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This paper aims to identify the key quality attributes a museum or art gallery should possess and enhance to become an attractive business event venue.

The research adopted a two-stage case-study methodology. Firstly, three museums were selected in Manchester, UK, to explore the venues’ approaches to hosting business events. These were the Lowry Art Centre, Salford Museum and Manchester Art Gallery. Secondly, a business event at another museum in the city, Science and Industry Museum, was accessed to explore the audiences’ perceptions and industry requirements regarding the organisation of events in museums. In total, 21 qualitative semi-structured and structured interviews were conducted with the event delegates, event planners and museums’ management.

Thematic analysis was applied to identify three key attributes: venue character, memorability and functionality and feasibility. Venue character refers to the overall appeal of a venue, including its history, status and interior design. Memorability refers to the authenticity and uniqueness of the attendee experience at a corporate event organised in a museum. Finally, functionality and feasibility deals with the availability of functional facilities, space flexibility and diverse venue regulations.

The findings of the research provide valuable insights to both museums and event companies. The research reveals the main benefits and drawbacks of using a museum or an art gallery as a venue for business events and suggests key aspects to consider while staging a business event in a cultural institution. Museums could apply the findings in marketing to emphasise their uniqueness, authenticity and flexibility.

Recent advancements in wearable computing offer opportunities for art galleries to provide a unique experience. However, to ensure successful implementation of this new technology in the visitor industry, it is essential to understand user requirements from a visitor’s point of view. Therefore, the aim of this paper is to investigate visitors’ requirements for the development of a wearable smart glasses augmented reality (AR) application in the museum and art gallery context.

Interviews with 28 art gallery visitors were conducted and an affinity diagram technique was used to analyze the interviews.

The findings reveal that wearable AR is in its infancy and that technical and design issues have to be overcome for a full adoption. It reveals that content requirement, functional requirement, comfort, experience and resistance are important when developing and implementing the wearable AR application in the museum and art gallery contexts.

Mapping user requirements in the wearable smart glasses AR context using an affinity diagram is a new approach and therefore contributes to the creation of knowledge in the tourism domain. Practically, the area of wearable technologies and AR within the tourism and visitor industry context is still relatively unexplored, and the present paper provides a first foundation for the implementation of wearable smart glasses AR applications in the museum and art gallery context.

This paper considers the exhibition: UnDoing. This research-through-curation project examined interactions within existing spaces and situations. This established links between the selected exhibits, the gallery, the city and with the continuum of the previous exhibition.

Carefully selected architects, designers and artists were invited to contribute—those who pursued a contextual approach; whose practice explored the way buildings, places and artefacts are reused, reinterpreted and remembered.

Through the act of curation, this research uncovered a series of different approaches to constructed sites and existing buildings, from layered juxtaposition, the refusal to undo, to interventions of new elements within architectural works.

Curation offered the opportunity to consider works of architecture and of art through the same lens, for direct comparisons to be made and the influence of one upon the other to be comprehended.

The examination processes the architect employs is similar to that of the artist; the development of an understanding of place, and from this synthesis, creative interpretation. However, despite the similarities in the starting position, the elucidation developed by the artist can be vastly different to that of the architect.

The juxtaposition and new classifications created by the exhibition encouraged visitors to look at art, architecture and the city in a different way; to grasp the direct link between the different subjects; and the possibilities created.

The two driving factors for UnDoing were places of previous occupation and the city of Manchester. The qualities of surrounding constructed environment combined were combined with attitudes towards existing structures and places.

This article is about some of the benefits that arts activities can bring to people with mental health problems. In it, Wendy and Annie describe a research project set up in partnership with an art gallery, in which they looked at how perceptions, attitudes and behaviours might be positively affected by specially developed, guided arts activities. The project stimulated much thoughtful and perceptive feedback from participants, all of whom are mental health service users.

“‘Personable’ is management‐ese for ‘crumpet’”. Thus observed an old friend late last Sunday; much too late indeed for the subsequent dialogue about equal opportunities, in which we drew heavily upon anecdotal evidence, experiential learning and totally unsubstantiated surmise. What better cocktail for an evening's imbibing, and where better than the pages of NLW to air one of the hidden agendas of professional life?

WE place this special Conference number in the hands of readers in the hope and belief that it will offer features of distinct interest which will increase the value and enjoyment of Brighton. There can be no doubt that the organizers of Library Association Conferences have endeavoured to surpass one another in recent years; almost always, it may be said, with success. Brighton, like Blackpool if in a rather different way, is a mistress of the art of welcome, and it will be long before another town can surpass her in the art. She is at her best in September when the great, and to some appalling, crowds of her promenades have thinned out a little. This year, then, librarians have an interesting time ahead; although, as we glance over the programme again, we fear that the outdoor and other pleasures we have subtly suggested will occur only fitfully. There will be so much to do in the way of business.

Creative arts activities can be immensely valuable in enabling those of us living with or recovering from mental distress to express and interpret our experience, rebuild confidence and develop new skills. There is now a wealth of innovative arts and mental health projects around to inspire us, and a number of them profile their activities below.

Preserving our built heritage from the onslaught of weather, pollution, development and the effects of tourism is a complex endeavour. Appended to this is the need to ensure that heritage buildings are inclusive to all users. Thus, built heritage is plagued with contradictions and conflict between conservation goals and those to support inclusivity given the limited resources often available. Dementia has been purposely selected for this study as numbers of diagnosed sufferers are increasing at an alarming rate, and enagement with heritage has been proven to support well-being. The paper aims to discuss this issue.

This research review draws on systematic principles and presents an analysis of the available literature on well-being programmes designed for people living with dementia and their care supporters, with particular reference to programmes in heritage settings, and the resulting impact for users.

This review critically evaluates the available evidence from published literature on the role of the heritage setting, on how it impacts on the experience of dementia participants. In doing so, it draws on findings from the experiences and well-being of people living with dementia and their care supporters; assesses the current state of knowledge, identifies support implications and makes recommendations for future research. In doing so, it highlights a dearth in the literature on research related to the physical environment setting, particular addressing any cognitive impairments that may arise that can alter psychosocial processes, such as lighting, temperature, acoustics and materiality, so that they can be understood and suitably adapted to support the well-being of those living with dementia.

The scant lack of financial resources to support inclusivity in built heritage, and the argument that some heritage cannot be adapted, often leads to only limited opportune for people with dementia. Thus, there is an inherent need for an understanding of current research and well-being programmes so that it can be focalled in the future to support built heritage tourism in a way that it is inclusive to all.