 Egyptian and Sudanese artefacts.

This initial project served as a reflective exploration of deeper historical periods, aiming to inform our understanding of contemporary and future challenges, such as material scarcity amid climate volatility. Students were prompted to consider how architectural craftsmanship could integrate preservation, reuse and adaptation while also innovating and creating new materials to craft spaces and reshape our environment. Each participant crafted their own ‘Atlas of the Future’, comprising drawings, models and catalogues.

Model photographs by Sophie Percival.

Students

Ines Angelica Camba-Young Year 1
Maryam Ahmed Mohammed Aqil Alqassim Year 1
Yingtong Zhou Year 1
Judith Katherine Brown Year 1
Antonia Maria Szlosarek Year 1
Connor Chiew Weng Sheng Year 1 Year 1 Environmental Agency Prize Bartlett School of Architecture Medal, BSc
Caleb (Caleb Shiota) Sertsay Year 1
Matthew Chan Year 1
Joseph Claude (Joe) Burt Year 1
Anika Deb Year 1 Year 1 Social Systems Prize
Hiroha Aoki Year 1
Hanxiang (Christopher) Tao Year 1 Year 1 Technology Futures Prize
Kimie Nakano Year 1
Zikun (Jason) Wang Year 1
Ayla Deana Maydanchi Year 1
Dominic Fitzgerald Coles Saffirio Year 1 Year 1 Speculative Craft Prize
Kin Gi (Kenny) Lau Year 1 Year 1 Materials and Making Prize
Yuejia (Cassandra) Yan Year 1
Conrad Fox Robinson Year 1
Tim Deleu Year 1
Youyou (Fi) Shaxu Year 1
Siyi Chen Year 1
Tsun Hei (Ernest) Cheung Year 1
Patience Omolola Adediran Year 1
Olga Grogolova Year 1

Ines Camba-Young, 'Mapping Fragmentation'

An exploration of the disconnect and Hieratic text: elevation, plan and sections of jars inscribed with Hieratic text from the Second Intermediate Period.

Maryam Alqassim
Located in the Petrie Museum, an eighteenth-century Cypriot flask proved a muse, provoking interest in the structural elements embodied within the object. After experimentation regarding its structural components, attempts to accentuate the features that distinguish it as an object, as well as ways in which I could reinterpret the object and represent it, I became interested in how one holds an object. This further enticed me to look at how the matter I was discussing and exploring was not the flask itself, rather the user’s experience interacting with the flask. This allowed me to further explore how the object could be held as well as still suit its original purpose of storing limited amounts of liquid.

Maryam Alqassim, 'Renewing Perspectives: Reinterpreting Values'

The drawing investigates an ancient Cypriot flask found in the Petrie Museum, exploring the user's interaction with it through the act of holding. The flask handle is re-evaluated, redesigned and recalibrated, while its function is preserved.

Yingtong Zhou, 'Limestone Labyrinth'

Navigating and exploring the exterior and interior fissures of a limestone bowl found in the Petrie Museum.

Judith Brown, 'Hidden Meanings'

A necklace composed of two parts that can be separated, representing a contemporary view of death and mourning by maintaining a symbolic form of connection to the dead.

Antonia Szlosarek, 'Journey of the Unconscious'

Connor Chiew Weng Sheng, 'Prosthetics for Pigeons'

Redesigning the pigeon's foot: To alleviate the suffering of city pigeons whose limbs were amputated due to hair tourniquets, a new foot design is being considered.

Caleb Sertsay, 'Aten’s Harp'

This graphic recording of wind patterns is based on geographical locations of Akenhaten’s Egypt, and the location of 'sun temples', recorded using an 'aerolian harp' designed using Ampersand Claybord.

Matthew Chan, 'A Torture Device for Modern Vessels'

Considering the aluminium can as the modern-day vessel, the disintegration process is personified as torture, complete in four steps: to constrict, to compress, to indent and to distort.

Joe Burt, 'Derived Activation'

The process of locking and unlocking a contraption.

Anika Deb, 'Gender Recognition'

The project re-surveys gender through a casting process. Surveying objects from the Akhenaten period, it investigated how body and form were represented. The image studies object UC.103 through the dual relation between Akhenaten and Nefertiti.

Hiroha Aoki, 'Human Corollary Pattern'

This project analysed the mechanism by which ancient Egyptian fabrics, constructed without joints and held by countless beads and threads, formed spontaneous and beautiful shapes.

Christopher Tao, 'Wait, Count, Convert'

Designing a Modern-Egyptian time converter that visualises mathematical calculations by the flow of water to help adjust the ancient Egyptian sunlight-hours-based time system.

Kimie Nakano, 'Dancing in the King's Boat by the Nile'

A musical instrument made of 20 plaster cast 'eggs' symbolising the story of 20 dancers in the King's boat on the Nile, which inspired the beaded dress held in the Petrie Museum Collection.

Jason Wang, 'Caster and the Vessel'

The cyclical machine and the paradoxical navigator: A fantastical and philosophical investigation of Egyptian psychology. An evolving platform suspended in the superposition state where configurations had dissipated, yet memories lingered as ghosts.

Ayla Maydanchi, 'Artefacts for Measurement'

Reinterpretation of a brass measuring vessel into a personal 1:1 scale object for measurement.

Dominic Coles Saffirio, 'Threads of Learning'

Explorations and reinterpretations of the patternation and weaving patterns of an ancient egyptian necklace.

Kenny Lau, 'Detritus: Engineering a Life-Hosting Surface'

The project investigates the patches of biological residue that adorn the Osiris Bed, a grain planter that commemorated the revival of agriculture post-flooding period through the casting of Beech mushrooms in a soil-plaster.

Yuejia Yan, 'Lahun Rat Trap/ The Hedgehog Travelling Castle'

Conrad Robinson, 'Veiling a Pilgrim Flask'

Exploring forms of transparency, inspired by the irregular transparencies of a pilgrim flask found in the museum.

Tim Deleu, 'Nastic Extrusions'

The drawing is an enquiry into a Meroitic period faience necklace, exploring the portrayal of the moving and twisting directionality and speed of a nastic movement towards the viewer through a static 'extruded graph'.

Fi Shaxu, 'The Perpetual Beacon'

If we recreate the scene in the tomb chamber with the Egyptian oil lamp burning, the dust in the chamber will be captured in the air. The way it flows, moves, spins and intertwines in the air resembles souls, flowing and accompanying.