Most booths are built once and thrown away. We build from kit we own, measure what it costs in carbon, and reuse it show after show. The carbon comes down. So does the bill.
What's terrible about events is that they're temporary. That is the whole problem in one sentence.
A custom booth is designed, fabricated, shipped, assembled, used for three days, taken apart and skipped. Almost all of that expense is invisible on the quote you signed. You paid for material that existed for seventy-two hours. You paid to store the parts you kept. You paid again the following year when they no longer fitted the space.
Get the carbon down and the cost comes down with it. The two move together, because carbon in a booth is mostly material and freight, and material and freight are mostly what you are paying for.
For twenty years clients have been told there is value in buying booth assets and storing them. There isn't, and it is one of the more expensive pieces of received wisdom in this industry.
Storage costs money every month whether you use the thing or not. Custom parts are shaped for one floor plan, so they stop fitting the moment the space changes. Refurbishment lands on you. So does disposal, eventually.
We hold our own stock of modular systems at our workshop in west London: Aluvision, BeMatrix and Octanorm, the three systems that matter. You rent what your booth needs, at that show and every show after. We carry the storage, the maintenance and the risk of the kit becoming obsolete, because that is our business and not yours.
Where a project genuinely needs something bespoke, we build it. We just don't pretend that is most projects.
There is a difference between a booth that gets reused and a booth designed to be reused, and you pay for the difference.
Reusing something never designed for it means rebuilding around damage, cutting parts down, patching graphics and adding a fresh layer of material every year until the saving disappears. Designing for reuse means the frame is a standard system, the panels come off without destroying them, the graphics are the only thing that changes between shows, and everything packs into cases that survive being shipped.
That decision is made at concept stage. It cannot be retrofitted at production, which is why the specification matters more than the sustainability statement. The Zellis booth at Festival of Work is our clearest example of a build coming back for a second year.
We measure the carbon in a booth rather than describing it. Every material carries a factor from a named source with a date, most from the Inventory of Carbon and Energy database and UK Government conversion factors. Freight, crew travel, hotel nights, screen energy and end of life all carry their own factors, and every figure traces back to where it came from.
We run that through TIM, the assessment tool we built, grounded in more than a thousand booths analysed over fifteen years. Our figures are indicative, produced with an in-house methodology and not independently audited. We say so on every report. Anyone who does not tell you that is either audited, in which case they will show you the certificate, or hoping you don't ask.
CBRE's ICSC programme is the clearest example we can publish, because the client agreed we could.
In 2023 the booth measured 39,912 kg CO2e. In 2025 it measured 12,613 kg. A 68 percent reduction across the same programme for the same client, with intensity falling from 2.66 to 0.84 kg CO2e per square foot.
Nothing about that was a single clever decision. Modular framing instead of custom fabrication, kit retained and redeployed, materials specified against a register rather than a mood board, freight consolidated. Each year removed cost as well as carbon.
For Pernod Ricard's travel retail business we built the life cycle analysis tool they use, an industry first. Across 681 projects it has shown a 51 percent reduction, avoiding more than 411 tonnes of CO2e.
We work with brands running booth programmes across multiple shows and multiple years, where the same decisions repeat and doing them properly compounds. Our clients include CBRE, Pernod Ricard, Burberry, Red Bull and Bloomberg.
If you exhibit once and never again, a cheap single-use booth is a defensible choice and we are not the right agency for it. If you exhibit every year, the money is in getting the first one right.
Thirty-one projects with the method written down are in our case studies. Our workshop, our 203-material register and our full credentials are on the about page.
Reuse, mostly. A booth built from a standard modular system and redeployed across multiple shows outperforms a custom build made from recycled materials, because the largest impact is producing new material at all.
Not over a programme. There can be slightly higher cost at the start to get the design right. From the second show onwards the kit is already paid for and the saving compounds. On the CBRE programme carbon fell 68 percent across four years and cost fell with it.
Almost never. Storage costs run whether you use it or not, custom parts stop fitting when the floor plan changes, and refurbishment and disposal both land on you. We own the kit and you rent what you need.
No, and it is often sold as one. Dibond and ACM are plastic and aluminium bonded together, and the layers cannot practically be separated at end of life. Aluminium extrusion is a different material with a different argument behind it.
Yes. UK and European shows are produced in our own workshop. Elsewhere we work through more than 120 partners across 27 cities and four continents, each interviewed and checked against our own supplier requirements.
Figures are indicative, produced with our own in-house methodology and not independently audited. Third-party verification can be arranged on any project.
We will come back with a design, and the carbon and cost comparison against what you are building now. Ten working days. It costs nothing and commits you to nothing.
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