IFES Worldview 2 / 2018

Supporting the gl obal Industry

The ”global collaboration network“. That’s how we have chosen to explain what IFES is, in three words.

To enhance the number of partnerships within the IFES family, we are offering several opportunities to ”get to know one ano ther.“ The most prominent is the IFES World Summit, which takes place every year in June. “Reaching New Heights” is the theme for 2018 when we will meet in Chicago. Second is the IFES Global Village premiered at EuroShop in Düsseldorf and will continue at ExhibitorLive in≈ Las Vegas in 2018.

But to understand what IFES is you have to go into deeper detail. IFES represents more than 270 Companies from around the gl obe. Each of these companies has signed the IFES Code of Conduct – a kind of constitution which rules the collaboration within the whole network. So, if an IFES partner serves the customer of another member, both, the customer and member know that they will be treated in≈ a professional manner from a company upholding the highest of quality standards. This is a value-added member benefit that is hard to put a price on.

Two educational programs offered by IFES – Masterclass and Certified Expert – ensure we have well-educated, global-thinking employees serving our industry. Both programs will run at the end of the year again.

”S upport and be supported“ – that is the general idea of t he federation. And we are proud to be a part of it.

THE IFES BOARD

This is the second issue of IFES Worldview. After the success of our first magazine and the o verwhelming popularity we decided to c ontinue with this format on an annual basis. This years edition focusses on ‘Value’ generated by the Exhibition and Event industry in general. Inspiring Projects is a column we will continue, and≈ IFES Insights will give you the chance to learn more about current activities in our associa tion. I hope you will enjoy the read.

UTA GORETZKY

A Question of Price

Stand construction specialists today are in high-demand, not because of their obvious ability to provide and implement high-quality work but mainly due to their expertise as strategic consultants. Due to various changes in our industry, the role of guiding customers through the thicket of trade fairs is much more demanding and time-consuming that it was ten years ago.

In terms o f both technology and content, stand concepts have become highly-complex with increasing safety requiremen ts, and the tendency towards later project requests with shortened project cycles, currently present formidable challenges to those charged with executing trade fair appearances.

The Early Involvement Factor

Developing credible and competent consultation skills is not only about content-related expertise, it also takes time. “Our consulting work starts long before the cons truction planning. Early Involvement is an integral part of our business model, explains Ralf Thomas Becker; director of sales and project management at mac messeund ausstellungs cen ter Service GmbH in Langenlonsheim. “At the beginning of trade fair planning we check that stand building and communications concepts are matching and advise our customers to choose the better option.”

Krüger-Gruppe @ ISM Köln 2017, i.xpo

Human resources as a basis for consultancy competence

In ligh t of the aforementioned challenges of shorter set-up times, the tendency of ever-later customer inquiries and the increased complexity of the trade fair construction concepts, the advice of an experienced trade fair company, is now, more than ever, essential. “It takes staff with many years of experience, and it is also important to build a team with a broad portfolio of skills,” says Atelier Damböck’s managing director, Simon Damböck. “Effective consulting cannot be truly implemented by a project manager alone. It must be the principal function of a trade fair company, on par with any customer service initiative.”

Community Interest Work

Time and time again, construction planning is included too late in the project organization. When the expertise of the Realization specialst is used too late, so he can only act as a last second “fire extinguisher”— the cost is often nerves and money. In order to keep this situation from continually happening, Damböck urges the entire industry to strengthen our position as trade fair experts by focusing less on internal management policies and more on communicating this message in the interest of the general trade f air community.

Associations as an Industry Backbone

In terms of promoting the general interest of our community, associations assume an important role in representing the indus try as a neutral party with a megaphone, and an ever-presen t finger on the pulse of the industry. Individual companies are less vulnerable with the help of associations.

SMA @ Intersolar 2017, atelier damböck

DHL @ Neocom 2015, i.xpo

Glas-Troesch @ Bau München 2017, mac

An association can strengthen the industry as a whole by giving it a backbone. It needs this sovereignty to be per ceiv ed no t so much by its implementation but rather for its ability to provide competent advice to stakeholders in the industry.

Alternative House Fairs

The exhibitors have the leverage over trade fairs and can use their influence to use shorter construction times as a means of raising profits. If this develops into a trend, Olivier Morlon, CEO of i.xpo, from Kaarst nearby Düsseldorf, predicts that some exhibitors will sooner or later refrain from participating in trade fairs and instead switch to presentation formats such as in-house exhibitions.

More Industry Awareness

Damböck demands more self-confidence from stand construction stakeholders, “We should not hide our light under a bushel. We should show and explain the full talents and abilities that we possess. If every stand con s truc tion c ompany begins to simply look like a communica tion agency, this undermines are credibility. Because only when there is trust in the competency of our consulting will costs cease to be the main topic within the customer discussion.

FROWEIN

Hauser @ EuroShop 2017, mac

Würth @ Bau München 2017, mac

Trade Show Benefit Check

So, after all is said and done you don’t know how successful your fair was? Or you want to know how much you have to spend if you do not attend the next Trade show? then why not carry out a Trade Show Benefit Check. This software helps exhibitors to assess their participation in a show and calcula tes a cost-benefit balance. And it helps exhibit houses to consult exhibitors to select the best fitting solution. Both Exhibitors and Consulting Partners can make use of the software during planning period. The answer they will find is:

What would it cost to reach the goals which trade f air participa tion can achieve bya using other means ( ad vertising, sales force, etc)?

This software for planning, calculating and evaluating trade fair participation is available free of charge in four languages: English, French, Spanish, German, It contains instructional videos on how to use the software.

For more: www.toolbox.auma.de

An industry empowering itsel f through Digitization and fresh Talent

When we think back to forecasts of the way businesses were expected to operate today, it might c ome as a surprise to see just how many widely accepted predictions simply never came to be. The paperless office; people conducting their business alone as if buying a gift on Amazon; connected and transacting only via screen.

We in the global exhibition industry are better placed than most to know why. As a face-toface industry, we know that most important decisions are made when physically surrounded by others. While the Internet is a perfect tool for delivering targeted audiences to the events

we’ve paid to attend, exhibitions stand alone in their ability to provide us with the forum we need to turn these needs into business.

It is precisely this element of the exhibition medium – the fact that buyers predominantly attend live events by design rather than by chance – that makes the industry ripe for digitization. And the way in which these in teractions are being enhanced though a modern digital approach is perhaps the greatest tide of change we are witnessing in the industry at the moment.

With digitization accelerating in businesses around the world,

it’s little surprise that UFI’s most recent Global Barometer survey focused on the state of digital activity in the exhibition industry – finding that the majority of companies are responding to the accelerating process of digitization in the exhibition industry.

In f act a quarter of companies reported that they have developed a digital transformation s trategy for the whole company, a fifth have created a designated digital role (Chief Digital Officer, for example) in senior management, particularly in China and Germany.

A fifth of survey participants even claim to have launched digital products not directly

By Region

Added digital services/products around our existing exhibitions (like apps, digital advertising, digital signage)

Changed internal processes and workflows in our company into digital processes

Developed a digital transformation strategy for individual exhibitions/products

Developed a digital/transformation strategy for the whole company

Created a designated function in the upper/top management (like a CDO, Head of Digital, etc.)

Launched digital products not directly related to existing exhibitions

related to existing exhibitions; a trend most visible in the UK (50%) and the US (36%).

In order to quantify how markets and regions are adapting to the digital challenge, UFI has created ‘UFI DIX –The Digitization Implementation Index of the Exhibition Industry’, which analyzes the degree to which digital tasks have been completed, from 0 (none) to 100 (all).

According to this debut index (2017), the UK, Germany, China and the US are the exhibition markets in which key indus try players are most actively engaged in digital transformation.

There are many reasons why highlighting these more advanced digital exhibition environments should matter to potential clien ts. One of the upshots of digital development is that live events are becoming both more measurable and more cost-effective. Another is that these c onversations themselves –as befits today’s marketplace – are increasingly managed and recorded. People want two-way, engaging conversations and by employing digital means to create experiences at every touch point we can empower the live experience, aiding dialogue, increasing the number of valuable leads, even creating

advocates to share your message for next year’s edition.

Leaving digital development to one side, we are also seeing the industry expand in more conventional terms. Venue space c ontinues to grow in most regions of the world, and this year UFI charted this growth with its report on the World Map of Exhibition Venues (with a minimum of 5,000 sqm).

In addition to analysing indicators on key regional trends, it lis ts the largest venues for all 28 markets where total capacity exceeds 200,000 sqm of gross indoor exhibition space.

Asia-Pacific has become the market with the second

… exhibition industry markets around the world currently have progressed towards full Digitization.

By Country

1,212

largest offer (23.7 % of the total world capacity), behind Europe (45 %) and ahead of North America (23.6 %). In addition to adding new space, many venue operators have also made significant investments to upgrade their existing venue capacities.

It is important that the talent base for venue management grows in parallel with this, and education programmes still need to be developed to provide sufficient qualified talent for everyday needs. The evolution of≈ our business is increasingly shaped by a new and younger pool of talent and such programmes enable future leaders to stand out and be noticed.

One thing is for sure, these young leaders will be entering the industry at a time of fresh

1,195

challenge and a new definition for what we’ve come to regard as a typical exhibition, if such a thing exists. The ‘blurring of the lines’ between historically separate event formats like exhibitions, congresses, and conferences is continuing and intensifying. Hybrid formats like the Web Summit have evolved – at once a festival, conference and exhibition, while entertainment elements are increasingly expected at B2B events, the product of changing audience demands.

As hybrid business events thrive, we are seeing more collaboration and merging between these new organisers, established association congresses and for-profit exhibition organiser s to match these developments.

All of this development is of course taking place against an economic and political backdrop in which, despite political tensions, a rise in protectionism and a perceived fragility of free trade, both the global economy and the exhibition industry as a whole are growing at rates exceeding most forecasts.

While issues such as venue security and complications regarding travel and labour arise from issues such as foreign and domestic policy change arise from life outside our sphere of influence, the exhibition industry remains as valuable to global business as it ever has.

The

total indoor exhibition space worldwide reaches 34.6 million sqm for the year 2017 and 1,212 venues were identified. C ompared with the last census produced in 2011, this shows a 1.4 % ne t increase in terms of the number of venues, and + 7.2 % ne t in terms of exhibition space (+1.2% on average per year).

Main results / Indoor exhibition space in 2017: size segmentation

Globally, 61 % o f the venues have an indoor capacity between 5,000 and 20,000 sqm. One third (34%) of all venues globally belong to the medium-size segment, offering between 20,000 and 100,000 sqm. 61 venues have more than 100,000 sqm; with a growth of 27%, it is the fastest growing market segment.

While Europe is home to most of the large venues, the average size of Asia-Pacific venues is bigger than in any other region.

It depends! Values, art and brands

Art in itself knows no values. It depends on the e thical frame of reference. That is why Peiner and Padua decorated the Nazi palaces, while someone like Ernst Walsken was putting his life in danger and enduring great hardship in the concentration camp Börgermoor whenever he used shoe polish to paint on disgarded matchboxes or any other kind of surface he could get his hands on.

Simply put: art has a wide range.

Art has to be seen in context. It is been liberated from being the faithful rendering of the optical, the playing of the most beautiful sound possible or the reproduction of life - as we know it or presume to know it. Of course, art owes this particular liberation to the technologies developed in modern times. Art can make sense, but has no purpose anymore in a free society. Stylish representation of the Divine or Divine-like has been dropped since the Enlightenment. With art, artists can pose questions, which brings them on a par with the scientists. We can confidently push aside the decorative ornamen t in the 21st century.

Famous artists are brands and they behave as such. Warhol was mass-producing in his Factory Pop-Art, and Beuys knew all too well how to control all his communicative movements.

Bob≈ Wilson and Christoph

Schlingensief are and were recognizable. One as an aesthetic stylist, the other as a moralist who “pain ted” on the canvas of society. Brands are at best good friends and good friends are not without ethos, otherwise they would not be good friends. If you want to work with Bob Wilson, you should also expect an ethos, one that reaches far beyond the aesthetic exterior.

In an anything-goes society in which – thanks to science – the power of the divine has eroded, new frames of reference are needed. People need orientation, that’s how we should interpret the roll-back to the Right which has seized large parts of western societies, some eastern societies, too, whose freedom revolts thirt y years ago led them into an orientation-nowhere. The capitalist global market econo -

my is unable to provide either home or orientation. Brands will not work as substitutes for functional families. The advancing digitization will aggravate this problem, because unless we take countermeasures, it will irradicate the frame of reference many people still have in their work. The digital proletariat –growing ever more in number, if algorithms and robots are to take over routine tasks with greater precision at a far cheaper price – is culturally as well as materially addicted.

Some o f the corporate leaders of the digital world see the consequences and demand a basic inc ome: they want to ensure that people will continue to be able to afford their goods and services.

But man does not live by bread alone

In Ma tthew 4,4 it is written, “Man does not live by bread alone, but by every word that passes through the mouth of God.” Jesus describes a cultural as well as an individual basic need of his time. The cynic Heiner Müller phrases it in his play QUARTET for ours: “Time is the hole in creation and the whole of humanity fits inside it. For the riff-raff the church filled it with God. We know it is black and bottomless. If the riff-raff finds out, it will stuff us down it.“

So, if brands want to remain meaningful in the future, the leading companies cannot ignore their social responsibility. Instead of being suspended in a vacuum where, at some point in time, the crucial criteria for success is nothing but the size of the company and the

degree of its monopolistic power, they have to act within ethical co-ordinates aside and beyond the purpose of their business. From art, brands can also learn humility and impose self-restraint.

Ludwig Erhard is turning in his grave

U nfortunately, when it comes to accelerating the short-term sale of their own products, world brand companies like VW are completely unaffected by their own corporate values When it comes down to it, they won’t even shy away from fraud. These scandals happen again and again, because managers put their own profits before those of the stakeholders. Ludwig Erhard, the founder of the social market economy, meanwhile, is turning in his grave.

An art linked to values can provide orientation when it comes to being a human being. Brands, on the other hand, provide only orientation when it comes to being a consumer; that is the extent of their achiement as the example of VW shows. Consumers have not punished VW for its lies and obviously flawed products. However, values will play a bigger role in the future, because they are the crash barriers within which social developments take place. Ecological and social issues are now linked. They are far reaching and effect the new migration phenomena. There are certain facts, we will not be able to avoid. After Karl Marx and Adam Smith it is time for a new ethics. The world population has increased tenfold, resources are finite. C ompanies and brands can be part of a movement that

defines itself beyond infinite growth. Once again, brands are at best good friends and good friends are not without ethics, otherwise they would not be good friends.

The Autor

Andreas Schäfer is a director and author. He attended the master class directing with Robert Lewis (Actors Studio). Productions in Israel, London, Barcelona, Berlin, Brussels and at the EXPO2000. Schäfer writes an essay series on communication and art in the 21st century and reference book contributions. Interviews with Hellmuth Karasek, Prof. Michael Schirner, Bert Neumann, Denis Scheck, Tom Stromberg, Heike-Melba Fendel, Jan Hoet, etc. Since 2009 he is the executive editor of the magazine showcases. In 2012, an interview with the title „Durch den men -

schlichen Kosmos“ (“Through the Human Cosmos”) was published. In 2011, he directed the CD production „Die kreisende Weltfabrik“ (“The orbiting world factory”) with texts by Else Lasker-Schüler. In 2014 he is curating the exhibition SOCKS FOR LIFE, among others with works by René Böll, Elfriede Jelinek, Robert Wilson, Ruprecht von Kaufmann and Andrea K. Schlehwein in the European Parliament in Brussels.

He received an Euorpean Best Event Award for that. In 2016 he realized the Project “Transit Lounge Else” about persecuted Arts with the Goethe-Instituts in Stockholm, New York London and the famous Lion-Feuchtwanger-house VILLA AURORA in Los Angeles.

TEXT ANDREAS SCHÄFER

PHOTOS LUCIE JANSCH

“The Sandman”, Schauspiel Düsseldorf

“Reputation is especially important in today’s world of so-called fake news. Integrity is the most importan t asset when it comes to our awards programs, and every entrant is assured a fair chance of winning.”

TRAVIS STANTON, EDITOR, EXHIBITOR MAGAZINE.

The Value of Awards

Public opinion of design awards is sharply divided. Some despise them as mere money-machines — frivolous and implausible, while others value them as an instrument for lead acquisition, public relations and recruiting. Although the number of sub missions f or some formats is declining, new design award programs continue to launch. One such example is the Frame Awards, Frame magazine’s contest honouring the world’s best interiors and spatial design work. 1

The promise of design awards still looms large as recognition and prizes are awarded not only by design institutions and associations but also by publishers and even companies themselves. So, within the discipline o f spatial design, how can awards contests maintain their relevance to as many stakehol ders as possible?

Jan Kalbfleisch, managing director of the German associa tion FAMAB, believes the relevance of an organiser’s Design Award depends on satisfying three criteria:

“You have to be big. You have to be neutral. You have to be respected.”

Big, neutral, respected

In a mass of design awards, the only way to guarantee publicity for winners is by achieving a certain size. According to Kalbfleisch, satisfying that criteria means you must be listed in one o f the Official Creative Rankings. Neutrality is a prerequisite for credibility and thus for the third criterion of respectability. “The nuts and bolts is a neu tral and profes sional jury”, notes Kalbfleisch.

Participating in awards programs can make sense if you have the opportunity to stand out with distinction from the competition or favorably increase your public perception. Robert Thiemann, founder of Frame Magazine and the Frame Awards, emphasizes that this is still relevant to the temporary spatial staging industry in particular, “We give designers a pla tform to get their work seen by expert judges and the world – making their designs

1 Editor‘s note: After the editorial deadline, the judging phase of the First Frame Awards was not yet completed. The nominees have been announced but the jury will announce the winners on the 21st of February.

memorable, beyond the trade fair or exhibition.”

Travis Stanton, editor of EXHIBITOR magazine, emphasizes that a design award like the ones o ffered by the magazine’s Exhibit Design Awards competition has more to offer than just a trophy. “It offers editorial coverage that can extend your brand’s reach to thousands of print and digital readers — many of whom are potential clients.”

Stanton speaks from personal experience. “One of the largest pavilions at Expo 2015 in Milan was designed by a German company because the pavilion’s organizers said they wanted to work with the best. So they looked at the results of our past Expo Awards competitions and chose a firm that had won the Best Pavilion award without even issuing a tender to other companies.”

“The golden age of awards programs is over,” believes Kalbfleisch. “Currently, all major awards are in a phase of rehabilitation. While the FAMAB Award is still relevant, we must ask ourselves realistically, will that be true in five years?”

After 21 years, we have seen the final curtain fall on the “traditional award.” An award alone does not make an event anymore, explains the FAMAB CEO. That is why FAMAB, together with the magazine Blach Report, the Best of Events (BOE) trade fair in Dortmund and the Study Institute for Communication, is launching a new format. The In ternational Festival of Brand Experience will be held for the first time in January 2019 within the framework of the BOE.

The event will be kicked off with a congress on the eve of the fair to highlight relevant industry topics and trends with various formats of interactive orientation such as workshops and bar camps. In the evening, the best work in the industry will be honored with the Brand Experience Award and celebrated at the sub sequent party. With the new prize, the competition formats of its initiators merge. FAMAB is not ready to give up on the future of awards.

The idea of combining added-value and an international focus with a new platform is also being pursued with the newly created Frame Awards. The ceremony will be held together with an immersive and content-driven event: the Frame Lab. The goal of the Frame Awards is to cover the entire spectrum of non-residential interiors, while the Honorary Awards celebrate the people behind them. “We hope to differentiate ourselves by being a global interior design award with a truly holistic approach,” explains Robert Thiemann and “We want to empower spatialdesign excellence and set the standard.” A glance at the projects nominated (from 892 submissions from internationally renowned offices of more than 50 countries, www.frameawards. com/nominees) gives the impression that these goals could be achieved with the Awards Show on 21st February.

Awards have a future Travis Stanton is optimistic that awards have a future. “The digital revolution means that you no

longer need to win an award in order to reach potential buyers. Social and corporate media provide a vehicle for design to directly connect with clients. Still, world-class athletes aspire to Olympic gold. Why? Because it represents an objective and respected way of proving that you’re the best of the best.”

TEXT CONSTANZE FROWEIN PHOTOS PUNCTUM/ ALEXANDER SCHMIDT

Inspiring Projects

The main topic “Values” in this worldview edition has prompted us as editors to ask spatial staging professionals for their personal highlights from the industry, in a thematic context. Those interviewed are free to determine what constitutes “value” (this can be sustainability or creative quality, for example) but we also asked them to discuss their opinion on the debate of what constitutes “ethical value.” The result is a small but exciting mix that we hope to use to rebalance or even expand your personal perspective on the subject of values.

Ocean Plastics Lab: See – Detect – Act

PROJECT Ocean Plastics Lab:

See – Detect – Act

Traveling exhibition; started in Turin in September 2017 and has been touring the world ever since; Duration: 3 years

The traveling exhibition Ocean Plastics Lab is dedicated to a topic that is not new, but so very important to keep it in the spotlight — pollution of the oceans from plastic. According to the organizers, around 35 overseas containers of plastic land in the sea every hour. A number that, although widely-known, is shocking. It is this emotional moment of horror that the exhibition uses to engage visitors. Following the motto “See-Detect-Act”, guests are first confronted with a garbage avalanche which threatens to pour out of one of the four overseas containers into

the public space. After this dramatic start, the participants will be informed at the other stations about the extent and effects of the pollution in order

to ultimately experience the individual potential for action and solution. A beautifully made exhibition on an important topic that touches and involves!

KEY DATA

PROJECT REALIZED IN 2016 – 2018

TOUR STOPS IN 2018

For 2018 Ocean Plastics Lab

Tour stops are planned in:

• Brussels (Belgium)

• W ashington D.C. (USA)

• Ottawa (Canada)

AGENCY

familie redlich, Berlin

CUSTOMER

Federal Ministry of Education and Research; German Marine Research Consortium

RECOMMENDED BY Annika D ammann,

m+a-report

IMAGES

BMBT/Virginia Chiodi Latini/ mta-report

Engelbert Humperdinck’s “Hänsel and Gretel”

PROJECT Engelbert Humperdinck’s “Hänsel and Gretel”, s taged by Kirill Serebrennikov Opera Stuttgart, premiere: October 22, 2017.

In the c ontext of the current debate on values, we noticed in recent weeks, “Hänsel und Gretel” by Engelbert Humperdinck at the Stuttgart Opera, because the f airytale about hope and distress shows on several levels the necessity of an open discourse on values.

On the one hand, the Russian director Kirill Serebrennikov locates the plot of the more than 120 year-old production in Rwanda, exactly where he would project our present, consumed-guilt feeling; and counteracts the fate of two African children, who are searching for the happiness in the world of department stores after arriving in Stuttgart, within in the context of globaliza tion, thus, representing both material and immaterial values.

On the other hand, the contemporary production stimulates,

above all, the debate on the social, cultural and especially political foundation of values. Even today, Kirill Serebrennikov sits for alleged embezzlement in Russian pre-trial detention and could not complete his story accordingly.

Since then, the Stuttgart Opera has been demonstrating unrestricted solidarity, campaigning for the Kremlin-critical director and showing him respect by leaving his “non-staging” untouched, and not merely in terpreting it through thirdparties, bu t instead allowing it to show to others how he had thrived at the time of the arrest. Stage productions that are used as catalysts for freedom of expression, and thus as anchor points of a debate on values, are not only immensely important in shaking up society, they are also the mo st culturally valuable projects in the field of spatial staging for us to think about.

PLACE

KEY DATA

Stuttgart Opera, Germany

PROJECT REALIZED IN 2017

PROGRAM Screenplay

RECOMMENDED BY Sabine Marinescu and Janina Poesch, PLOT

IMAGES

Thomas Aurin, Quimey Servetti

The Train of Animals

As before, I see in the Muséum national d’histoire naturelle in Paris a blueprint of scenographic design – an ideal example of scenography.

Here, architecture, scenography, content mediation and visitor guidance form a symbiosis. The main production is “The Train of Animals,” which defines

the central atrium. The single object is an eloquent exhibit and, at the same time, an integral part of a large-scale production.

More than 20 years ago, Roberto Benavente redeemed what scenography should be able to do: give contents a form in space and sustainably inform and enthuse the audience with a narrative. Good scenography combines logic and magic.

KEY DATA

PLACE Paris, France

PROJECT REALIZED IN 1994

PROGRAM Museum

RECOMMENDED BY Prof. Uwe R. Brückner

IMAGES

Emmanuelle Blanc, Daniel Stauch

IFES Insights

World Summit, Global Village, MasterClass, ICE-Program: Diverse are the activities IFES is offering to the Exhibition Industry. Member s, Customers, Non-Members are taking the advantage of these offers. IFES represents, promotes and supports the business interests of its members by enhancing international collaboration and helping the members to share ideas and knowledge on how to best serve their clients.

Educating the Designer of the Future

AUTHORED BY

Sachel Josefson, PhD, Bemidji State University

Bonnie Higgins, PhD, Bemidji State University

When the production of meaningful exhibitions, events, and exhibits became a viable industry, commercial artists and others that could draw were in great demand to design these events, places, and spaces. Over time, technology caused the organizational model for such events to change substantially.

These technol ogical changes forced professionals within the exhibitions and event industry to evolve as well. Today, many design professionals find themselves working in an industry that has bec ome increasingly more experiential. This evolutionary shift has become apparent, causing many members in the field to seek a new kind of professional designer.

In academia, Bemidji State University (BSU) in Minnesota, USA, boasts one of the select few design programs in the world that prepares young designers for the exhibition and event industries. Since the early 1990s, BSU’s Experiential Exhibit Design program has educated a steady stream of qualified designers from all over the world, including students attending from Malaysia, Moldova, China, India, Japan, Uzbekistan, and other international countries. According to Rob Majerowski, VP of Creative at MG Design, “I’ve hired two BSU grads in the last three years… As students, they are constantly meeting a wide variety of industry experts, and I believe that exposure prepares them well for the start of their

career… BSU education reduces the job training and ramp up time. We love the relationship we’ve built with BSU over the years.” In other words, BSU students do not simply digest facts and theories; they learn how to think strategically and creatively from industry experts, preparing them for related design careers following graduation.

To ensure the value of design education and the momentum of BSU’s program, faculty sought to better understand what skills and knowledge are required of future professional experiential designers. Thus, in 2017, faculty from BSU’s Experiential Exhibit Design program conducted research with industry members to define courses and essential competencies required for students to become successful experiential exhibit designers. Clearly, the new breed of experiential design students will need to learn the design process, as well as all the traditional skills, theories, and creative problem-solving abilities previously taught. However, for now and into the future, these designers will also require a set of skills and knowledge that go beyond the typical scope of design professionals employed today. The research revealed necessary competencies, such as to:

U nderstand a wide scope of experiential design terminology and processes.

Mas ter tools, technology, and equipment to run comprehensive design software.

Implemen t design thinking to identify human behavior which shapes exhibitions, events, and experiences.

U nderstand budgeting, costing, and estimating design projects.

Be f amiliar with a broad range of materials and lighting.

U nderstand production, fabrication, and engineering practices.

Apprecia te and apply the ethics, rules, and regulations of the industry.

Know cognitive, social, and cultural psychology theories related to designing experiences.

Empl oy strong communication skills, address diverse audiences, and speak articulately to groups of people.

U nderstand sustainable building theories and practices.

Prototype design solutions through 3D printing or other fabrication processes.

U nderstand and appreciate distinctions among and between the exhibitions/ events industries throughout the world.

U nderstand and practice professionalism and business etiquette.

U nderstand the CAD detailing process.

Facilitate experiential marketing strategy and the important relationship to design.

U nderstand project management methodology.

These c ompetencies were revealed through focus groups conducted with members of the design industry.

Faculty from BSU’s Experiential Exhibit Design program translated participants’ interpretations into courses and essential c ompetencies. Thus, these findings serve as foci for multidisciplinary courses in technology, art, design, c onstruction, and business; and they will be used to shape the direction of future curriculum at Bemidji State University. Due to the nature of design education and the needs of the design community, a continuous dialog is vital to the continued success of BSU Design and Bemidji State’s contribution to preparing professional designers now, in the future, and beyond.

IFES Global Experience Exchange A program from Members for Members and their Empl oyees

TEXT IFES

The IFES Global Exchange Program is a unique learning platform to create new interna tional contacts within the industry. It helps to build relationships with partner firms. Participants will gain new perspectives on Design, Detailing, Project Management and S ales. Attending the GEE

Program means “Work in a team environment that will encourage open mindedness, team-work, compromise and skill sharing”. Participants will enjoy work and social cultural experiences, while improving language and work related skills. And – beside direct costs, participants have to bare, it is free of charge.

What we offer is a Platform for: „Everyone“. IFES GEE is an open exchange program for everyone, whether yowu look for an Internship or an Intern. This Program brings together next generation people and companies.

Involving IFES members.

Benefits:

Learn abou t the exhibition and event industry around the globe.

Exchange ideas and Insigh ts of our Industry.

Experience cul tural and Business aspects, similarities and differences.

IFES GEE works throughout the year, depending on offers/possibilities.

Possibility to relay this Experience to your Respective team members or others, which will bring benefit to the whole Organization.

Increase o f knowledge for both sides: Thanks to cross-generational and cross-cultural experiences, understanding and respect. J oint reflections as source for improvements of/for solutions.

Experienced IFES members mentor next generation people from around the globe.

How it works: Regis ter yourself on our website with some general information.

Find your intern/internship

Ge t involved by posting your offer or your research for a position.

B oth partners should define objectives and establish a support structure,

As a support to the partners of the IFES global experience exchange, IFES defined the following guidelines, which we recommend before starting:

B oth partners should define objectives of the Internship and clearly state what can be

expected as an Intern/what will be provided by the company abroad.

A contract between the parties is recommendable.

D uration of the GEE should be defined.

J ob description is recommendable including responsibilities.

I t should be defined who is taking care accommodation, travel cost, insurances – and if a wage is payed.

Define the mon thly compensation and the date of paying. Define one or more contact person in the company and make sure that they have some spare time to spend with the Intern.

C onsider about a language course in advance of the Internship.

Experiences of a two month’ internship

Chase Ronaldson from Scan Display Solutions, Design Team

About his 2 month in ternship at Holtmann Messe & Event GmbH, Hanover, Germany

Chase Ronaldson, born and raised in South Africa with a bachelor’s degree in interior design run through a 2 month internship at Holtmann Messe & Event GmbH, based in Hanover Germany. Along with Scan Display Solutions, Holtmann Messe & Event (and many others) are both IFES partners and that is basically where the relationship

between the two companies was founded. In the past, employees from Holtmann were offered a similar position at Scan Display Solutions and so Holtmann allowed me an internship at their company in Langenhagen by Hanover, Germany

Work responsibilities/intern program:

Chase was introduced as a designer and so he was positioned with the designers. Furthermore, he was also introduced to the production

teams and was taken through the procedures of some of the current work being done at the time… from when the job had been signed and approved from a client and given to the production team, to the pre building manuf acture of the stands, to actual build up at the fair grounds and also hand over from production to project manager, to sales team to client.

The main objectives o f the internship were to soak in

the exhibition industry within Germany and learn the history of the exhibition industry and how Germany became one of the largest exhibition industries in the world in the beginning. Afterwards he was given the opportunity to design and work with some of the international sales teams… dealing with all English speaking clients from around the world whom had seemed out Holtmann as a partner

He also had the responsibilit y to assist with the English language and communicating with International clients and to also assist the International marketing material

He spen t a couple of days in Hanover’s fair grounds, simply walking around and evaluating the European style of exhibition design, learning what materials are used, what challenges are faced in the manufacture of the stand at the fair ground, engaging with various international and local (German) suppliers of exhibition stands as well as engaging with the clients and getting a feel of what standard is expected as well as delivered.

Furthermore, he spent a day in Nuremberg at the Nuremberg fair grounds and again I was shown around at one of the exhibits taking place in order to engage with the designs, seeing what materials were being used, the styles of all the exhibition stands and how the construction works etc.

Learning Experiences

Chase’s comment on the program:

I had an absolutely amazing time working and meeting with some of the employees of Holtmann, a few of them even invited me out for dinner and even to their own homes which was an incredible experience as you learn so much from them and their families and I strongly encourage that more. You also learn then where to go grocery shopping during your stay – you also learn the culture so much better. I was also invited to watch a soccer match and it was just great to experience it all. That said and coming back to the work part of the experience it was just great to see how a company in the same field have different approaches to dealing with a job. I took so much motivation back home and so many

ideas o f how one problem that we (Scan Display) may face can be dealt with and so many design ideas…

Germany has a wealth of exhibition history and it opened up my eyes to see what I could bring back and teach others at Scan Display. Holtmann does work slightly different to the way Scan display works, for example the market is different in certain areas, the industry is much bigger and to quote Claus Holtmann (Director), the ‘German exhibition industry has grown so big but has in some way become saturated, and so the market has had to expand internationally which has had to make them follow the trends’… where in South Africa it is still a relatively new industry and is growing very rapidly and I fell the exchange program is very beneficial as it allows companies like Scan Display and Holtmann to become partners on some jobs that happen internationally and therefore we know what to expect and how each other work in order to streamline the process.

PHOTOS GOODLUZ

FAIR 1 6 – 20 FEB

1 of 8 dimensions at EuroShop 2020. All the power and impact of spectacular live performances. At the global No. 1 event in the industry. More information at www.euroshop.de

IFES Certified Expert (ICE) get prepared for the second round

The target audience for the IFES ICE program are managers, skilled work force personnel and project managers from stand building and event service firms. Three years of experience in the industry is recommended before attending the ICE program.

The program will help attendees to improve their competitive position and upgrade their professional qualifications, as well as emphasize subjects concerning the entire stand building and exhibition service industry. It considers the crossfunction character of exhibition managemen t.

The program emphasizes on subjects concerning the entire stand building and exhibition service industry and in addition consists of disciplines that are related to the meeting industry (e.g. trade shows, special events).

The total program includes 130 teaching hrs. The participants are able to compose their

own program of minimum 100 hrs. corresponding to their own specific interests and needs.

The total program includes 130 teaching hours and participan ts may customize their own program. ICE consists of four modules, the first of which takes place within a face-to-face setting, as participants work together. They get to know each other and establish networking groups.

Three additional modules are delivered within an e-learning environment, which will take approximately four months to complete. Participants will have an opportunity within each module to work collaboratively on joint projects.

On one hand, the comprehensive training program considers the cross-function character of exhibition management. On the other hand, the subjects embrace the various working areas tha t stand builders and exhibition service agencies cope with.

The IFES Certified Expert program will be continued. The second episode of ICE will start end of November/Beginning of December.

Price: IFES Member EUR: 1.950,-Non-Member EUR: 2.550,Registration will open soon under: www.ifesnet.org

ICE-Team 2017 visiting Hanover Fair

IFES presents its “Global Village” at EXHIBITORLIVE, America’s premier conference for trade show and corporate event professionals, February 25 –March 1, at the Mandalay Bay Convention Center, Las Vegas. The IFES Global Village, will consist of eleven member companies and together with the

IFES Association Management team, who will meet with partners, members and attendees from around the globe and offer support services and connections for international exhibiting.

“IFES represents a global collaboration network, and EXHIBITORLIVE offers a tremendous opportunity to foster new

c onnections,” notes Voicu Sferdianu, President of IFES. “The Global Village will feature eleven member companies who manage and build exhibits and events all-over the world, who are willing to share their expertise and advice.”

IFES Members exhibiting in The Global Village:

ADM Group Atelier Damböck Messebau GmbH, www.damboeck.de, 1801-4 Global Village

AKTIV Kommunikations-Marketing GmbH, www.aktiv4u.de, 1801-10 Global Village

Bluepool GmbH, www.bluepool.de, Global Village 1801-3

Coastal International Inc., www.coastalintl.com, 1801-12 Global Village

Dodecaedro SA, www.dodecaedrogroup.com, 1801-6 Global Village

Duo Display, www.duodisplay.com/us, 1801-8 Global Village

Grupo Intermedio, www.intermedio.es, 1801-5 Global Village

LAGO by Groupo Omega, www.lagonetwork.com, 1801-11 Global Village

mac messe- und ausstellungscenter Service GmbH, www.mac.de, 1801-2 Global Village

Montecolino SpA, www.montecolino.com, 1801-1 Global Village

welkam Ltd.i, www.welkam.co.jp, 1801-9 Global Village

In addition to the debut of the IFES Global Village, the association is holding an International C ocktail Party just outside the exhibit hall, in The Connection Zone, on Tuesday, February 27th. The event will feature networking and information on the upc oming 2018 IFES World Summit, June 27-29, in Chicago.

IDEAS PUT INTO PRACTICE

From Europe to the World. With our German based headquarter, a warehouse and a shop in Las Vegas, USA, as well as partners in the whole world AKTIV is your reliable source for local and global face-to-face marketing. Use our expertise in international trade shows and get an overview about your next show with our Exhibitor Notes on YouTube.

Experience our precision – globally.

World Summit 2018 Chicago, U.S.A.

June 27–29, 2018

“Reaching New Heights”

The IFES World Summit is our annual opportunity to bring the IFES family together. Inspiring your business is one o f our main goals.

As the “Global Collaboration Network,” IFES organizes its summit each year – somewhere around the globe. For 2018, we chose to have the gathering in one of the world’s greatest exhibition markets: the US –and the greatest trade show places: Chicago.

So, become a part of this opportunity to meet colleagues from around the world, discuss

new trends, find new partners, enhance your international business and be a part of the IFES family. And, enjoy the magnificent Windy City –CHICAGO.

Participants: Delegates, Exhibitors and Sponsors will have the opportunity to join their peers at this international conference focusing on exhibitors, designer s, stand builders and

suppliers of the exhibition and event industry. Everybody will enjoy networking in the IFES family, learn about intercultural communication in a smaller getting world and experience an exciting line-up of speakers and workshops who will be bringing them up-to-date topics, the latest trends and best practices for evolving and growing their business.

Why people join the IFES World Summit … Target group of IFES World Summit 2018: IFES Members (85%) and Non IFES Members, suppliers, associations, business networks, associations, fair organizer s, sponsors (8%), speakers (3%)……

Why do delegates attend IFES World Summits:

1 00 % Ne tworking

66 % Looking for new Business Opportunities

60 % Learning abou t other countries

36% Learning about sustainable solutions

13 % Certain speaker s

26 % IFES General Assembly

Considering the Delegates Fee, IFES World Summit Ranks in Terms of “Value for Money” as:

10 % Excellen t

47 % Very Good

13 % S atisfying

Would you recommend IFES WorldSummit to Friends or Colleagues in the Industry?

84 % Yes

13 % No

Statements

… Why do I attend the IFES World Summit in Chicago?

The IFES World Summit provides a unique opportunit y to meet and network with industry peers from all over the world and to get a better understanding of what is happening in the global exhibition industry.

Claire Wyckaert, Aluvision

After 14 IFES global meetings in a row. Do not plan to miss one in my own Country.

Mike B oone, Coastal

It is a great environment to meet with reliable partners for both inbound and outbound work. Ne tworking… Networking… Ne tworking…

Cam Stevens, stevensE3

The IFES World Summit is a great opportunity for me to network with likeminded people. We have also been fortunate as a company to close out on a number of leads generated from the event.

Justin Hawes, Scan Display

I am going to attend the IFES World Summit 2018 in Chicago to meet again my international colleagues and learn from the presentations at the conference!”

Bruno Meissner, Meissner Expo

…networking, meeting new and dependable partners from all over the globe, listening to some great speakers, and expanding my cultural horizons, are just a few elements on why I keep attending the IFES World Summit each year!

Peter Theodorides, Vision

IFES World Summit 2018

Chicago consists of:

Keynote speeches

Inspiring speakers and thrilling topics

International workshops

Workshops are “deep-dives” into select topics designed to provide a better understanding of the global the exhibition and event industry.

Business meetings

These meetings are a platform for meeting new partners to making your business even more successful!

Networking opportunities

During dinners, breaks, running challenges, …

S upplier Showcase

Find suppliers, Solutions and new products

Sponsorship Opportunities get in touch with relevant peer groups, enhance your international network, collaborate with partner s from all over the world through the following sponsoring opportunities: meals, keynote speakers, locations, technical support etc.

Flash back

For its members, IFES provides a platform of global collaboration achieved through networking and sharing knowledge. IFES also provides industry professionals with an educational program which stands for state-of-the-art knowledge and a network dedicated to helping them face new challenges and acquire new business opportunities.

Enjoy some of the wonderful moments on the following pages. All happened in 2017.

Flash back

EuroShop Germany

Düsseldorf

March 5 – 9 2017

During EuroShop, the leading trade show for shop-fitting and exhibition design, IFES presented, together with 16 members, the IFES Global Village. A place, where partners had a chance to meet, find answers, enhance their business, or simply enjoy a cup of coffee.

As it should happen in a proper village, the community celebrated at one night its “Block Party”. Visitors, Guest and Exhibitors took the occasion to network and enjoy themselves.

Besides the Global Village, IFES was contend partner of the Expo + Event Forum which aimed

to create an added value for the visitor providing latest news on trends, innovations and best practice. The Forum was run during EuroShop hours and was free of charge.

PHOTOS RICHARD MENZEL

IFES World Summit

France, Montpellier, June 21 – 24 2017

After successful and inspiring world summits in Vienna (2015), taking us to “The next Level” and Istanbul (2016) “Building bridges

to the future” the IFES family in 2017 went back to study times.

“Welcome to the Global Campus!” was the motto for 2017’s

summit in Mon tpellier, in the South of France. The aim was to take us back to the student atmosphere of the late 70’s and

early 80’s. Discussions, entertaining education and socializing in a relaxed surrounding, open minded.

All workshops and presentations were directly linked to IFES member s’ business areas and have been created based on

expectations expressed by IFES members.

PHOTOS COSME PERON

IFES Trip to Expo 2017

Kazakhstan, Astana/Silk Road, August 15 – 25 2017

IFES visited with a group of industry experts World Expo 2017 in Astana, in the middle of August. The participants received a behind the scenes look a t the hottest concepts and latest trends from Expo 2017. And while there, why not extend your stay? IFES is organized a travel following the footsteps of Marco Polo along the Great Silk Road in Uzbekistan. Participants experienced the wonders o f places such as Samarkand, Bukhara and Tashkent.

Comments:

The Silk Road Study Trip was another good piece from IFES. With the emphasis of “One Belt One Road” scheme insight from China and the vicinity countries, Central Asia possibly will be the market for our industry for the next decade. Get to know the countries more is definitely beneficial.

If you are in this business, it gives you a great chance to talk with your colleagues around a world

Expo is always a mega event for people in the industry. And IFES had organised well professionally. Participants were just carefree with all the commuting, meals, everything tiny things that drawn away attention into the Expo stuff.

MASTER CLASS

4 th Masterclass Singapore, December 6 – 8 2017

The IFES Master Class is a threeday education and networking, specifically designed for marketers, architects, designer and project managers, responsible f or international exhibitions and events who want to enhance their skills in 3D communications.

Building on the success of the 2016 IFES MasterClass in Cape Town, South Africa, where more

than 40 participants from around the globe enjoyed a three-day educational program, IFES MasterClass 2017, took place in Singapore with the same success. “Translating marketing massages into exhibitions and events” was the theme.

“IFES Master Class is a platform to exchange knowledge, support ne tworking and enhance

professionalism”, says Karla Juegel, Founder & CEO of Messe|Marketing, and chair of IFES Master Class. Singapore convinced the audience with three days of inspiring presentations, interactive workshops and examples of best practices from which everybody could learn.

Flash back

Board & Management

These are the people in leading positions at IFES

Board

1 Voicu Sferdianu, President

2 Bruno Meissner, Past President

3 Justin Hawes, Vice-President Finance

4 Torsten Heinze, Vice-President Strategy

5 Peter Theo dorides, Vice Presiden t Membership

6 Cam Stevens, Board Member Education

7 Philipp Beille, Board Member Sustainability

8 John Pavek, Board Member Marketing

Management

1 Uta Goretzky, Executive Director

2 Dany Kupczik; Project Manager Communications

3 Carmen Schinzl, Project Manager Membership and Finance

Member List 2018

Find your Partner in the Global Collaboration Network

IFES is the international federation of national associations and individual companies active in the design, conception, production and services used at exhibitions, tradeshows and events. IFES p rovides a platform of global collaboration achieved through networking and sharing knowledge.

The following pages provide you with an easy way to find IFES Members by country, region and city. We are also providing information on major exhibition cen ters so you can easily see which IFES Member is situated next to an important trade show place. This List starts on degree of longitude “0” and moves to the East.

In addition you will find infor ma tion related to the venue capacity on a global scale provided by the UFI World Map of Exhibition Venues. Venue Capacity is an important element for the exhibition industry and the resulting economic developement it generates.

O ur association’s strength lies in our ability to provide a

platform for knowledge and experience exchange among industry peers and to support your business initiatives. While IFES supports you to expand your networking value, you need to actively participate and contribute to the association. It is a “Give and Take” philosophy and we encourage you to use the network by collaborating on pro jects abroad since this will help you to gain recognition from the whole IFES community.

Nowadays, IFES represents more than 270 members. to satisfy customers’ needs in the exhibition and event industry is one of the core objective. To achieve this, IFES passed its code of which IFES members have to sign up before being accepted as a member.

PARTNER ASSOCIATION

IAEE, Exhibition and Events

Mean Business

12700 Park Central Drive, Suite 308, Dallas, TX, 75251 USA www.iaee.com

UFI The Global Association of the Exhibition Industry

17 Rue Louise Michel 92300 Levallois-Perret

www.ufi.org

European Exhibition Industry Alliance

Rue de l’Amazone 2

1050 Bruxelles

www.exhibition-alliance.eu

ASSOCIATIONS AT IFES

Czech Republic | AVF

Fisova 28, 602 00 Brno

www.avfcr.cz

Germany | FAMAB

Kommunikationsverband e.V. Berliner Straße 26

33378 Rheda-Wiedenbrück

www.famab.de

France | CREALIANS

11 Rue Friant, 75014 Paris

www.crealians.fr

Belgium | Febelux

Association for the Live Communication Industry Place de la Belgique 1

1020 Brussles

www.febelux.com

USA | EDPA

Experiential Designers and Producers Association

19 Compo Road South

Westport, CT 06880

www.edpa.com

Austria | I.M. Austria

Schlickgasse 4/1/4-5

1090 Vienna

www.imaustria.at

United Kingdom | ESSA

Event Supplier and Services

Association

119 High Street

Berkhamsted HP4 2DJ Herts www.essa.uk.com

South Korea | KEDA

Korean Exhibition Design Installation Association

Dong Woo Kim 3F, Seongji Building

Switzerland | Expo-Event. Live Communication Verband

Schweiz

Kapellenstraße 14, 3001 Bern

www.expo-event.ch

23 Samsung-RO 104-GIL, Gangnam-GU 135-878 Seoul

www.keda.in

South Africa | EXSA

Ground Floor, Gallagher House, Gallagher Estate, Richards Drive, 1685 Midrand

www.exsa.co.za

Turkey | SSTD

Exhibition and Stand

Designers’ Association

Evren Sanayi Mah.

Hoşdere Yolu No:37

34510 Esenyurt, Istanbul

www.sstd.org.tr City

Spain & Portugal

Spain

4.4 % 9.7 %

OF GLOBAL VENUE SPACE AVAILABLE OF EUROPEAN VENUE SPACE AVAILABLE

VENUE MARKET SEGMENTATION

LARGE more than 100.000 sqm

6

MEMBERS SPAIN

9

MEDIUM 20.000 –100.000 sqm

2003 Dylunio, S. L. 2

C/ de l’Or n 38 Entresuelo 08012 Barcelona

www.dylunio.es

Mr. Alejandro Blitstein alejandro.blitstein@dylunio.es

Difer Event Crafting 2 www.difer.es

Expomedia 1

www.expo-media.com

Grupo Intermedio 3 www.intermedio.es

SMALL less than 20.000 sqm

29

MEMBERS PORTUGAL

CBS – Creative Building Solutions SA 4

www.cbs.pt

OBJECT MAKERS, LDA 5

www.objectmakers.pt

4 For Everything 1

Calle Puerto de Navacerrada 72, Mostoles

28935 Madrid

www.4foreverything.com

Mr. Miguel Angel Barragan Rodriguez miguelangel@4foreverything.com

M&P Stands 2 carrer Pere IV nº 29-35, planta 1, puerta 6 08018 Barcelona

www.mpstands.com

Mr. Roger Nin Puntonet roger@mpstands.com

Servis Group S.L. 2 El Prat de Llobregat, Barcelona www.servisgroup.es

© ufi – World Map of Exhibition Venues

France

6.5 % 14.2 %

OF GLOBAL VENUE SPACE AVAILABLE OF EUROPEAN VENUE SPACE AVAILABLE

VENUE MARKET SEGMENTATION

LARGE more than 100.000 sqm

25

SMALL less than 20.000 sqm

0.9 % OF MIDDLE EAST & AFRICA VENUE SPACE AVAILABLE

MEMBERS FRANCE

ACTIVISE S.A.S 1 www.activise.com

Agence R2 Stand 1 www.r2-stand.fr

CAT 1 www.concept-at.com

Duo Display (Raison Social Duo Industrie) 2 www.duodisplay.com

GALIS 1 www.galis.fr

Groupe FG Design 1 www.groupe-fgdesign.com

JMT LOCAMEUBLES 1 www.jmt.fr

3

MEDIUM 20.000 –100.000 sqm

65

© ufi – World Map of Exhibition Venues

Mythiqs 1 2, route d’Ocquere 77440 Lizy-sur-Ourcq www.mythiqs.fr

Laurent Stawski l.stawski@mythiqs.fr

OPUS 1

www.opus-expo.fr

OSSATURE Production 3 www.ossature-production.com

PROCEDES CHENEL

INTERNATIONAL 1 www.chenel.com

SODEM SYSTEM 1 www.sodemsystem.com

Sommer Needlepunch sas 4

www.sommernp.com

TECHNISTYLE 1 www.technistyle.com

ZEKITCHEN 1

www.zekitchen.com

MEMBERS UNITED KINGDOM

Bray Leino 3 www.brayleino.co.uk

C6(n) Technology Ltd 4 www.C6n.co.uk

CORE Exhibitions 5 www.core-exhibitions.com

DSA Design 6 www.dsalive.com

Freeman Corporate UK 2 www.freemanco.com

MEMS International Ltd 1 www.mems.co.uk

Radar 1 www.radarexhibitions.com

RB Design &

www.rbdisplays.co.uk

Ltd

OF EUROPEAN VENUE SPACE AVAILABLE

OF GLOBAL VENUE SPACE AVAILABLE Sweden

0.7 % 1.5 %

Denmark

0.6 % 1.4 %

MEMBERS DENMARK

NICOLAYSEN

MESSEDESIGN A/S 3

www.nicolaysen-messedesign.dk

MEMBERS FINLAND

Wulff Entre Ltd. 1

Ruoholahdenkatu 21B

00180 Helsinki

www.entre.fi

Ms. Ninni Arion

Ninni.Arion@wulff.fi

MEMBERS NORWAY

Messetjeneste AS 2

www.messetjeneste.no

MEMBERS

A & P Flooring Systems (Art & Press

Aluvision nv 2 www.aluvision.com

Bematrix

www.bematrix.com

Expo Projects 4

www.expoprojects.com

Publiganda nv 2

Ottergemsesteenweg Zuid 717

9000 Gent

www.publiganda.be

Mr. Koen Bogaert

koen.bogaert@publiganda.be

1.3 %

The Netherlands

MEMBERS NETHERLANDS

KOP Expofessional 11 www.kopexpo.com

The Inside BV 11 www.the-inside.nl

GES Global Experience Specialists 5 www.ges.com

Mr. Han Leenhouts han@salesandpepper.com

Wit Design 8 www.witdesign.nl

OF GLOBAL VENUE SPACE AVAILABLE OF EUROPEAN VENUE SPACE AVAILABLE

Tausch

2 % 4.5 %

Mr. Jean-Pierre Brouwers jean-pierrebrouwers@jmt.nl

Mr. Maarten van der Vaart maarten@tauschexpo.nl

© ufi – World Map

9.3 % 20.5 %

OF GLOBAL VENUE SPACE AVAILABLE OF EUROPEAN VENUE SPACE AVAILABLE

more than

20

10

MEDIUM 20.000 –100.000 sqm

VENUE MARKET SEGMENTATION SMALL less than 20.000 sqm

30

GERMANY

AKTIV KommunikationsMarketing GmbH 14 Dieselstr. 61 90441 Nürnberg www.aktivonline.de

Mr. Wolfgang Goesswein wolfgang.goesswein@ aktivonline.de

Czarnowski GmbH 8 Schanzenstr. 39 D3 51063 Köln www.czarnowski.com

Mr. Torsten Heinze theinze@czarnowski.com

D4 Projekt GmbH 4 www.d4projekt.de

Kühne+Nagel KN Expo & Event Logistics 7

www.kuehne-nagel.com

mac messe- und ausstellungscenter Service GmbH 11

www.mac.de

MC 2 Europe GmbH 7

www.mc-2europe.com

Atelier Damböck Messebau GmbH 13 Oskar-von-Miller-Ring 1 85464 Neufinsing bei München www.damboeck.de

Mr. Simon Damböck simon@damboeck.de

Beckmann Fair Partner GmbH 8 www.beckmann-gmbh.com

Bluepool GmbH 12 www.bluepool.de

CHRITTO International AG 8 www.chritto.com

dcp Werkstatt für Werbung GmbH & Co. KG 15 www.dcp-online.de

DEEG exhibition & more GmbH 8 www.deeg-more.de

DIMAH Messe + Event GmbH 12 www.dimah.de

Engelmann Messe & Design GmbH 2 www.engelmann-messebau.de

Europfast Internationale Spedition GmbH 12 www.europfast.com

Expo Speed GmbH 8 www.expospeed.de

MDS Messebau und Service

Gesellschaft für Planung

Gestaltung Ausführung mbH 2

Brauerstraße 11

21244 Buchholz

www.mdsmessebau.de

Ms. Vanessa Niemann

vn@mdsmessebau.de

Meissner Expo GmbH 1

Industriestraße 11

25469 Halstenbek (b. Hamburg)

www.meissner-expo.de

Mr. Nikolaus Meissner

nikolaus.meissner@meissnerexpo.de

conform GmbH 15

Kleine Heide 16

33790 Halle / Westfalen www.conform.cc

Ms. Sandra Bartling sandra.bartling@conform.cc

CT Creative Technology

GmbH & Co. KG 12 www.ctgermany.com

Expoprojects KG 4 www.expoprojects.biz

Exposervice 7 www.exposervice.com

GVW Raumdekor GmbH 8 www.gvw-group.com

Heilmaier GmbH

Messedesign 13

www.messedesign.de

Holtmann GmbH + Co.KG 3

www.holtmann.de

i.xpo GmbH & Co. KG 7 www.i-xpo.de

Messe Düsseldorf GmbH 7

Stockumer Kirchstraße 61

40474 Düsseldorf

www.messe-duesseldorf.de

Ms. Elke Moebius

MoebiusE@messe-duesseldorf.de

Messe-Marketing/

Karla Juegel 13

kj@karla-juegel.com

Müller Messebau GmbH 12 Industriestraße 3

79232 March

www.mueller-messebau.de Mr. Matthias Glaser

m.glaser@mueller-messebau.de

OCTANORM Vertriebs GmbH für Bauelemente 12 www.octanorm.de

Robert Schüler KG Versicherung 1 www.robertschueler.de

Schenker Deutschland AG 11 www.dbschenker.com

SUITESTUFF GmbH 13 www.suitestuff.de

SYMA-SYSTEM GmbH 7 www.syma.de

UNICBLUE GmbH & Co. KG 6 www.unicblue.com

Uniplan GmbH & Co. KG Deutschland 8 www.uniplan.com

VOK DAMS.Events GmbH 7 www.vokdams.de

Werbebaugesellschaft mbH 11 www.werbebau.com

WUM Design GmbH & Co KG 11 www.wum.de

Zeeh Design GmbH 13

www.zeeh-design.de

ZEISSIG GmbH & Co. KG exhibits. shops. events 3 www.zeissig.de

going beyond the ordinary

Austria, Switzerland & Italy

FRANCE

Basel Bern

Genf

Olten

Zürich

S WITZERLAND

Frauenfeld/ Hüttwilen

St. Gallen

Brescia

Mailand

Parma

Vienna Wels Salzburg Innsbruck Graz

Vittario Veneto

MEMBERS AUSTRIA

Bruckschwaiger GmbH 1

www.bruckschwaiger.at

EECS- Exhibition-EventCongress-Service GmbH 1 www.eecs.at

www.schiff.at

Reggio Emilia

Verona Bologna

Rimini Rome

MEDITERRANEAN SEA

ADRIATIC SEA

MEMBERS ITALY ABS Group srl 8 www.absgroupsrl.it

A&M Production 9 Via Carnot 1

CAP 42124 Reggio Emilia, ITALY www.aemproduction.com

Riccardo Montanari +39 348 5352650

r.montanari@aemproduction.com

BACKSTAGE HOSPITALITY GROUP

MEMBERS SWITZERLAND

ADUNIC AG 5 www.adunic.ch

Campbell Live Communication GmbH 4 www.campbell-livecom.ch

Backstage Srl 7 via Bissone 11 27010 S. Cristina e Bissone Pavia

www.backstagecatering.com

Mr. Alessandro Barbisotti

a.barbisotti@

backstagecatering.com

SCHIFF fair success GmbH 1

Habegger AG 3 www.habegger.ch

Innerworkings EMEA 3 www.inwk.com

EURODESIGN S.r.l. 9 www.eurodesignallestimenti.it

Montecolino S.p.a. 10 www.montecolino.it

STANDout/ System Standbau GmbH 2

Am Messezentrum 7

5020 Salzburg

www.standout.eu

Mr. Gerd Klaushofer gerald.klaushofer@standout.eu

Nüssli (Schweiz) AG 5 www.nussli.com

Z3 Live Communication AG 6 www.z3livecommunication.com

STANDART 7 www.standart.it

Stipa S.p.A. 7 www.stipa.it

Tecnolegno Allestimenti S.r.l. 7

www.tecnolegno.it

Bari

Eastern Europe

MEMBERS CZECH REPUBLIC

Sun Drive s.r.o. 1 www.sundrive.cz

MEMBERS POLAND

ELSTAR S.J. 3 www.elstar.poznan.pl

Intermark Group Sp. zo.o Sp. kom. 3 www.intermark.com.pl

Melinski Minuth 3 www.melinski-minuth.com.pl

Smart Design Expo Sp.z.o.o. 3 www.smartdesign-expo.com

3 www.sqm.pl

MEMBERS ROMANIA

MEMBERS UKRAINE

Alpaca Expo Group, LLC 5 www.alpacaexpogroup.com

eXpo Design System 4 24A Cocorilor Street 310426 Arad www.xds.ro Mr. Voicu Sferdianu voicu.sferdianu@xds.ro

Greece & Turkey

OF GLOBAL VENUE SPACE AVAILABLE

OF EUROPEAN VENUE SPACE AVAILABLE

© ufi – World Map of Exhibition Venues

MEMBERS GREECE

A+E Prokaki 2 www.prokaki.com

Vision LTD 2

160, Lavriou Avenue

Idilbanu Space Solutions 1

www.idilbanu.com

ISINGÖR DESIGN Ltd. 1

www.isingordesign.com

OKYANUS FUAR STAND

Interform SA 3

Street A8 Thessaloniki

Industrial Area

57022 Sindos, Thessaloniki www.interform.gr

Mr. Alexandros Iosifidis a.iosifidis@interform.gr

OCTAPUS LTD 3

www.octapus.com.gr

Orphee Beinoglou S.A. 2 www.beinoglou.gr

19002 Peania / Athens

www.vision.gr

Mr. Peter Theodorides pt@vision.gr

MEMBERS TURKEY

Asel Uluslararasi Fuar Hizmetleri Ltd.Sti 1 www.aselexpo.com

Detay Tasarim&Mimarlık ve Dekorasyon Hiz. San. Tic. Ltd. Şti. 1

www.detaytasarim.com

EDI Design 1

TASARIM 1

www.okyanusfuar.com.tr

Point-expo 1

www.point-expo.com

Sedef Grup (Mosem Tasarım

ve Modüler Uygulamalar San.ve Tic. Ltd. Şti.) 1

Cihangir Mah. Şehit Komando

Uğur Hancı Sk. Sedef

İş Merkezi No : 1

Zemin Kat Avcılar Istanbul

www.sedefgrup.com.tr

Mr. Gökhan Akbulut

Studio Image Expo 2

63,Ant Kiousi str

19400 Koropi

www.studio-image.com

Mr. George Nikolaidis george@studio-image.com

www.editasarim.com

EKSPOTEKNİK ULUSLARARASI

FUAR VE KONGRE 1

www.expotechnic.com

FUARDIZAYN Ltd. 1

www.fuardizayn.com

GENIX Group 1

www.genix.info

gokhanakbulut@sedefgrup.com.tr

Sothis Mimarlik A.S. 1

www.sothismimarlik.com

Stand Tasarim 1

www.standtasarim.com

Tekstilbox 1

www.tekstilbox.com

TERMINAL Design and Space Solutions 1

www.terminaldesign.com.tr

MAIN TRADE SHOW VENUES > 40.000 M² Turkey 1 NR Expo

Tüyap Fair 3 Fuar izmir – Fair Izmir 4 Konya Chamber of Commerce 5 Antalya Expo Center (AEC)

TURKEY

Istanbul Ankara Izmir

Thessaloniki Konya Antalya Athena

Russia

2.2 % 4.0 %

OF GLOBAL VENUE SPACE AVAILABLE OF EUROPEAN VENUE SPACE AVAILABLE

1.7 % OF ASIA PACIFIC VENUE SPACE AVAILABLE

© ufi – World Map of Exhibition Venues

MEMBERS RUSSIA

4VIDA LLC 1

www.4vida.ru

Com-Unit Group 1

2nd Filevskaya street 7, bldg. 6 office TARP ZAO

121096 Moscow

www.com-unit.ru

Ms. Marina Youshenko marina@com-unit.ru

Dart-Expo 1 www.dartexpo.com

EMG LLC (Expomaster Group) 1 www.expomaster.ru

EXPOCENTRE AO 1 www.expocentr.ru

ExpoGlobal Group Moscow 1 www.expoglobalgroup.com

Expos-M LLC 2 www.expos-m.com

Kazan Tatarstan

Northern Africa & Middle East

United Arab. Emirates

0.6 % 15 %

OF GLOBAL VENUE SPACE AVAILABLE OF MIDDLE EAST – AFRICA VENUE SPACE AVAILABLE

© ufi – World Map of Exhibition Venues

MEMBERS

MEMBERS ALGERIA

Exposign 1 www.exposign.dz

MEMBERS EGYPT

United Group 2 www.ug-expo.com

MEMBERS IRAN

MEMBERS ISRAEL

Barzilai Design 4 www.barzilaidesign.com

Kadmon-Brin ltd. 4 www.kadmon-brin.co.il

MEMBERS SAUDI ARABIA

KUDOS EVENTS 5 www.kudos.events

Must Bee 5 www.must-bee.com

UNITED ARAB EMIRATES

Divine Creations L.L.C 6 www.divine-dubai.com

ExpoGlobal Group Dubai (MES) 6 www.expoglob.com

Monaco FZE (Monaco Exhibitions Dubai) 6 www.monaco.ae

United Group (subsidiary) 6 www.ug-expo.com

Barsa Design Co. 3

32, First Towhid St., Khovardin Blvd., Shahrak Gharb 14669 93494 Tehran

www.barsadesign.com

Mr. Alireza Jahanpanah A.Jahanpanah@barsadesign.com

Chistafair Co. 3 www.chistafair.com

ITG – Info & Trade Group 3 www.itgcompany.com

Milad Mobtaker Shargh Co. 3 www.miladgroup.net

Samaya Holding 5 www.technose.net

MAIN TRADE SHOW VENUES > 40.000 M²

Cape Town

Johannesburg

South Africa

0.7 %

MOZAMBIQUE

16 %

OF GLOBAL VENUE SPACE AVAILABLE OF MIDDLE EAST – AFRICA VENUE SPACE AVAILABLE

© ufi – World Map of Exhibition Venues

MEMBERS SOUTH AFRICA

369 Design 2

www.369designs.co.za

Compex Pty. 1

www.compex.co.za

tshwane-events.co.za

ConCept G Exhibitions

@ Events (Pty) Ltd 1 Unit 17, New Port Business Park within Kya Business Park, Mica & Quartz Roads, Kya Sand Ext. 101 Johannesburg

www.conceptg.co.za

Mr. Andrew Gibbs andrew@conceptg.co.za

HOTT 3 Dimensional Marketing cc 2

www.hott.co.za

SCAN Display Solutions 1 Private Beg x7000, Parklands

2121 Johannesburg

www.scandisplay.co.za

Mr. Justin Hawes

justin@scandisplay.co.za

Sugo Projects 1

www.sugoprojects.com

India 1.0 %

OF GLOBAL VENUE SPACE AVAILABLE OF ASIA PACIFIC VENUE SPACE AVAILABLE ©

ufi – World Map of Exhibition Venues

MEMBERS INDIA

Display House 2 www.displayhouse.org

INSTA Exhibitions Pvt. Ltd 2 www.insta-group.com

JMD DESIGN DESK PVT LTD 2

702, Ruby Crescent Business Boulevard, Ashok Nagar, Kandivali E

400 101 Mumbai

www.designdesk.in

Mr. Amit Saraogi

amit@designdesk.in

Roots Global 2 www.rootsglobal.in

Studio 360 1 www.studio360.in

Swift Corporation 1 www.swiftexhibits.com

MAIN TRADE SHOW VENUES > 40.000 M²

India

1 Pragati Maidan

2 B ombay Convention & Exhibition Cen tre (BCEC)

3 Bandra Kurla Complex

4 BIEC Bangal ore Inter national Exhibition Centre

INDIAN OCEAN

Website indiatradefair.com nesco.in bandrakurlacomplex.com

biec.in

New Delhi

China

VENUE MARKET SEGMENTATION

LARGE more than 100.000 sqm

OF GLOBAL VENUE SPACE AVAILABLE OF ASIA PACIFIC VENUE SPACE AVAILABLE 74

SMALL less than 20.000 sqm

13

MEDIUM 20.000 –100.000 sqm

© ufi – World Map of Exhibition Venues

AMC (EXHIBITS) Ltd. 3 www.arconmarketing.com

Beijing Eagle International Exhibition 1 www.eagleinter.com

Betis-Design 1 www.betis-expo.com

BroadMesse International (Shanghai) Creative Co., Ltd. 2 www.broadmesse.com

Compass Culture Ltd. 1 www.compassasia.cn

DEMAGE (Hongkong) Messe Limited 1 www.demage.cn

Dolphin International Culture Media Group Co., Limited 1 www.dolphin-media.net

Encore Exhibition Design and Building (Shanghai) Co. Ltd. 2 www.encore-china.cn

Horizon Exhibition Co.,Ltd. 2 www.inhorizon.com

Qujiang International Conference & Exhibition Center 4 www.qiceg.com

Shanghai Lankam Business Solution Co.,Ltd. 2 www.lankamlink.com

Teeyoo Expo Asia Pacific Co.,Ltd. 2 www.teeyoo.cn

YiMu Exhibition Services Co.,Ltd. 2 www.yimuexhibits.com

BVE Holdings Co. Ltd. 2 Unit 1103, Building 43, No 1969 Puxinggonglu, Minhang District, Shanghai, China 201112 201114 Shanghai Shi www.bvestand.com

Mr. Huan Wang huan.wang@bvestand.com

LINGTONG Exhibition System Co.Ltd. 2 www.ling-tong.com

Milton Exhibits Group 2 www.milton-cn.com

90

MEMBERS CHINA

NEPAL PAKISTAN

1 S henyang International Exhibitions Center (SYIEC)

2 New China International Exhibition Center (NCIEC)

3 Na tional Convention and Exhibition Centre Tianjin

4 S hanghai World Expo Exhibition & Convention Center

5 S hanghai New International Expo Cen tre

6 Na tional Exhibition & Convention Center (NECC)

Yiwu

Australia, Indonesia, Malaysia, Singapore, Vietnam & Thailand

0.6

ufi – World Map of Exhibition Venues

Japan & Korea

Japan

OF GLOBAL VENUE SPACE AVAILABLE OF ASIA PACIFIC VENUE SPACE AVAILABLE

MEMBERS JAPAN

ENDLOS Co Ltd 1 www.endlos.jp

IDEA International Inc. 2

Senrichuo Twin Bldg. Bekkan 4F, 1-1-4 Shinsenri-nishi-machi, Toyonaka-shi

560-0083 Osaka www.idea-intl.com

Mr. Christopher Dorn cdorn@idea-intl.com

NOMURA Co., Ltd. 1 www.nomurakougei.co.jp/english

Sakura International (2) www.sakurain.co.jp

welkam Ltd. 1 www.welkam.co.jp

MEMBERS KOREA

NARA Design Co. Ltd. 3 www.inaradesign.co.kr

Podo International Corp. 3 www.podoincom.com

RISH IYAGI CO., Ltd. 3 www.rishiyagi.com

PACIFIC OCEAN

Argentina, Brazil, Colombia & Mexico

Brazil Mexico

2.3 %

OF GLOBAL VENUE SPACE AVAILABLE

63.7 %

OF AMERICAS VENUE SPACE AVAILABLE

MEMBERS ARGENTINA

MEMBERS COLOMBIA

INTER EXPO S.A. 4 www.interexpocom.com

MEMBERS MEXICO

1.4 %

OF GLOBAL VENUE SPACE AVAILABLE

6 %

OF AMERICAS VENUE SPACE AVAILABLE

Grupo Escato, SA de CV 5 www.escato.com

DODECAEDRO SA 1

Av. Belgrano 873 - 5 º

C1092AAI Buenos Aires

www.dodecaedrogroup.com

Mr. Alejandro Blitstein alejandro@dodecaedrogroup.com

MEMBERS BRAZIL

HCAMARGO CENOGRAFIA LTDA 2

www.hcamargo.com.br

Hotmacon –Projetos e Eventos 3 www.hotmacon.com.br

Surreal Promotional Arquithecture 3 www.surreal.com.br

Custom Display 5

Jose Maria Castorena 91, Nivel 2 05000 Mexico City www.customdisplay.com.mx

Mr. German Saavedra gsaavedra@ customdisplay.com.mx

DESIGNART & Services 5 www.designart.com.mx

GPO Displays 5 www.gpo-display.com.mx

Grupo Omega (LatinoAmerica LAGO) 6 Av. Patria 306 44970 Guadalajara www.lagonetwork.com

Mr. Alejandro Escalante aea@omegaexp.com.mx

MEMBERS PERU

Exposistemas Servicios S.A.C. 7 www.exposistemas.com.pe

© ufi – World Map of Exhibition Venues