This article was originally published on the blog of Copenhagenize Design Co, titled "Copenhagen's Fantastic & Stupid Bicycle Bridge Inderhavnsbro."

It's no secret that Copenhagen continues to invest massively in bicycle infrastructure like no other city on the planet. The network is already comprehensive and effective but the City continues to add important links, especially over the harbor and the canals. One of the more recent additions is the Inner Harbor Bridge—Inderhavnsbroen in Danish—that spans Copenhagen Harbor at a key, strategic and iconic point. It links the city center at the end of the postcard picture perfect Nyhavn with the Christianshavn neighborhood and the southern neighborhoods beyond. It is one of a series of 17 new bridges or underpasses for bicycle traffic that have been added to the City's transport network in the past few years.

The Inner Harbour Bridge was riddled with problems and was extremely delayed, as you can read here. Now, however, it's been open since July 2016. Let me be clear: I'm thrilled that we have a new, modern link over the harbor to accommodate bicycle traffic and pedestrians. I am over the moon that the number of cyclists crossing daily exceeds all projected numbers. The City estimated that between 3,000–7,000 cyclists would use the bridge but the latest numbers are 16,000. It's a massive success. But sometimes you can see the forest for the trees. I'm sorry, but Inderhavnsbro is a stupid, stupid bridge.

If you're reading this, you likely work in the design world, and as a result you may have heard of Scrum. It’s a design method originally introduced by Hirotaka Takeuchi and Ikujiro Nonaka in the 1980s to describe a process for product development, and later formalized for software development by Jeff Sutherland in 1995. It relies on the organization of a team and its tasks around the principles of focus and flexibility: focus on a singular task within a given time period, and flexibility in response to changing client demand, user feedback, and design challenges. Scrum keeps a project on schedule with the Sprint, where the entire team is working towards one important milestone within set dates, and continuously communicating potential impediments to hitting the deadline.

In our article in February, "11 Vernacular Building Techniques That Are Disappearing," we discussed vernacular techniques that, through the introduction of modern building and the waning prevalence of traditional lifestyles, were slowly becoming lost forms of knowledge. What we didn't discuss, though, was that few of the techniques were disappearing without some form of resistance. After the article was published we were contacted by Dutch architecture firm LEVS Architecten, who highlighted their efforts work in the Dogon region of Mali, where they work with local communities to continue--and improve--the vernacular Dogon tradition.

Despite the fact that LEVS Architecten has worked extensively within this tradition, they still consider themselves modern architects who are simply looking for responsible, alternative solutions, and have even found opportunities to utilize this knowledge for architecture projects back in the Netherlands. As Jurriaan van Stigt, partner at LEVS Architecten and chairman of Partners Pays-Dogon, explained in an interview with ArchDaily, vernacular architecture is “in the undercurrent of our thinking and approach to the tasks that lay behind every project.”

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This article was originally published by The Architect's Newspaper as "Are micro-apartments a revolutionary trend? Or are developers exploiting an out-of-control market?"

The situation was dire: People were flocking to cities for work, but scarce land and lack of new construction were driving up rent prices. Middle-income residents couldn’t afford the high-end housing stock, nor did they want to enter cramped—sometimes illegally so—apartments. Luckily, a new housing solution appeared: In exchange for small, single-occupancy units, residents could share amenities—like a restaurant-kitchen, dining area, lounge, and cleaning services—that were possible thanks to economies of scale. Sound familiar?

It should: It’s the basic premise behind Carmel Place, a micro-apartment development in Manhattan’s Kips Bay that recently started leasing. The development—whose 55 units range from 260 to 360 square feet—was the result of Mayor Bloomberg’s 2012 adAPT NYC Competition to find housing solutions for the city’s shortage of one- and two-person apartments. Back then, Carmel Place needed special legal exceptions to be built, but last March the city removed the 400-square-foot minimum on individual units. While density controls mean another all-micro-apartment building is unlikely, only building codes will provide a de facto minimum unit size (somewhere in the upper 200 square foot range). What does this deregulation mean for New York City’s always-turbulent housing market? Will New Yorkers get new, sorely needed housing options or a raw deal?

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As creators, we all go through stages of creativity. Some phases are more severe than others, but getting emotionally involved is, in most cases, unavoidable. In many cases, the emotional intensity of design can be so intense, it begins to resemble another well-known emotional process—one that generally includes the stages of denial, anger, bargaining, depression, and acceptance. Design may not literally be as difficult as losing a loved one, but it's little coincidence that in the architecture profession, one's best concepts are often referred to as their "babies," and any design process will involve a fair amount of letting them go.

To paraphrase the existing psychological literature, "as long as there is creativity, there is hope. As long as there is hope, there is creativity." So join us as we explain the architect's path through the five stages of griefcreativity experienced in any design process.

At a time when so much of what we do happens online, there is a lot we can learn from tracking the way we use the web. Alexa is an Amazon company that sells data insights from millions of Internet users aimed at business owners (we'll save the data ethics discussion for a different day). A selection of Alexa's data is available to the public, with the company presenting a list of sites with the highest average daily visitor and pageview counts—including a list of the biggest websites in the architectural world, from yours truly on down.

But which is the most popular architectural firm, school, or individual building? Continue reading to find the top architecture websites for each category based on Alexa's count of the past month's traffic—there may be some surprises!

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A year after her untimely passing, we take a look back on one of the hallmarks of Zaha Hadid's career as an architect: her sketches. In October we wrote about how her paintings influenced her architecture. Now, we examine her most emblematic sketches and the part they played in the initial formal exploration of her design process.

Zaha Hadid's projects are remarkable not only for her innovative way of handling tangible materials but also for her imagination regarding the medium of light. Her theories of fragmentation and fluidity are now well-known design techniques which enabled her form-finding. However, her advances in using light to render her architecture have often been neglected—even though they became an essential element in revealing and interpreting her architecture. The three-decade transition from minimal light lines at her early Vitra Fire Station to the world's tallest atrium at the Leeza SOHO skyscraper, which collects an abundance of daylight, shows the remarkable development of Zaha Hadid’s luminous legacy.

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It was in 1988, at London’s Tate Gallery during the Deconstructivism conference held in anticipation of MoMA’s eponymous exhibition that I first encountered Zaha Hadid in person. She was lecturing among her six co-exhibitors: Peter Eisenman, Rem Koolhaas, Frank Gehry, Wolf Prix, Bernard Tschumi, and Daniel Libeskind. I had encountered her work a few years earlier as a young architecture student (at Stuttgart University) and was stunned and thrilled by the unprecedented degrees of compositional freedom, versatility and dynamism in her work. Up until then I had not been so sure if architecture was such a good career choice for me. I was rather underwhelmed and bored by architecture but, through my encounter with Zaha’s incredible work, architectural design unexpectedly transformed into an adventure. The bounds of architectural possibilities had shifted. Thirty years later, this sense of adventure continues. Zaha changed our field and changed everything for me.

There’s a decent chance that in the last few days, you’ve seen images of Analemma, the futuristic proposal from Clouds AO to hang a skyscraper (or should that be “earthscraper”?) from an asteroid in orbit of the earth. The project has been difficult to avoid, having been picked up not only by much of the architectural media but also by NBC, CNN, Forbes, The Telegraph, The Daily Mail, Mashable, IFLScience—the list goes on almost as long as the building itself.

Is the design realistic? Obviously not, and it’s obviously not intended to be. It’s intended as a utopian thought experiment. Clouds AO has something of a pedigree in this field, as winners of a NASA-backed competition to design a Mars base with their idea for a building made of ice. As a result, it would be facile to join the internet’s collective bottom-of-the-page comment mob to point out that it would be prohibitively expensive, or that it might be more enjoyable to live on the ground anyway.

But is the design a useful utopian thought experiment? There are some design failures that better technology, or a lot of money, or the changed mindset of a futuristic society just won’t fix. So without further ado, here are a list of the problems that this out-of-this-world design would face, in chronological order, with the issues that make it impractical in our current world marked as “minor” and the ones that would undermine the proposal in any universe marked as “major.”

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In this essay by the British architect and academic Dr. Timothy Brittain-Catlin, the very notion of British postmodernism—today often referred to as intimately tied to the work of James Stirling and the the thinking of Charles Jencks—is held to the light. Its true origins, he argues, are more historically rooted.

I grew up in a beautiful late Victorian terrace with ornamental brickwork, shaped ‘Dutch’ gables and pretty arts and crafts stained glass windows – and so I didn’t think then, and I don’t think now, that I had much to learn from Las Vegas. It turns out that I wasn’t the only one. Of British architects who made their names as postmodernists in the 1980s, not a single one would say now that they owed much to Robert Venturi, the American architect widely considered to be a grandfather of movement.

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This article was originally published by The Architect's Newspaper as "The American suburbs are the next fertile ground for architectural and urban experimentation."

The last twenty-odd years may have seen the remarkable comeback of cities, but the next twenty might actually be more about the suburbs, as many cities have become victims of their own success. The housing crisis—a product of a complex range of factors from underbuilding to downzoning—has made some cities, such as New York and Los Angeles, a playground for the ultra-wealthy, pushing out long-time residents and making the city unaffordable for the artists, creatives, and small businesses who make vibrant places.