Journal of Teaching and Education,

CD-ROM. ISSN: 2165-6266 :: 1(2):7180 (2012)

9 SQUARES AS A BASIC DESIGN EXERCISE A CRITIQUE

Vijayalaxmi J.

Anna University, India

This paper expores the possibility of enhancing the vocabulary and an understanding of the language of
architecture to freshman architecture students through the 9 squares design project. The 9 Squares
design project is a famous model-making based pedagogical tool conceived by Architect John Hejduk
in 1954 as part of the Basic Design exercise in the introduction of architecture to new students. He
devised this tool while teaching architecture to undergraduate students at the University of Texas. One
of the objectives of the 9 squares exercise is to enable students to discover and understand the elements
and principles of architecture. Architectural education, per say, is goverened by enabling thought
process which go beneath the surface meaning of what is asked and question the brief. This critical
thinking is linked to the idea of rationality in itself, and helps developing rationality. The 9 squares
project starts with an idea of the conceptual form/art. This idea, by itself, needs no justification. The
transformation of this idea, to translate as floor plans/walls and roof with increasing complexity, to
subsequent squares needs no justification. To this extent the 9 squares becomes a project based on
intuition rather than a rational approach backed by theoretical inputs. This paper discusses this
dichotomy of the 9 Squares project, while also reviewing model-making as a pedagogical tool on what
the project exercise is and how it is done. Perceptions of its success, advantages and limitations are also
discussed.

Keywords: Architectural pedagogy, 9-Squares project, Basic design, Model making.

Introduction

Model-making is a problem-based, and possibly an experiential, learning activity which is traditionally

being introduced by schools of architecture around the world for the teaching of architectural design and
construction technology. Model-making is a physical activity enabling students to explore new materials
and new construction techniques, and is a means of facilitating students to oscillate between the abstract
and the concrete (Kirsten, 2012). An important experience in model making is the physical reality of an
idea or concept being translated to reality of a scaled model from representative materials. For a freshman
architect, the challenge is more in exploring his model making skills as well as testing his creativity to
arrive at complex and abstract forms of seductive surfaces that is rather difficult to perceive and express
on paper alone. The 9 squares project is one such way of exploring the model-making skill as well as
creative spark of the students.

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72 J. Vijayalaxmi

About 9 Squares Project

John Hejduk conceived the 9 Squares Project in 1954 while working with a group of interior design
students. The 9-square grid problem became the ideal vehicle to explore the theory of spatial relations
brought out by Colin Rowe and Robert Slutzky (Rowe). Hejduk studied that the 9 Square Problem can be
used as a pedagogical tool in the introduction of architecture to new students (Hejduk,1985). The 9
Squares Design is a project in which the student designs and constructs a total of nine architectonic
compositions of spaces, each illustrating combinations of floors, walls, and roofs defined in a matrix
provided by the faculty. The horizontal edge of the matrix consists of three "continua" of simple to
complex solutions. The vertical edge establishes the combinations of the basic architectural elements of
floor, walls, and roof to be investigated. The use of the matrix and continua ensures that the models-the
externalization and representation of ideas-become sources of understanding and discovery. Design
decisions are seen not as right or wrong but appropriate or inappropriate given the context and goals. The
project is given an explicit research or investigation orientation. It requires the student to consciously
identify a set of factors to be investigated, and to explicitly communicate them to others. This process
builds both vocabulary and the ability to translate ideas into words and diagrams. It also aids in building
an understanding of the difference between a concept and a specific manifestation of that concept. The
project's meaningfulness grows in direct proportion to the extent to which students indulge in some
discovery.
The solution to each continuum is to exhibit three clearly different and evenly spaced levels
of complexity, with a smooth gradation across the continuum. Each composition within a continuum
must contain a minimum of three visually accessible, inhabitable spaces, as well as scale human
figures.
Working within the problem the student begins to discover and understand the elements of
architecture. Grid, frame, post, beam, panel, center, periphery, field, edge, line, plane, volume, extension,
compression, tension, shear, etc.- an understanding of the elements is revealed, an idea of fabrication
emerges (Hejduk, 1985).
Solutions to the exercise are presented in models constructed of white or colorless opaque,
translucent, or transparent materials. The models must be accompanied by a two-dimensional presentation
that communicates in words and diagrams the complexity hypothesis; the specific concepts employed in
its exploration; and observations on the successes, failures, and discoveries of the investigation. This
component of the presentation is an essential part of the research orientation of the project. Its role is to
make explicit the hypothesis or positions that the investigation is exploring, identify the specific concepts
being manipulated and reflect on the exploration's discoveries. The process of applying the various
elements of architecture using certain principles of architecture facilitates conscious decision making and
meaningful learning.

Preliminary Ground Rules of the Project Structure

The intent of the project is to provide students with a formal format for exploring basic issues of
architectural design related to simplicity and complexity, proportion and scale, and making sets of
relationships between parts and the whole.
The process involves the student to design and construct a three-dimensional composition of spaces
for each combination of floors, walls, and roofs at each level of complexity identified in the investigation
matrix-a total of nine compositions. Each simple-to-complex continuum (1/2/3, 4/5/6, and 7/8/9) is to
exhibit three clearly different and evenly spaced levels of complexity; they should present a smooth
gradation from simple to complex. The combination matrix (1/4/7, 2/5/8 and 3/6/9) exhibit a combination
of building elements (floor, floor+wall, floor+wall+roof), in varying degrees of complexity). The models
must be accompanied by a two-dimensional presentation that communicates in words the complexity
 9 Squares as a Basic Design Exercise A Critique 73

hypothesis; the specific concepts employed in its exploration; and observations on the successes, failures,
and discoveries of the investigation.

Figure 1. Matrix of the 9 Square Design.

Reflections on the Outcomes

Students were encouraged to reflect on the project through ongoing discussion and a one page write up on
the concept and the idea for transformation of the concept. Outcomes of the project were evaluated by a
variety of methods. Some evaluation was embedded in the experiential learning itself, such as students
maintaining a personal sheet of their thought process and experiences. Another method was a formal
assessment procedure. Other evaluation took place at the end of the exercise. And the students had to
defend their work in a viva-voce examination.
The outcome of the project was varied and the process of interpretation of ideas and translate
it to the 9th square was exciting. Some of the students work is given herewith from figure 2 to
figure 9.

Figure 2. Concept of Rings breaking down to Spirals.

74 J. Vijayalaxmi

Figure 3. Architectural interpretation of the concept of rings- Caf.

Figure 4. Concept of the formation of ice flake.

 9 Squares as a Basic Design Exercise A Critique 75

Figure 5. Architectural interpretation of the evolution of snowflake- Fine dining restaurant.

Figure 6. Concept of Ying-Yang.

76 J. Vijayalaxmi

Figure 7. Architectural interpretation of the Ying-Yang Multipurpose Gallery.

Figure 8. Concept of Interlocking Shapes.

 9 Squares as a Basic Design Exercise A Critique 77

Figure 9. Architectural interpretation of the Interlocking Shapes Boutique.

Architectural Projects Inspired by 9 Squares Project

Karen Bausman first came to New York City in 1976 to study architecture at The Cooper Union where
she was taught architecture by Hejduk and exposed to the 9 square project. Karen feels its not always
easy to break free of that training. It was one of the challenges in the backof her mind while conceiving
the Gallery of Contemporary Art, New York. She then translated the square and turned it into a triangle.
This dynamic project provides a new choreography for viewing contemporary art. The three-sided plan is
composed of nine viewing pavilions to accommodate different aspects of the clients private collection. A
skylight system provides diffuse and direct natural light throughout the complex

Figure 10. Model of the Gallery of Contemporary Art, New York (Project).
78 J. Vijayalaxmi

John Hejduks the exquisitely drafted Texas House and Diamond House series of the 1950s and
1960s; the Wall Houses and masques of the 1970s and 1980s are all based on the 9 Squares project. In
fact all the plans are derived from this excercise.

Figure 11. Texas House 1, Texas House 2, Texas House 3, Texas House 4.

The issues in House 1 and House 2 concerned the placing of an asymmetrical program in a
symmetrical form-structure. House 3 was a comprehensive exploration of the structural system, such as
masonry bearing walls with peripheral columns; architectural details, such as metal-capped, glass-slotted
wall ends; and spatial arrangements, such as the central court and the diagonal relationship of the
program. House 4 was an attempt to explore the reductive element expression of the internal organism
upon the peripheral glass facades.

Advantages and Limitations of the 9 Squares Project

One huge positive aspect of the 9 Squares Project is that it provides an opportunity for design inquiry,
where options created are questioned by the designer and with sufficient scope for modification until the
self finds the solution appropriate. It allows the student the freedom to experiment with a pre-existing
nin-square cage within which architectural elements could be added and arranged, without the conscious
thought of the elements being architectural.
The transformation of a simple idea into a spatially complex schema leading to an architectural
design is the objective of the exercise. The designer is able to deliver a solution got from a thought
process of questioning and introspection. Peter Eisenman has tried to follow the 9 squares for his projects
.the results seems that geometry is not an abstract spatial system. It is already imbedded within an
architectural tradition and Eisenman uses the systematic spatial transformations to break down pre-esta-
blished notions of spatial organisation in architecture (Claus 2011).
 9 Squares as a Basic Design Exercise A Critique 79

As a contributor to the design process of modern architecture, the 9 squares exercise encouraged and
reflected the general return to autonomy in the discipline of architecture in the late 1960s and 1970s
manifested in the work of Aldo Rossi and the Tendenza movement in Italy and in the New York Five
(including Michael Graves, John Hejduk and Peter Eisenman) in the United States.
According to John Hejduk, the Architect and Professor, who introduced the excercise to freshman
students in its contemporary interpretation, the nine square is metaphysical. It is one of the classic, open-
ended, problems given in the last thirty years. The nine square has nothing to do with style. It is detached,
unending in its voidness, which is why it is basically metaphysical (John Hejduk, 1985).
The nine squares is also appreciated for its elegance and the ingenuity of this problem lay in the way
it consolidated a series of discourses and demands. Thus, while the technical preconditions that would
allow modern architecture to refound itself exclusively on the twin bases of structure and space had
existed for almost a hundred years, the aesthetic, philosophical, and intellectual sources that is, the
unique combination of cubism, liberalism, gestalt psychology, and the new criticism, with a renewed
understanding of mannerist organizing geometries can be seen applied in this project (Robert, 2007).
While the influence of these exercises can bec onsidered positive for having energized and inspired
avant-garde practice, the specific attributes of the exercises can also be criticized for what they left out
(Timothy 2004).
The 9 squares is criticized for being self-referential, somewhat valueless compositions providing
open armatures ready to receive successive layers of design complexity and technical information as
students' educations progress. It dwelt in an abstract world disconnected from notions of place, within
their method the specifics of program and site and to some extent even materials (Ted Shelton 2012).
One strong critique of the design process is that an abstract idea is being translated into a concrete
design. In doing so, it may loose its abstractness especially, if it were a metaphysical idea. Also, the
project deemphasized the role of a program in its brief.

Discussions

So long as the 9 squares is a basic design project, it is a useful tool for understanding the various elements
and principles of architecture, but it may be difficult to take it to a level of architectural design, because,
the entire exercise lacks a context. In this project, the only context is the size of the nine squares,
which in real life is not sufficient enough to address important socio-cultural issues or environmental
issues. The specific atrtributes of the exercise can also be criticized for what it left out, mainly due to lack
of context.
Other issues, such as the relation between function/program and form, the relation between
iconography/symbol and form, and the relation between construction technique and form are eliminated
(Timothy 2003). Site specific design issues, use of appropriate building materials, respect for climate etc.
are some important issues, which are not addressed at all. Instead of starting with a program or verbally
articulated set of intentions (a brief) from which a design was then to be developed, the kit-of-parts
problem made composition and the elaboration of a compositional schema the motive for design
(Timothy 2004). Therefore, its success can be rated as a pedagogical tool that is different from the
problem-solving methodology developed by Gropius at Harvard- a pedagogical tool with an implication
that architecture was a language to learn and not just a problem solving process.

References

1. Claus Peder Pedersen, 2011, Cubes and concepts: notes on possible relations between minimal art and
architecture, Townplanning and architecture online 2011, 35(1):6266.
2. John Hejduk, 1985, Mask of Medusa- Woks 1947-1983, N.Y.: Rizzoli International Press.
80 J. Vijayalaxmi

3. Kirsten Orr (online as on 4th July 2012) Experiential Learning In Architectural Education: Model-Making In
The Digital Age. http://services.eng.uts.edu.au/userpages/brucem/public_html/icel2/1/icel/Papers/45Paper.pdf
as read on 5th July 2012.
4. Robert E. Somol, Dummy Text, or The Diagrammatic Basis of Contemporary Architecture, Architecture and
Urbanism Research Journal, RISCO, 2007, no.5, p.179191 http://www.revistasusp.sibi.usp.br/pdf/risco/
n5/en_17.pdf
5. Ted Shelton, 2012, You Are Here: Green Design Principles in Foundational Architectural Curricula,
http://smartech.gatech.edu/jspui/bitstream/1853/29109/2/26-247-1-PB.pdf as read on 4th July 2012.
6. Timothy Love, 2003, Unstaked Territory: Frontiers of Begenning Design, Proceedings of the 19th National
Conference on the Beginning Design Students, Oklahama State University, Stillwater, Oklahama, April 35
2003, pp.
7. Timothy Love 2004, Kit-of-Parts Conceptualism-Abstracting Architecture in the American Academy, Harvard
Design Magazine, Fall 2003/Winter 2004, Number 19 pp. 15.