CCGL9076 Material Matters
Fall 2025/26
ASSIGNMENT 1: MATERIAL DIARIES
I. Objective
We are surrounded by constructed landscapes. Our urban environment is composed of a complex web of materials, many of which do not originate from the places we inhabit. Although we may have a general understanding of how urban landscapes are constructed, most of us are unaware of the intricate processes behind the sourcing and production of these materials.
In this assignment, each student investigates the narrative of a distinct material, meticulously tracing its path from extraction to application. Students will explore various aspects such as material sustainability, origins, ecological impact, local utilization, performance, and properties, in order to develop a comprehensive understanding of the materials' significance in shaping our environment. Ultimately, this assignment aims to cultivate a better understanding for the materials that comprise our surroundings and encourage thoughtful reflection on their implications for our world.
II. Methodology
Sourcing
This assignment uses an ‘objet trouvé’ 1 to analyze and interpret a material’s history. Before the tutorial for Assignment I (September 18 or 19), students are required to source three different polymer samples found in one local environment including (1) beaches, (2) streams/rivers, (3) rocky shores, or (4) mangrove forests. To respect these habitats, the material samples should be retrieved from the local landscape without causing any damage to the site. It is not permitted to purchase these materials. Each sample should measure at least 5cm but not exceed 20cm. Students should aim to collect polymers that vary in composition, type, size, and level of decay or decomposition.
Examples may include fragments of single-use plastic containers, utensils, styrofoam boxes, fish netting, or toy/furniture debris. The collected samples should vary in color.
Before collecting the fragment, students must carefully document the sample and its location by taking a clear, bird’s eye view photograph. Ensure the photo is steady, well-lit, and free of shadows, people, or other obstructions. Additionally, record the georeferenced coordinates of the sample using your camera’s location features (most smartphones are equipped with this) or GPS device.
Following the sourcing, students will conduct desktop research to understand each material’s properties, typical extraction or production processes, and their environmental impact. It is essential to this exercise to interpret the material by understanding the researched properties along with students’ own observations, documentations, and findings from the sourcing site.
Writing
A 300-word essay focusing on the material fragment will unfold the chronicle of the material's story. This piece of writing should not merely consist of a conventional research report; rather, it should present a distinct narrative exploring themes such as place, identity, behavior, or the incongruity of the material. The material fragment may serve as either the main character or the narrator within the story.
The essay could delve into the journey of the material, elucidating how it came to occupy its position, the ways in which it was manipulated, or even the circumstances that led to its displacement. Students should incorporate their personal interpretations of the material, supported by thorough research and relevant data.
Drawing
When explaining spatial concepts, words and descriptions alone are often insufficient. Incorporating additional visualizations can effectively communicate complex ideas and make information easily understandable at a glance.
A drawing will merge spatial and non-spatial information to create a cohesive material story.
Students can utilize various forms of visual representation, such as sketches, maps, graphs, diagrams, technical drawings, illustrations, cartoons, and storyboards. The drawing must include references to the site of material extraction and at least one non-spatial concept superimposed on a spatial reference.
Drawings can be either digital or analog, but they must combine at least two media types. For example, students might overlay a hand-drawn sketch with a digitally-produced diagram or digitally manipulate a photograph and add drawn elements on top. The drawing will be primarily black and white, though accent colors may be used after consulting with teachers or tutors.
To ensure clarity, students should consider using annotations, legends, or other explanatory methods as needed. While students are free to use any digital or manual tools they are comfortable with, essential techniques will be introduced during a drawing tutorial (refer to the Schedule of Teaching and Learning Activities).
III. Deliverables
- upload of three georeferenced photos
- A4 Portrait Document with materials specification and essay (to be handed in as word and pdf document) based on course template
- A3 Portrait drawing of material cycle to be submitted as pdf, jpg or png (min. 300dpi)