Journal) and gained nationwide attention.^423 Markelius demanded a modern approach
to social, economic and technological issues. In his view, the democratic times called for
appropriate addressing of genuine housing needs, high hygienic standards and economy.
According to Markelius, technical execution, the task and intended use were the new
starting points for design, and the machine had become a form-giving factor. Markelius
warned his peers against formalism and urged them to use steel and reinforced concrete
and respect the real nature of these materials. He argued that the shortage of housing
could be alleviated by making use of new technology and rational solutions. He empha-
sised typification and standards as prerequisites for mechanical mass production and
considered the emergence of types a sign of mature building culture.^424
According to Rudberg, Markelius was inspired in his design particularly by Le
Corbusier, while his ideological thinking was fuelled by Walter Gropius. Markelius’
opinions against property speculation and short-sighted trade union policies mirrored
those of Gropius. Like Gropius, Markelius emphasised the importance of curbing the
rise of building costs and promoting new building materials and working methods.
Markelius’ paper delivered in Turku showed a clear line of thought. In addition, being
invited by the Finnish Association of Architects helped establish Markelius’ position as
one of the most significant proponents of the new movement in his homeland.^425
The Stockholm Exhibition of summer 1930 also featured a hospital unit, which was
designed by Sven Markelius and his team of experts and has been given only passing
attention in research. The unit, that represented the terraced hospital type, included an
operating theatre and a ward. Also exhibited were hospital instruments, furniture, light
fittings and floor and wall materials. Heating, ventilation and sanitary systems were
given particular attention. According to Markelius, the aim of the design was to cast a
look into the future rather than repeat previous achievements.^426 The ward was located
on the top floor of the exhibition building and it incorporated a tea room and a lounge
that were placed at opposite ends of a corridor, a four-bed patient room, a two-bed
patient room and a combined wet room and lavatory in between the two. The wet
room was placed in between the patient rooms, although in a real hospital it should be
accessible to all patients and would be placed on the less prominent side of the building.
The exhibition architect pointed out that, even if somewhat extravagant, placing the
lavatory adjacent to the patient rooms improved the quality of the patient room and the
hygiene standards in the hospital, and saved labour. A four-bed room was an attempt by
the team to respond to the demand for more efficient hospital wards. The patient rooms
received daylight through two ribbon windows, the upper ribbon near the ceiling and
the lower one level with the door. Markelius aimed to maximise the amount of daylight
without excessively increasing the window area. Both ribbons could be covered with
423 Markelius 1928, p. 71.
424 Ibidem, p. 71.
425 Rudberg 1989a, pp. 48–50.
426 Markelius 1930, pp. 173–176.