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

粤海文体中心 / 孟岩 | 都市实践

October 2

2016 年，都市实践赢得粤海文体中心设计竞赛，历经 10 年设计建造，2025 年底正式启用。粤海文体中心位于深圳南山粤海街道社区，周围密布高层住宅、学校及商业。传统的文体场馆通常按功能分类分区，独立运营，避免相互干扰，却因此降低了公共交往发生的可能性。而那些散落在各类建筑外围的城市开放空间，容纳了人群间的随机碰面，而成为城市真正具有活力的区域。

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