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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ArchDaily ChinaChina

垃圾分类回收公园 / Bovenbouw

10.28

2009年，安特卫普市发起了一项竞赛，旨在重新思考城市垃圾基础设施的设计——这类建筑通常会被边缘化为普通的沥青场地和集装箱。Bovenbouw 建筑事务所凭借其总体规划赢得了竞赛，该规划不将回收公园视为工业遗留物，而是将其视作不可或缺的高频公共空间。继早期的 Luchtbal 和 Borgerhout 回收中心之后，Kielsbroek 成为该系列的最新成员，旨在消除人们对垃圾管理设施的刻板印象。

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垃圾分类回收公园 / Bovenbouw

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