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Roly-Poly cotto


Premise and Concept

Roly-poly Cotto is a project that involves and intervenes in all parts from naming, spatial planning and design, styling, product design, and even graphic design. Initial requested space was planned to sell curry and ramen on an area of about 265m2, and 80 pyeong, but was expanded to about 310 pyeong by suggesting the possibility of expansion through using remaining space.

The simple composition just selling ramen and curry made us to expect serving as a symbolic space that would give a complex function on the expanded space and make consumers impress the brand’s new image. However, it needed a metaphorical interpretation that could appeal to young generation while avoiding the brand’s direct expression.

In the era of simularcrum, which considers the status quo more than the reality, young generation may feel strong isolated image to Ottogi. Thus, we have come to plan our role as a space to overcome this dilemma and show the future of the embedded company. Through analysis from various aspects, we set up the concept to identify positive, negative, and deficient images, and to overcome them.

It would be obvious thing for the future to the company that shows and experience the new image of Ottogi, which has overcome this dilemma, to 20 ~ 30’s generation. So, the company actively accepted our proposals, and it was quickly promoted.


Roly-poly Cotto是一個項目,包含命名,空間規劃和設計,樣式,產品設計乃至圖形設計的各個部分。最初要求的空間原本計劃在約265平方米和80坪的面積上出售咖哩和拉麵,但由於暗示可以利用剩餘空間進行擴展,因此已擴大到約310坪。



對於展示和體驗克服了這一難題的Ottogi新形象的公司來說,未來的新形象是顯而易見的。 因此,該公司積極接受了我們的建議,並很快得到了推廣。

The story in the space can be compared to the relationship between body and mind. No matter how the visual completeness of the space is excellent, if the story is too simple or poor, if it is very similar with something, the users are not interested in it or feel empty.

Even if all the restaurants in district are disguised as original, eventually, the scene, people just line up only one famous one, means its identity makes others as imitators. The true original story makes emotions and various interpretations. The space has the possibility of being complete only with the soul of the story.

Numerous brands have their own stories. The stories are passed on the public as the brand image and become the mixed symbol of positivity and negativity. Ottogi has good and healthy images, but conservative and loutish images at the same time. Thus, the brand is not relatively progressive or elegant.

It is still very ironic, but we thought that we should make innovative, kind but strong, friendly but sensuous image. To do so, we thought that more complex than simple, more emotional than provocative, more analogue than digital, that would be the solution as a non-temporary and sustainable space. So, we hoped after the space become more familiar, it would be delivered to the uses step by step.


即使該地區的所有餐廳都被偽裝成原始餐廳,但最終,人們只會排著名的餐館,這意味著它的身份使其他人成為模仿者。 真實的原始故事引起了人們的情感和各種解釋。 這個空間有可能只用故事的靈魂來完成。

許多品牌都有自己的故事。 這些故事作為品牌形像在公眾中傳播,並成為積極與消極的綜合象徵。 Ottogi具有良好和健康的形象,但同時具有保守和粗野的形像。 還有,品牌不是相對進步或優雅的。


Composition of Space

The key to the design is to combine the gardens hidden in two existing buildings into one, to secure the widest area in whole space, and to provide a medium. The scattered six spaces formed a relationship through this garden to perform each function. 7 spaces divided in the order of cave, cube, slope, shade, garden, hall, and sala, have different roles and heights, and provide various sequences.

The main material of the space is red brick. The red brick is a material that contains universality and persistence and builds the structures with gathering small cells. The bricks, which are built with about 100,000 blocks, are like the conservative nature of materials that has kept over the years, and the meaning of the corporate spirit which has developed steadily. The various construction methods and patterns of the bricks are performance that overcomes conservatism. Moreover, the yellow is the symbolic color of the Ottogi.

The yellow gives a completely different feeling depending on the color, brightness, chroma, area of use, so we decided not to insist on brand’s symbolic color but to focus on delivering the image of the color. The materials used inside were with wood, fabric, and ceramics that are suitable with the bricks, the main material. However, we used stainless steel for the rhythm of the material, thus, we cut every single segment so that it could feel the temporality.


設計的關鍵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寬的區域,並提供一種媒介。分散的六個空間通過這個花園形成了一種關係,可以執行每項功能。 7個空間按洞穴,立方體,斜坡,陰影,花園,大廳和的順序劃分,具有不同的作用和高度,並提供各種順序。



Cave facing the road is a windowless semi-basement and a space for selling food and beverages. About 400 fluorescent objects hanging from the ceiling make us feel the landscape of the garden. The interior of the space is finished with various patterns of bricks, and 8m bar and booth sofa become the axis of the narrow and long space. When going up the ground through a narrow vertical staircase, it will meet a cube and a slope facing each other.

The cube is a space to sell goods developed for the project. The front wall inside the cube, which is finished with bricks inside and outside is shinny by the light through a think crack in the brick and looks like the single large metal shelf floats in a curved shape. The ceiling was hung with a large balloons and lights together gives the cheerful atmosphere and makes it easy to recognize from the outside. The stair-shaped slopes stacked by bricks are designed to sit more actively, and the small grass space created at the top provides an opportunity to watch the whole garden.

On the stairs, various fluorescent ceramic objects of artist, Lee Hyun-jung are places, so it would be the source of entertainment for users. The shades bonded to the cube are finished with roofing material of punching metal to transmit sunlight and relieve the texture of the hard cube. The long form of the shade crosses the garden to the center, but it adds the depth making the layers of space at eye level. About 40 landscapes made with ceramic under the roof put there, so even when the breeze blows, the whole senses of the body could feel at the garden.



在樓梯上,藝術家Lee Hyun-jung的各種熒光陶瓷物體都在這裡,因此它將成為用戶娛樂的來源。粘合到立方體的陰影使用沖壓金屬的屋頂材料完成,以透射陽光並減輕硬立方體的質感。長長的陰影使花園橫穿中心,但它增加了深度,使空間層達到了視線水平。屋頂下約有40個用陶瓷製成的景觀,因此,即使微風吹拂,整個花園也能感受到全身的感覺。

The garden becomes the center of the whole space and all the spaces on the ground are directed toward it. Unlike the mass of the hard bricks, the garden differently changes to the season. The garden, being composed of various flowering plants, is designed to harmonize with several firs that were planted in the past. The flowering plants, are sensitive to the wind, react to the firmness of the bricks and show the balance of the entire garden.

The end of the garden is located opposite a small hill using the existing level and communicates with sala. The ceramic table of artist, Lee Hyun-jung on this hill combines with firs to make another space in the garden. The hall is going to open to customers in the future but will be intended to be used for company events or tasting events. The hall, which can accommodate more than 50 people, has the form for multi-purpose use.

The panels of the metal nets were installed to the ceiling, so that lighting, heating and cooling equipment, and sound equipment are not exposed. A large sliding door installed at the front of the hall opens about 6m, so it connects the hall and the garden like the bridge. The sala, last space, is not open space for the public. But the sala’s front is exposed to the garden. On the front of the square, more than 4,800 yellow spangles respond to wind and light, reflecting to the garden.

The interior of the Sala is designed to feel cozy and comfortable like domestic drawing room. The yellow, the symbolic color of the company, was used, but was expressed by various finishing materials to give depth to the colors. Inside the space, there is furniture like a treasure box. When opening the door of the heavy furniture, tools for enjoying music, coffee, and wine, present users’ entertainment. All sala’s windows are also designed to open so that the entire garden can be viewed through the space.

花園成為整個空間的中心,地面上的所有空間均指向該空間。 與硬磚塊不同,花園隨著季節的變化而變化。 該花園由各種開花植物組成,旨在與過去種植的幾種冷杉相協調。 開花植物對風很敏感,對磚的堅固性有反應,並顯示出整個花園的平衡。

花園的盡頭位於使用現有樓層的小山丘對面,並與薩拉進行交流。 這座小山上的藝術家李賢榮的陶瓷桌與冷杉結合在一起,在花園中創造了另一個空間。 大廳將在將來向客戶開放,但將用於公司活動或品酒活動。 大廳可容納50多人,具有多用途形式。

金屬網的面板安裝在天花板上,因此不會暴露照明,加熱和冷卻設備以及聲音設備。 安裝在大廳前部的大型推拉門可打開約6m,因此它將大廳和花園像橋樑一樣連接起來。 薩拉(最後一個空間)不是公眾開放的空間。 但是,薩拉的前部暴露在花園中。 在廣場的前面,超過4,800個黃色亮片響應風和光,並反射到花園中。

Sala的內部設計像家用客廳一樣讓人感到舒適和舒適。 黃色是公司的象徵性顏色,但通過各種飾面材料進行表達以使顏色更深。 在空間內部,有像寶箱一樣的家具。 打開重型家具的門時,欣賞音樂,咖啡和美酒的工具將為用戶帶來娛樂。 所有薩拉的窗戶也設計成打開的,這樣整個花園都可以通過空間看到。

The roly-poly cotto was the project of understanding and transforming the two different buildings into once concept to create synergy. To do that, we gave the meanings to each 7 space that was used for unrelated purposed each other, so that they could relate to each other in context over the new story. The newly expanded grass garden was hidden from the outside, so it made users surprisingly.

The various elements inside the garden that stimulate vision, hearing, and touch become a medium to create separate space into one. The image of the firm brick covered the whole is neutralized from the round shape of roly-poly inferred curves and designed to balance the space. The various different levels of the floor inside the space help users produce various scenes and understand space more in three dimensional ways. Eventually, we expect that all of these relationships will play a role in creating visual entertainment and experience and making brand’s new image.

千篇一律的座右銘是理解和將兩座不同的建築改造成一次創造協同效應的項目。 為此,我們為每個用於無關目的的7個空間賦予了含義,以便它們可以在新故事的上下文中彼此關聯。 新擴建的草園從外面隱藏了起來,這令用戶感到驚訝。

花園中刺激視覺,聽覺和触覺的各種元素成為一種將單獨的空間融合為一體的媒介。 堅硬的磚塊覆蓋了整體的圖像,通過旋轉多角形推斷曲線的圓形被抵消,並旨在平衡空間。 空間內部地板的各種不同高度有助於用戶製作各種場景並以三維方式更深入地了解空間。 最終,我們希望所有這些關係將在創造視覺娛樂和體驗以及打造品牌新形象方面發揮作用。