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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滨海住宅如何探索砖、木与海岸景观之间的关系

10.22

砖石与木材能够在建筑的永恒感与沿海环境的肌理之间建立一种对话。在瑞典南海岸的赫尔维肯（Höllviken），Koistinen Hellborg Architects 事务所设计的“海滨住宅”（Seaside House）探索了如何通过材料性、光影和空间组织，塑造一座与自然环境相呼应的住宅。该项目坐落在沙地、荒野、苔藓和松树林之间，步行即可抵达海边。

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滨海住宅如何探索砖、木与海岸景观之间的关系

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