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

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October 8

대담한 컬러와 유쾌한 상상력으로 익숙한 사물도 낯설게 뒤트는 디자이너 베단 로라 우드와 보치가 만났다. 런던 디자인 페스티벌에서 선보인 설치작품 는 데이비드 보위가 출연한 영화 ‘라비린스’에서 출발한 미로 같은 풍경 속에 새로운 퍼플 컬러의 포터블 조명 14p를 공개했다. 베단은 이 동그란 조명에 ‘보위 볼 Bowie Ball’이라는 별명까지 붙였다.

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