Frequently asked questions

Custom design and fabrication runs ₹9,000 to ₹18,000 per sq.m. A 36 sq.m custom stand therefore sits roughly between ₹3,24,000 and ₹6,48,000 for the build itself. Where you land inside that band is decided by finish, height, lighting and AV rather than by which city you exhibit in.

Design, fabrication, graphics production, lighting, flooring, the agreed furniture, transport to the venue, installation and dismantle. It does not include the space rent you pay the organiser, venue charges billed directly to the exhibitor such as metered power or water, hospitality, staffing, or printed collateral you hand out at the stand.

Because the same floor area can be built four different ways. A laminate-faced stand at 2.5 metres with track lighting sits near the bottom of the band. Veneer or spray-finished panels, a four-metre structure, a hanging banner, an LED wall, raised flooring and a closed meeting room sit near the top. The area is the same; the content is not.

Design on its own starts from ₹25,000 and is priced on the number of concept options, the revision rounds you want and how much technical drawing the organiser needs. When design and fabrication are bought together, the design work is absorbed into the build rather than invoiced twice.

Kiosks start from ₹60,000. The figure moves with footprint, whether the unit has to be free-standing or can lean on a wall, how much lighting and lockable storage it carries, and whether it must be demounted and moved between locations during the campaign.

No — it is usually dearer per square metre. Design time, transport, the installation crew and the minimum print run do not shrink in proportion to the area, so on a 9 sq.m stand those fixed lines are spread across very little floor. Rate per sq.m improves as area grows; total cost obviously does not.

Please do. A budget band lets us design to it from the first concept rather than produce something beautiful and then strip it back. Without one, the usual outcome is a render you like and a cost you do not, and two weeks lost between them.

A quote holds for the scope it describes. It moves if the stall area or the number of open sides changes, if the design grows after sign-off, if artwork arrives late enough to need express printing, or if the organiser adds a requirement such as a structural certificate or a different flooring. Each of those is re-quoted as a line, not as a new total.

Concepts with photoreal 3D visuals are usually shared within 48 hours of a complete brief. The brief is the variable, not the render: area and open sides confirmed, the show and its dates, the organiser's stand plan and your brand assets mean we can start immediately.

Stall area and number of open sides, the show, city and dates, the organiser's stand plan or exhibitor manual, brand assets, two or three reference stands you like, and a budget band. Add the two or three things a visitor should actually do on the stand and the layout almost designs itself.

The number of rounds is written into the scope so nobody is guessing later. In practice one consolidated round of feedback, gathered from everyone who has an opinion, resolves more than three scattered rounds do. Changes before sign-off are free; changes after fabrication starts are re-quoted.

It will if the render is backed by a materials schedule. Ask for the laminate or paint references, the lamp type, the graphic substrate and the flooring to be named alongside the visual. A render with no specification behind it is a mood board, and that is where the gap between image and build comes from.

Yes. We prepare the dimensioned plans, elevations, electrical load statement, materials schedule and structural documents organisers and venues ask for, and we check the design against the hall's rules before anything is cut rather than after a drawing comes back rejected.

Maximum build height, setback from the aisle, whether you may close a side that the organiser treats as open, rigging permission for anything hung from the roof, fire-retardant certification for fabrics and boards, and a ban on fixing into the venue floor or walls. All of them live in the exhibitor manual, which is why we ask for it early.

Yes. We take the agency's design intent, re-draw it as fabrication drawings, flag anything that cannot be built safely or within the budget, and value-engineer only with the agency's agreement. The design stays theirs; the buildability becomes ours.

Four to six weeks is the realistic planning figure for most custom stands, and eight weeks or more for a double-decker, a large pavilion or anything needing structural approval. Booking earlier does not make the build faster; it makes the design and approval stages comfortable instead of compressed.

3 weeks from approved design is the base, plus 1 week from 24 sq.m, plus 2 weeks from 54 sq.m, plus 2 weeks for a premium finish and plus 2 weeks for a double-decker. The same formula drives our stall planner, so the figure a tool gives you and the figure a project manager gives you agree.

Usually not. Urgent builds are deliverable in seven to ten days when the design is kept deliberately simple, the structure leans on modular or system framing instead of bespoke carpentry, and the artwork arrives print-ready. What you give up is iteration, not quality.

At design approval, not at first enquiry. Everything before approval — briefing, concepts, revisions, drawings — happens at your pace. Everything after it happens at the workshop's pace. Teams that lose a timeline almost always lose it in the approval stage, not in fabrication.

Late artwork. Almost every other task can run in parallel, but graphics production sits on the critical path and cannot start until files are print-ready at the right size and resolution. Lock artwork at least two weeks before dispatch and a comfortable schedule stays comfortable.

Yes. We work to whatever build-up window the organiser publishes, night shifts included. Because the stand is pre-assembled and its panels are numbered in the workshop, site hours go on assembly rather than on fabrication, which is what makes a short window survivable.

Pre-assembly absorbs it. A stand that has already been stood up once in the workshop goes back up quickly, and the crew that dry-built it is the crew installing it. We also carry the sequence in writing, so a shortened window is a reordering problem rather than a redesign problem.

In our own workshops. Carpentry, metalwork, CNC cutting, spray finishing and large-format printing happen under one roof, which is what lets us hold a date instead of waiting in someone else's queue. Every stand is stood up and tested in the workshop before it ships.

We use fire-retardant certified materials wherever the venue or organiser requires them, and we carry the certification to site. Non-certified fabric and board are the most common reason a stand is pulled up at inspection, so this is specified at drawing stage rather than negotiated on build-up morning.

Modular or shell-scheme dressing earns its keep on small inline stands and on repeat shows where the same kit travels. Custom fabrication starts paying from roughly 18 to 24 sq.m, or anywhere the layout itself has a job to do: a demo counter, a closed meeting room, a double-height brand element or a specific visitor route.

An aluminium extrusion framing system with infill panels. It goes up and comes down fast, is reusable, and is the cheapest honest way to enclose floor area. The trade-off is form: curves, cantilevers, double height and seamless surfaces are difficult, so a system stand looks like a system stand.

Yes, if it is designed for reuse from the start — standard panel sizes, bolted rather than glued joints, framing that comes apart without damage, and graphics mounted so they can be swapped. Structure and furniture travel well; graphics usually get reprinted because sizes and messaging change between shows.

We plan storage at 10% of the area up to 18 sq.m and 15% above that, plus about 5% for a meeting corner where no dedicated meeting room is briefed. The remainder is display. Stands that skip storage end up with cartons under the counter, which is the fastest way to make an expensive stand look cheap.

Plan roughly one person per 9 sq.m of stall area, with a minimum of two so the stand is never unattended. Under-staffing is the quiet killer of a good stand: visitors who are not greeted within a few seconds keep walking, and the stand's cost per lead doubles.

From about 72 sq.m, and really only when you need enclosed meeting space that the ground floor cannot spare. It buys usable area without buying floor, and it costs you structural drawings, organiser approval and about 2 extra weeks of lead time. Below that area, a well-planned single-storey stand almost always wins.

119 cities across India, spanning 1,461 venues — exhibition and convention centres, hotel ballrooms, banquet halls, mall atriums, campuses, stadiums and open grounds. Tell us the venue and stand number and we plan the build around that hall's access and build-up rules.

No. A large share of corporate work happens in hotel ballrooms, banquet halls, mall atriums and on open grounds, and each has its own constraints — lift and door dimensions, floor loading, rigging bans, carpet protection and noise windows. Those constraints belong in the design, not in a surprise on site.

Not the design rate, but it does move two lines: transport, which follows the distance from the workshop to the hall, and site crew, which follows the length and timing of the build-up window. An unfamiliar hall costs us access time rather than build time, which is why both lines are itemised instead of buried.

You book the connection and the sanctioned load from the organiser, because it is billed against your stand. We specify what load the design needs, prepare the electrical statement the organiser asks for, and do all the distribution, circuits and testing inside the stand.

Hall and stand number, the published build-up and dismantle windows, the access route and any vehicle restrictions, and whatever passes the organiser requires for our crew and vehicles. Those five items are what turn a build date into a build plan.

Yes. We design in India and coordinate the build abroad for Indian brands exhibiting overseas, working to the host venue's rules and the organiser's appointed-contractor requirements. Confirm the show's dates and contractor policy with the organiser, as both vary by fair.

Yes, and it is usually planned as one schedule rather than as separate projects. The gain is reuse: one design language, one kit of structural parts that travels, and graphics reprinted per show. The constraint is overlap — two shows in the same week in different cities needs to be flagged at briefing, not later.

A callback within two working hours, an itemised quote within 24 hours and a 3D concept within 48 hours of a complete brief. If your show is inside two weeks, say so in the first line of the message and call as well — urgent timelines are handled differently from planned ones.

Show name, city and dates; stall area and number of open sides; whether it is shell scheme or bare space; your budget band; and what the stand has to achieve. Attach the organiser's stand plan and your logo files if you have them. That is enough for a real quote instead of a range.

A named project manager owns the schedule from brief to dismantle and is reachable through show hours, including build-up and the show days themselves. The designer, the workshop and the site crew all report into that one point rather than to you separately.

Yes. We regularly build to an agency's design and brand, deal with a single point of contact on their side, and keep our name off the stand and off the client-facing documents where that is what the agency wants. Drawings, revisions and schedules come to you, not to your client.

Pavilions are run as one project with one design language and many tenants. We help set the booth-size bands and the rules co-exhibitors have to follow, design the shared spaces — entrance, stage, lounge, help desk — and run a single build schedule, so the pavilion reads as one brand rather than as a row of unrelated booths.

Yes, and we encourage it. Every stand is dry-built in the workshop for quality checking, and that is the right moment to look at it: panels numbered, graphics trial-fitted, circuits loaded and lamps aimed, with time to change something before it goes on a truck.

Walk the stand against the drawing: graphics in the right positions and the right way up, every lamp working and aimed, sockets live and labelled, storage lockable, flooring sound at the edges, and the furniture you actually ordered. Raise anything wrong at handover, while the crew and spare materials are still in the hall.

The same crew that installed it, inside the organiser's dismantle window. Clearing late is where deposit penalties and overtime charges come from, so the strike is sequenced as deliberately as the build rather than treated as an afterthought.

Tell us before dismantle begins what you want kept — structure, counters, furniture, lighting, specific graphics — and the strike is planned around saving those items rather than clearing fastest. Decide after the trucks are loaded and the decision has already been made for you.

Say at briefing that the stand has a second life. That changes real design decisions: panel sizes that fit a standard crate, bolted joints, modular framing, and graphics on swappable substrates. Reuse planned at the start saves far more than reuse attempted at the end.

On qualified leads captured, meetings booked, cost per lead compared with your other channels, and the reuse value of what you now own — not on how the render looked. Agree those measures before the show, and agree who is capturing the data at the stand, or nobody will.