With the breakthrough of modernism, various efforts are undertaken to rationalize architecture and building processes using industrial principles. Few architects explore these as intensively as Walter Gropius, the founder of the Bauhaus. Even before World War One, and increasingly in the interwar years, Gropius and a number of colleagues undertake various experiments which manifest in a series of projects, essays, model houses and Siedlungen. These aim at conceptually different goals, i.e. they follow two different categories of industrial logic: first, a flexible construction kit and, second, an assembly line serial production. This article traces the genesis of these two concepts and analyses their characteristics using these early manifestations. Compared to existing literature, this article takes into account hitherto neglected primary sources as well as technological and construction history aspects—allowing for a distinction based not only on theoretical, but also technological and structural characteristics. This article shows that Gropius succeeds in formulating and exploring the two principles in theory and practice as well as drawing conclusions by the end of the 1920s. With them, he contributed significantly to the rationalization of architecture, and his principles have been picked up and developed further by numerous architects since then.

Architecture is more than just buildings. Its associated production and reception pro­cesses take place through a variety of different media. Among those media, the model is of special significance: because architecture, like almost every science or art, works with models as representa­tionally or theoretically simplified images mediating between the abstract and the reality. The properties that characterise models give them a special significance in archi­tecture—both in the abstract, as well as in the concrete. The following article sketches out the history of the architectural model as a medium in a short tour d’horizon. A special focus is placed on showing the versatility of the model—for design and presentation and as an artefact, teaching resource and research medium. It transmits a specific form of knowledge which can be replaced by no other medium.

In the second half of the 19th century a wave of modernisation, industrialisation and urbanisation swept the Nordic countries, catapulting what had until then been lagging and primarily rural countries into modernity. These major upheavals, however, also plunged the Nordic countries into a profound social and cultural crisis resulting from their consciousness of their own backwardness vis-a-vis the countries on the European continent, as well as the recognition that a nostalgic nationalism recalling a mythical past had become obsolete in the industrial age. In response to this crisis, a life reform movement emerged that was based on Arts and Crafts movements as well as various artistic and literary reform movements and—equally absorbing rural traditions and progressive social ideas—tried to establish a new national everyday culture. In this article, the two key terms coined by Ellen Key, “Festive Customs” (‘festvanor’) and “Everyday Beauty” (‘vardagsskönhet’)—the programmatic core of the Nordic life reform movement—are analysed and illustrated in various typical manifestations. It also examines to what extent the Nordic life reform movement with these two key concepts as its core agenda found expression in arts and crafts, in painting as well as in the architecture of the late nineteenth and early twentieth century and contributed to the progress of social and cultural renewal.

In the second half of the 19th century new methods for quarrying and processing natural stone are developed. In the Nordic countries Sweden, Norway and Finland this technological pro­gress goes hand in hand with a systematic geological mapping and large-scale exploitation of natural stone deposits. As a result, new constructions are developed—changing the building practice in these countries. With the end of historicism a new architecture arises that particularly in Norway and Finland acquires a national-romantic character. This paper examines the interaction between geological exploration, commercial development, technical inventions and the development of a national-romantic architecture.