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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UMG 安提瓜危地马拉总部 / Atelier oficina de Arquitectura

10.27

瓜地马拉圣马力诺大学（UMG）安提瓜分校的设计，是在传统殖民时期建筑风格与宏大制度体量之间架起桥梁的一个关键案例研究。该项目由 ATELIER Oficina de Arquitectura 事务所操刀，其核心挑战在于如何将小尺度的殖民时期设计转化为大尺度的建筑群。在规划初期，我们便意识到，如果脱离具体语境并忽视学生群体的多样化需求，单纯复制历史立面是远远不够的。

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UMG 安提瓜危地马拉总部 / Atelier oficina de Arquitectura

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