The Fundamentals of Event Design

Vladimir Antchak, Olivia Ramsbottom

• Editorial: Routledge
• Año: 2019
• ISBN:
  9781351142069
• Edición: 1
• Categoría: Negocios y empresa
• Categoría: Hostelería, viajes y turismo

The Fundamentals of Event Design aims to rethink current approaches to event design and production. The textbook explores the relationship between event design and multiple visitor experiences, as well as interactivity, motivation, sensory stimuli and co-creative participation.

Structured around the key phases of event design, the book covers all the critical dimensions of event concepting, atmospherics, the application of interactive technologies, project management, team leadership, creative marketing and sustainable production. The concepts of authenticity, creativity, co-creation, imagineering and storytelling are discussed throughout, and practical step-by-step guidance is provided on how to create and deliver unique and memorable events. The chapters include industry voices offering real-life insight from leading international event practitioners and individual and/or team assignments to stimulate learners' creativity, visualisation and problem solving.

This is the first textbook in event design that integrates areas of anthropology, social psychology, management, marketing, graphic design and interactivity. Focusing on bringing theory into practice, this is essential reading for all Events Management students.

1 Event design unpacked

Chapter outline

• • Diverse spectrum of definitions of event design;
• • Key principles of design thinking in events;
• • Personal characteristics and skills of an event designer;
• • Concept of imagineering and its application in event design and production;
• • Key elements of the event design framework.

Key words

• event design
• design thinking
• creativity
• imagineering

This chapter sets the pace for the book. We will define event design and discuss its key principles. We will explore event design from a new perspective with a focus on design thinking, creativity and imagineering. The chapter examines new approaches in the event industry to orchestrate authentic and extraordinary experiences for the event audience. The outline of the book will be introduced and explained.

Defining event design

The Fundamentals of Event Design is a book about the successful orchestration of the processes behind the creation of interesting, engaging and extraordinary events. An event is a “temporary and purposive gathering of people” (Bladen, Kennell, Abson and Wilde, 2012, p. 3) “generally lasting from a few hours to a few days, designed to celebrate, honour, discuss, sell, teach or learn about, encourage observe or influence human endeavours” (Matthews, 2016, p. 3).

The field of event studies is overwhelmed by texts about event management, where event design is often introduced as a part of project management along with event marketing, budgeting, stakeholder networking, logistics, operations and event evaluation (Allen, O’Toole, Harris and McDonnel, 2008; Bowdin, Allen, O’Toole, Harris and McDonnel, 2011; Ferdinand and Kitchin, 2017). However, more and more debates have emerged around the socially constructed nature of planned events and the capability of event managers to design for unique and authentic customer experiences. This paradigmatic shift from managing to designing has generated a new area of exploration (Brown, 2014), namely the integrative role of event design in delivering positive impacts for an event’s audience. This is the focus of this book.

Design, as a concept, has become a critical function in today’s businesses, strategically linking creativity and innovation. Creativity is the generation of new ideas, or a new way of dealing with existing problems, or the exploration of new opportunities (Best, 2006). Innovation is “the process that carries a new concept through to new products, services, or ways of operating the business” (Best, 2006, p. 18). Design, in its turn, “shapes ideas so that they become practical and attractive propositions for users and customers” (Best, 2006, p. 18).

Folkmann (2013, p. 15) explores design as a means “of creating meaning and experience and for giving shape and structure to the world through material forms and immaterial effects”. Events play a role of a medium in the construction and communication of meaning through the material (venue, décor, furniture) and immaterial (escapism, immersion, transformation).

In event studies, there is no one universally agreed definition of what constitutes event design. Event design can be seen as a concept of a structure for an event (Berridge, 2012). Richards, Marques and Mein (2014) argue that designing in events configures the relationships between different event dimensions, stakeholder interests and community perceptions. O’Toole (2011, p. 183) describes event design as a “purposeful arrangement of elements of an event to maximise the positive impression of the attendees and other key stakeholders”. Sonder (2004, p. 411) considers design in events as “the incorporation of a themed message along with audio-visual, entertainment and musical elements”. Summarising key elements of event design, Getz (2012) emphasises the role of themes, settings, services, consumables and programmes that deliver a positive experience. We also can add entertainment (Silvers, 2004), ambience (Shone and Parry, 2004), creativity (Sonder, 2004) and décor (Monroe, 2005) as essential components of event design.

Research note

Orefice, C. (2018). Designing for events: A new perspective on event design. International Journal of Event and Festival Management, 9(1), 20–33.

Abstract:

Purpose – The purpose of this paper is to contribute to the paradigm shift towards event design–­predominant research by presenting an analysis of how the concept of event design has developed in the events literature and by exploring a new perspective based on its contribution to value co-creation.

Design/methodology/approach – Theory from design management and service design is discussed to provide insights on the role of event design as contributing to the creation of value in social systems.

Findings – A new framework for categorising the role of event design is proposed, called the “event design ladder”. Event design is no longer considered as a problem-solving activity, but as a contributor to value creation and an ongoing pursuit carried out over time and space. Stakeholders become co-designers of value systems.

Research limitations/implications – Service design and design management literature offer interesting potential for event researchers to advance the conceptualisation of event design. Considering events as platforms for long-term stakeholder engagement implies that the concept of design becomes strategic. Design as strategy is identified as a new area of event research.

Originality/value – This paper proposes a new perspective on events considered as catalysts of value systems, where the role of design is not only to orchestrate meaningful experiences but also to facilitate collaboration across projects, integrating resources and building on stakeholders’ skills and knowledge. Theories of practice are explored as a way to theorise and carry out research on how value is co-created by actors.

Keywords: design thinking, co-creation, event design, social systems, event value

Despite the diversity of the design elements, what unites all the above-mentioned definitions is a strategic focus on developing a “purposeful space” or “value creating platform” where intentionally designed activities and relationships produce specific behaviour (Orefice, 2018). The event design process requires thinking with the emphasis on feelings, fantasy, imagination, perception, associations and mental stimuli. As will be discussed in the following chapters, consumers are less focused nowadays on satisfying their primary needs and are more focused on the experiential outcomes of consumption. To design an experience is to integrate the knowledge of human behaviour, the designer’s imagination and business modelling into a holistic framework. There is an approach that can facilitate this process, namely design thinking.

Design thinking in events

Design thinking is a human-centred process of developing new products and services. It emphasises constant observation, collaboration, visualisation of ideas, rapid concept prototyping and testing. The objective is to involve your customers, your colleagues and industry experts in an integrative process of idea generation and evaluation in order to imagine and predict future trends and bring new products, services and experiences to market (Lockwood, 2010).

The process of thinking as an event designer (Figure 1.1) can be split into four stages. During the first stage, fieldwork and information, the task is to understand the consumer’s or client’s needs, expectations or issues and to collect information. The best way to do this is to communicate with your target audience directly, with an open mind and willingness to learn from them. This stage involves fieldwork research, including observation, watching, listening and discussing. These methods are common data-collection methods in anthropology and sociology, and they can also be successfully used by event designers. If you have an idea of an event (it can be your own idea or a request from your client), spend some time exploring the target audience, their wishes, expectations and perceptions. You can create a short questionnaire or interview potential attendees of your event. You also can use social media, asking your audience to share their experience and thoughts. This is the key stage on your way to delivering an ...