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

← Uchi Archive

ArchitecturephotoJapan

西沢立衛・増田信吾＋大坪克亘・山田紗子が出展、妹島和世の監修による展示「最終処分場 -自然と産業、人とつくる風景-」。瀬戸内産業芸術祭2026の一環として“管理型処分場”で開催。循環の身体での感受を求め、風景と呼応する色彩を“展望台・バス・ウェア”等に与える計画を考案

10.15

西沢立衛・増田信吾＋大坪克亘・山田紗子が出展し、妹島和世の監修による展示「最終処分場 -自然と産業、

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