Architects: studioVASE
Area: 1015 m²
Year: 2020
Photographs: Park woo-jin
Architect In Charge:Jeon Bumjin
Design Team:Studiovase
Construction:Studiovase
City:Yongsan-gu
Country:South Korea
建築師：studioVASE
面積：1015平方米
年：2020
照片：樸佑珍
負責建築師：Jeon Bumjin
設計團隊：Studiovase
建築：Studiovase
城市：龍山區
國家：韓國
The story contained in the space can be compared to the relationship between the body and the mind. No matter how high the visual completeness of the space is, if the story is simple or poor, or if it is similar to something, the user easily feels boredom and emptiness. Even though all the restaurants in the alley of Haejang-guk are disguised as original, the scenery in which they line up only in one house in the end makes the rest of them a sub-class. The story of the real ancestor produces emotions and heals various interpretations. The body of space has the possibility that it can be made complete only with the soul of the story.
可以將空間中包含的故事與身體和心靈之間的關係進行比較。 無論空間的視覺完整性有多高，如果故事簡單或糟糕，或者故事相似，用戶都容易感到無聊和空虛。 儘管海藏國小巷中的所有餐館都被偽裝成原始餐廳，但最終它們只在一間房子裡排成一排的風景使它們中的其餘部分成為子類。 真正的祖先的故事產生了情感並治癒了各種解釋。 空間的主體可能只有故事的靈魂才能完成。
Many brands have their own stories. The story is communicated to the public as an image and becomes a symbol of a mixture of positive and negative. There are also images that are missing and want to fill. Although Ottogi has a good image of being healthy and kind, it also has an image of being conservative and tacky. Therefore, progressive or sophisticated images are relatively lacking. Ottogi’s new image overcoming this dilemma will be shown and experienced by the 20s and 30s is a natural thing for the future as a company. Our proposal was positively accepted and pushed forward quickly.
許多品牌都有自己的故事。 這個故事以圖像的形式傳達給公眾，並成為正負混合的象徵。 也有一些圖像丟失並且想要填充。 儘管Ottogi具有健康和友善的良好形象，但也具有保守和俗氣的形象。 因此，相對缺乏漸進或複雜的圖像。 Ottogi克服這一困境的新形象將在20年代和30年代展現出來並經歷，這對於公司未來來說是很自然的事情。 我們的建議被積極接受並迅速推進。
It is a project that involved and intervened in all parts from Roly-Poly cotto naming to space planning and space design, styling and product design and graphic design. Initially, the requested space was planned as a food and beverage space selling curry and ramen sold by Ottogi on an area of about 265m2 and 80 pyeong, but it was expanded to about 500 pyeong by proposing the possibility of expansion through the use of idle spaces. The simple composition of selling ramen and curry was expected to serve as a symbolic space that gave complex functions on the expanded space and made 2030 consumers feel a new image of the brand. However, a metaphorical interpretation was needed that could appeal to the younger generation while avoiding the brand’s explicit expression.
這個項目涉及並干預了從Roly-Poly居家命名到空間規劃和空間設計，樣式和產品設計以及圖形設計的所有部分。 最初，要求的空間被計劃為出售Ottogi出售的咖哩和拉麵的食品和飲料空間，面積約為265平方米和80坪，但通過提議通過使用閒置空間進行擴展的可能性，將其擴大到約500坪 。 拉麵和咖哩的簡單組合被認為是一個像徵性的空間，它在擴展的空間上賦予了複雜的功能，並使2030年的消費者感受到該品牌的新形象。 但是，需要一種隱喻性的詮釋，以吸引年輕一代，同時避免品牌的明確表達。
In the era of Simulacre, which prioritizes phenomena over reality, Ottogi may have a stagnant image for the younger generation. It was planned with anticipation of its role as a space that could overcome this dilemma and show the future of the company. Through analysis from various aspects, positive images, negative images, and images that are lacking were identified and a concept to overcome them was established. Even if it’s nonsense, it’s constant but innovative, good but strong, friendly but sensational image. To that end, I thought that design in a complex rather than simple, emotional rather than stimulating, analog way rather than digital would be a solution as a non-temporary and sustainable space. Therefore, as time passed and the space became ripe, I hoped that the language of the space would be transmitted to the user in a slow breath.
在Simulacre時代，現象優先於現實，Ottogi對於年輕一代而言可能會停滯不前。 計劃將其作為可以克服這一困境並展示公司未來的空間的角色來進行計劃。 通過從各個方面進行分析，確定了正圖像，負圖像和缺少的圖像，並建立了克服它們的概念。 即使是胡說八道，它也始終如一，但富有創新精神，善良但堅強，友好而又聳人聽聞。 為此，我認為以復雜而不是簡單的，情感的而不是刺激的，模擬的方式而不是數字的設計將是一種非臨時性和可持續性的解決方案。 因此，隨著時間的流逝和空間的逐漸成熟，我希望空間的語言能夠緩慢地傳遞給用戶。
Composition of space – It can be said that the core of the design is to combine the gardens hidden in the two existing buildings into one to secure the largest area in the entire space and to give it an intermediary role. The six scattered spaces form a relationship through this garden and perform their respective functions. The order of cave , cube, slope (hill), shade, garden, hall (banquet hall), sala (living room) The seven spaces separated by each have different roles and heights and provide various sequences.
空間的組成-可以說，設計的核心是將隱藏在兩座現有建築物中的花園合併為一個，以確保整個空間中最大的面積並發揮中介作用。 六個分散的空間通過這個花園形成關係，並發揮各自的功能。 洞穴，立方體，坡度（山丘），陰影，花園，大廳（宴會廳），薩拉（客廳）的順序七個空間相互分隔，它們的作用和高度不同，並提供不同的順序。
The main material of the space is red brick. Red brick has universality and persistence, and is a material that is solidly constructed by gathering small cells. About 100,000 bricks are in line with the conservative nature of bricks that do not change easily over the years and the corporate spirit that has steadily developed. The various construction methods and patterns of bricks are performances that overcome the conservatism of materials. Also, yellow is the symbolic color of Ottogi. Since yellow gives a completely different feeling depending on the color, brightness, and area of use, we decided to devote ourselves to conveying the image of color without insisting on the symbolic color of the brand. The materials used inside were matched with wood, fabric, and ceramic that match the main material brick. However, stainless steel was used for the rhythmic feeling of the physical properties, but it was manually ground to give a sense of time.
該空間的主要材料是紅磚。 紅磚具有普遍性和持久性，是一種通過收集小單元而牢固構建的材料。 約有100,000塊磚符合多年來不易改變的保守性和穩步發展的企業精神。 磚的各種構造方法和样式都是克服材料保守性的性能。 同樣，黃色是Ottogi的象徵顏色。 由於黃色會根據顏色，亮度和使用區域而產生完全不同的感覺，因此我們決定致力於傳達顏色的圖像，而不必堅持品牌的象徵色彩。 內部使用的材料與匹配主要材料磚的木材，織物和陶瓷相匹配。 但是，不銹鋼用於物理特性的節奏感，但手動研磨卻給人以時間感。
The cave facing the road is a subterranean space without windows and sells food and drinks. More than 400 fluorescent colored objects hanging from the ceiling suggest and guide the landscape of the garden. The interior of the space is finished in various patterns of bricks, and the 8-meter bar and booth sofas become the axis of the narrow and long space. When you leave the cave and go up to the ground through a narrow vertical staircase, you will encounter cubes and slopes facing each other. The cube of the cube is a space that sells goods developed for this project. The front wall inside the cube, which is finished with bricks on all sides, receives light through the thin gaps in the brick. Inside, a large, curved metal shelf floats as if floating. A large balloon with embedded lighting was hung on the ceiling so that it could be easily recognized from the outside. The brick-stacked stair-shaped slope is designed to allow active seating, and a small lawn space at the top provides an opportunity to view the entire garden. On the stairs, various fluorescent colored ceramic objects by artist Lee Heon-jeong are arranged to become a material for users to play.
面對道路的洞穴是一個沒有窗戶的地下空間，出售食品和飲料。吊在天花板上的400多個熒光彩色物體可以為花園景觀提供引導。空間的內部以各種磚塊裝飾，而8米長的吧台和展位沙發成為狹長空間的軸線。當您離開山洞並通過狹窄的垂直樓梯到達地面時，您會遇到彼此相對的立方體和斜坡。立方體是銷售該項目開發的商品的空間。立方體內部的前壁四面都是磚塊，通過磚塊中的細縫隙接收光線。內部有一個彎曲的大金屬架子，就像漂浮的一樣。天花板上懸掛著一個帶有嵌入式照明的大氣球，因此可以從外面輕鬆辨認。磚砌的階梯形坡道設計為可活動座位，頂部的小草坪空間可讓您觀賞整個花園。在樓梯上，佈置了藝術家李亨貞（Lee Heon-jeong）製作的各種熒光彩色陶瓷物體，成為用戶玩耍的材料。
The shade attached to the cube is finished with a punched metal roofing material that transmits sunlight and relieves the texture of the hard cube. The long shape of the shade divides the garden in half on the plane, but at the height of the line of sight, it creates a layer of space to add depth. About 40 landscapes made of ceramics are installed under the roof, awakening the sense of sound throughout the garden even with a small wind.
附著在立方體上的陰影採用穿孔的金屬屋面材料完成，該材料可以透射陽光並減輕硬立方體的質感。 陰影的長形狀將花園在平面上劃分為一半，但是在視線的高度，它會創建一層空間以增加深度。 屋頂下安裝了約40個由陶瓷製成的景觀，即使刮風也能喚醒整個花園的聲音。
The garden becomes the core of the whole space, and all the spaces on the ground aim for it. Gardens bloom and fall differently from a solid brick scalpel and respond to the season. The garden, which is composed of a variety of flowering plants, was planned to achieve harmony with several existing fir trees. Superflowers that react sensitively to the wind respond to the sturdiness of bricks and give a sense of balance to the entire garden. At the end of the garden, a small hill is formed using the existing level to communicate with Sala located on the opposite side.
花園成為整個空間的核心，地面上的所有空間都以此為目標。 花園的綻放和落花與堅固的手術刀有所不同，並且對季節有所反應。 該花園由多種開花植物組成，旨在與幾棵現有的樅樹保持和諧。 對風敏感的超級鮮花對磚的堅固性做出反應，並給整個花園帶來平衡感。 在花園的盡頭，使用現有的樓層形成了一個小山丘，用於與對面的Sala進行通信。
On the hilltop, the ceramic table of Lee Heon-jeong is combined with fir trees to create another space in the garden. The hall is planned to be opened to customers in the future, but is currently being used for corporate events or tastings. The hall, which can accommodate more than 50 people, has an open form for multipurpose use. A metal mesh panel was installed on the ceiling to prevent exposure of lighting, heating and cooling equipment, and sound equipment. The large sliding door installed in the front of the hall opens about 6 meters and serves to unite the hall and the garden. The last space, Sala, is a space that is not open to outsiders. However, the front of Sala is exposed in the garden. In front of the square, 4800 yellow sequins react to the wind and light, wave and flutter in the garden.
在山頂上，李顯貞的陶瓷桌與樅樹結合在一起，在花園中創造了另一個空間。 該大廳計劃在將來向客戶開放，但目前正在用於公司活動或品嚐。 大廳可容納50多人，設有開放式的多功能廳。 在天花板上安裝了金屬網面板，以防止照明，加熱和冷卻設備以及音響設備暴露在外。 安裝在大廳前部的大型推拉門可打開約6米，將大廳和花園結合在一起。 最後一個空間Sala是一個不對外開放的空間。 但是，Sala的正面暴露在花園中。 在廣場的前面，有4800個黃色亮片對花園中的風，光，波和拍打起反應。
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The interior of Sala is designed to feel cozy and comfortable, like a living room at home. I tried to give depth of color by using yellow, which is the symbol of the company, but expressing it with finishing materials of various materials. There are furniture like treasure chests in the space. When you open the door of heavy furniture, tools and small items to enjoy music, coffee, wine, etc. are set inside to surprise users. The whole window of Sala is also open and you can see the whole garden through the water space.
Sala的內部設計讓人感到舒適和舒適，就像在家中的客廳一樣。 我嘗試通過使用黃色來賦予顏色深度，黃色是公司的標誌，但是用各種材料的飾面材料來表達它。 空間中有像寶箱這樣的家具。 當您打開沉重的家具的門時，裡面擺放著欣賞音樂，咖啡，葡萄酒等的工具和小物品，使用戶感到驚訝。 薩拉的整個窗戶也都打開了，您可以通過水域看到整個花園。
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