A room is a decision about how you want to be tired at the end of the day.

I live in forty-eight square metres in Tokyo with one good chair and far too many bowls, so I have had to mean that. I trained as an architect and left to write, which my teachers took badly. Uchi (内) means inside, and it means home: the room you come back to. The palette comes after the tiredness. So does the name on the lamp.

This is where I keep what the world's rooms are doing. Around seventy sources, read in Japanese, Korean, Chinese, Vietnamese, Italian, French and English: an apartment in Seoul, a house outside Taipei, a Copenhagen showroom seen from here rather than from Denmark. East first, because east is where I am sitting.

Each story is a headline, an excerpt of a few lines, one photograph and a link to whoever did the work. We never reprint the piece, and the photograph belongs to the person who took it. When a room was written up in Korean or Italian it stays in Korean or Italian here; the link takes you to the writer's own words.

I am not trying to be complete. I am trying to notice.

— Mio Tachibana, Tokyo

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2027年威尼斯建筑双年展韩国馆将通过“分解代谢”探索城市收缩

10.20

在全球人口变化的背景下， 2027年威尼斯国际建筑双年展的韩国国家馆将聚焦该国面临的“超收缩”（hyper-shrinkage）状态，即人口萎缩和老龄化加速的阶段。该展览由韩国艺术委员会（ARKO）委任，策展人李章焕（Janghwan Lee）领衔，建筑师裴润京（Bae Yoonkyung）、李教锡（Kyo Suk Lee）和高载协（Jaehyub Ko）共同参与。

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2027年威尼斯建筑双年展韩国馆将通过“分解代谢”探索城市收缩

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