2018
DOI: 10.1108/ijefm-09-2017-0051
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Designing for events – a new perspective on event design

Abstract: Emerald is a global publisher linking research and practice to the benefit of society. The company manages a portfolio of more than 290 journals and over 2,350 books and book series volumes, as well as providing an extensive range of online products and additional customer resources and services. Emerald is both COUNTER 4 and TRANSFER compliant. The organization is a partner of the Committee on Publication Ethics (COPE) and also works with Portico and the LOCKSS initiative for digital archive preservation.

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Cited by 27 publications
(33 citation statements)
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“…As the event industry continued to develop, there has also been an evolution in the ways events are discussed in the literature. The focus changed from a logistical, operational, or categorical purview to being considered from a “social constructed staged experience” in every phase of an event (Orefice, 2018, p. 20). The participant experience has become central in event discussions and must be considered throughout every facet of events (Breiter & Milman, 2006; Jung & Tanford, 2017; Larson et al, 2015; Liu et al, 2017; Mackellar, 2006; Mair, 2010; Pope et al, 2017; Rittichainuwat & Mair, 2012).…”
Section: Resultsmentioning
confidence: 99%
“…As the event industry continued to develop, there has also been an evolution in the ways events are discussed in the literature. The focus changed from a logistical, operational, or categorical purview to being considered from a “social constructed staged experience” in every phase of an event (Orefice, 2018, p. 20). The participant experience has become central in event discussions and must be considered throughout every facet of events (Breiter & Milman, 2006; Jung & Tanford, 2017; Larson et al, 2015; Liu et al, 2017; Mackellar, 2006; Mair, 2010; Pope et al, 2017; Rittichainuwat & Mair, 2012).…”
Section: Resultsmentioning
confidence: 99%
“…The second stream is the outcome of that value creation process, which considers how the different stakeholders in the network recognise the benefits of the value created. Several authors have highlighted the importance of a network of stakeholders or actors in facilitating event value creation (Chesbrough, 2002;Gummerus, 2013;Massa, Tucci, & Afuah, 2017;Orefice, 2018). Similarly, the definition of a value network given by Allee (2009, p. 429) is "purposeful group of people or organizations creating social and economic good through complex dynamic exchanges of tangible and intangible value".…”
Section: Value Creating Networkmentioning
confidence: 99%
“…This definition emphasises the role of key actors (Osterwalder & Pigneur, 2010) in value creation within a value network (Agrawal & Rahman, 2015;Chesbrough, 2002). Key actors must build a relationship with each other (Håkansson & Olsen, 2012) to exchange and integrate resources and competencies to produce value (Greer, Lusch, & Vargo, 2016;Merz, He, & Vargo, 2009; Copyright © Cognizant Communication Corporation 9 MS 20 029 Event Management E-pub Orefice, 2018;Pera, Occhiocupo, & Clarke, 2016). Scott (2008) also suggests that value is created through generated rules, norms and beliefs of the actors in the network.…”
Section: Value Creating Networkmentioning
confidence: 99%
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“…This foundational perspective was developed by events academicians (e.g. Berridge, 2007;Bladen et al, 2012;2018;Brown & James, 2004) to encompass an application to designdriven events, which saw proposed development of event management practice beyond the more popular staging of event logistics, in order to meet the planned management objectives of the event. Thus, while event cycles and project planning practices remained relevant, the essence of the delivery of unique and personalised event attendee experiences began much more to be articulated in terms of sensory stimulation through sensory cues.…”
Section: Event Design Theorymentioning
confidence: 99%