알바 알토(1898-1976)는 핀란드 북유럽 지역에서 1920년대 고전주의 시기에 건축 작업을 시작하였다. 알바 알토는 핀란드의 풍경과 전통에서 영감을 받아 건축 공간을 창조하는 것으로 유명한 건축가이다. 세위네찰로 타운홀(1949-1952)은 2차 세계대전 후 알바알토가 핀란드에서 설계한 최초의 작품이다. 본 연구에서는 핀란드 숲을 배경으로 세워진 세위네찰로 타운홀 건축의 외부 공간을 대지, 주변 환경, 주변 맥락 등을 중심으로 배치, 이용자의 동선, 건축재료 등을 분석하였다.이러한 분석을 통해 알바 알 토가 구현하고자 하는 외부공간의 특징을 연구하였다. 알바 알토의 이론적 고찰과 세위네찰로 타운홀 에 대한 분석을 바탕으로, 배치 및 볼륨 구성에 의한 사이 공간, 이용자 동선, 재료 구성에 따른 외부 공간 의 특징 등을 분석의 틀로 설정하였다. 분석 결과 세위네찰로 타운홀 건축 외부 공간은 다음과 같은 특징 을 가진다. 첫째, 알바 알토의 외부 공간은 대지의 맥락을 해석하고 유추하는 과정에서 외부 공간이 변 형되는 특징이 있다. 둘째, 건축물에 중정을 구성하여 외부 공간과 내부 공간을 연결하는 이용자의 동선 을 계획하였으며, 중정과 외부공간을 이어주는 계단 동선을 만들어 중정 공간을 더욱 역동적으로 만들 었다. 셋째, 서로 다른 재질을 통해 공간의 경계를 나누고 그러한 경계가 다시 유기적으로 연결되는 점 을 중시하였다. 이와 같이, 알바 알토가 설계한 세위네찰로 타운홀 건축에서 나타나는 외부 공간의 특성 에 대해 알아보았다.

The purpose of this research is to rethink Alvar Aalto's architecture on the basis of the aesthetic concept of play. This attempt is valid because he had asserted the importance of play in his design. But more fundamentally, his critical view of the instrumentalised rationalism implied the idea that a human being is “Man the Player” as well as “Man the Thinker”, of which theory was elaborated in Johan Huizinga's Homo Ludens (1938). Premised on it, this paper investigated the evolution of the play idea in aesthetics and located Aalto's concept within the map. Summing up, his play was an intuitively grasped desire opposed to a rational requirement, which leads to a dialectical synthesis. This schema is similar to that of Schiller, in which Spiel reconciles the reason and the sense. However, Aalto's play could be differentiated into the "astonishingly rational" and "a jest", each of which roughly corresponds to the Spieltrieb (play impulse) and the sinnliche Trieb (sensuous impulse) in Schiller's thinking. On the other hand, Aalto's architecture illustrates play that could be interpreted as the overflow of surplus energy. This play is the very concept that can bridge the gap in the form-function formula of modern architecture. Aalto's play idea seemed to basically originate from his personality but its value must be confirmed by the Finnish litterateur Yrjö Hirn as Aalto mentioned in his statements (1953 & 1972). It appears that Aalto's play concept was materialised in architecture through his typical design language, such as the undulating wall, the aperspective space, the imitation of nature and the collage of heterogenous elements. However, we should be careful not to reductively analyse the application of play in practise. As Huizinga's comprehensive theory suggests, the play element exists in any cultural areas including any architectural activities. In conclusion, this paper argues that Alvar Aalto the Homo Ludens presented the possibility of critical rationalism in modern architecture by imbuing dry modernism with "the life enhancing charm" of "the art of play".

The Villa Mairea (1937-39) designed by Alvar Aalto (1898-1976) has been studied by many researchers from various viewpoints. However, few studies have devoted their attention to the major issue raised by Aalto at the Yale University lecture and "Mairea" article in arkitekten in 1939. The issue is to fuse art with life in the living room with mobile partition walls that can function both as art exhibition walls and as art storage cabinets at the same time. Through this device, he maintained, the client can change displayed pictures easily according to the situation and so "painting and everyday life can evolve in a more direct manner." This paper argues that Aalto's concept originated from Japanese 'tokonoma' in Tetsuro Yoshida's Das japanische Wohnhaus (1935), which he referred to during the project. Differently from other Japanese features in the house, this tokonoma idea is more than formal, but more decisive than passing in driving the plan. And, whether coincidently or not, his idea exactly corresponds to Japanese aesthetes' and critics' own interpretation of the tononoma as the symbolic centre of Japanese people's everyday life. More importantly, however, this art display concept discloses secret strata of modern architecture during the time when the petrified rationalism was still at its power Even through the tokonoma motif alone, we see diverse trails in modern architecture: fusion of the East and the West, fusion of the traditional and the modern, to say nothing of fusion of art with life.