Based on our conception of this Asia Triennial, the current catalogue is a project of word-formation which will extend the overall image of the exhibition. For headings and titles throughout the book we have innovated new word-forms totaling several hundred characters, to give an effect which will correspond with the overall exhibition. White will be the main color for the book. Our design will concentrate on word forms and dispense with other design modes. The book makes extensive use of bookmarks. Bookmarks are normally used as placeholders, but as used in this book, they allow the cultural spirit of each Asian country to merge with the others into an outwardly directed current. In this we can see the unprecedented spiritual grounding fostered by Asia’s new developments in recent years. This will imbue the book with a sense of religiosity. Anish Kapoor has remarked that the artist should be a creator of myth; the sense of religiosity will fit with the book’s mythic tenor. Moreover, readers will page through the book from right to left in Asian fashion,reverses the normal left-to-right order of reading.   
 
As for bookmaking, we considered using white silk with faint pattern, preferably a phoenix or peony pattern. The word Asia will be machine-embroidered in black thread to give a unique classically Chinese feel. Or we can use special soft-textured, antique-finish paper,with the word Asia embossed in black ink. This alternative has a quiet and dignified, and gives an international look. For the internal pages, we will use 157 weight matt paper or 120 weight offset paper. The first eight pages will use antique-finish vellum paper. The bookmarks will be attached at the spine and placed between pages at intervals in the book.They will use silk ribbon with eight colors of thread; each band of color will be at least three threads wide. The books can be wrapped with a ribbon, then shrink-wrapped. Thus the cover title will not be hidden, and the different effect of each separate catalogue will be visible.