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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尖角木屋，阳光湖畔，塞内茨 / ER Atelier

September 26

塞内茨（Senec）阳光湖（Sunny Lakes）湖岬处的两栋度假建筑项目，将两个独立的结构视作一个统一的建筑与景观组合进行设计。该场地位于一个突出的滨水半岛上，周边充斥着不同时期、不同建筑风格且无序混杂的度假建筑。该方案并没有引入另一种孤立的设计表达，而是试图通过统一的建筑语言重新定义整个湖岬，同时保留场地的历史记忆，并加强其与湖泊及公共领域的联系。

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尖角木屋，阳光湖畔，塞内茨 / ER Atelier

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