Lighting is an especially controversial area in exhibition stand design because it reflects two differing design philosophies. Architects desire natural lighting in public spacesbecause this comforts visitors, while curators want to protect delicate objects and control the way they are viewed. The best exhibition stands often use both natural and artificial light, using natural lighting to paint a broad picture and artificial light to focus on specific information. This balancing act has been made possible by of a number of technological advances, including new ways of combining natural light with theatrical lighting to create exciting spaces while still focusing on the preservation of artifacts, and using the colour temperature of accent lighting to create and manipulate moods based on crowd size. Improved lighting has led to better conservation of objects, with LED and fiber optic technology mitigating UV light and heat.

Acoustical issues face many of the same controversies as lighting, with the needs of noisy public circulation battling the desire for quiet spaces to view stand detail. Since exhibition stands often sit inside large public spaces, moderating sound is crucial, whether it is in a large convention hall, a busy museum, or outdoors. The designer’s role is not only to understand how sound establishes a mood and affects the narrative within an exhibition stand, but also to manage the transition between noisy public spaces and contemplative quiet areas. Acoustic design also has an operations element. The number of visitors flowing through the space at any one time is just as much a design decision as the physical structure of the exhibition stand. The administrative staff of the institution should be included in the acoustic design process. Their management of crowd flow has a crucial effect on acoustics.

Lighting andacoustics are yet more specialties that require extensive expert design collaboration. Specialists should be brought in early in a project, especially when the overall master plan for the exhibition stand is being developed. Since lighting and acoustics impact on everything from the size of the exhibitions stand to the number people that can attend, these decisions extend beyond surface design to affecting core business and content decisions.

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Selecting materials is closely tied to the budget of the exhibition stand as well as its size and context. The most beautifully crafted booths are in trade shows and showrooms, where a combination of large budgets, small areas, and intense competition produce designs that use the best materials throughout. Even details such as furniture can be purpose made using expensive hard woods and metals.

An all too common mistake is to choose materials solely to match the budget of a project. This can result in materials being used that are not durable enough to survive in high traffic areas or interactive exhibition stands. At the same time, it makes little sense to use expensive materials in locations where the audience will not see them. The designer’s role is to prioritize the quality of materials for the task of the stand, and to ensure the budget correctly reflects the material needs.

Finally, just as all materials are different, fabricators also have different levels of skill for handling materials. Stone, bronze, and glass require specialized craftsmen to detail and install. It makes little sense to spend the extra money on quality materials if they are not implemented successfully.

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Finishes, hardware, and other fabrication details ate considered, though not necessarily specified yet. The nature and functioning of all interpretive and interactive exhibition components are fleshed out, pending more technical development in later phases. If lighting and acoustics have not been addressed yet, then they must be tackled now and at least preliminary schemes for their design must be prepared. Scripting for audio and video programs should be taking place and computer software development for controls and interactive should be in process.

Design development is also the time to test selected exhibition stand components, particularly mechanical interactives, through mock-ups and/or prototypes.Finally, a thorough budget analysis is critical at this point. Anything not explicitly included in their phase’s budget will be an unwanted addition the next cost estimate. If the designer’s ideas are exceeding the client’s costs parameters (not a rare occurrence), then some combination of scope reduction and/or design simplification needs to be arrived at. This is approached through a process commonly referred to as “value engineering” wherein the design and fabrication teams, along with the client, collaborate to find ways to fulfill as much of the stated mission, goals, and vision for the project within the agreed upon cost limits.

In general, it should be understood that the goal of the design development phase is to accomplish all decision making in anticipation of entering into the next phase- that of producing the actual construction and fabrication drawings and specifications – with as few remaining design questions as possible. At this point a designer should be able to thoroughly envision the exhibition stand. Anything that appears hazy or undefined has not been designed sufficiently. The next phase should be about detailing, rather than designing.

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Narrative

When planning the exhibition, most institutions begin by determining the message that they wish to convey to their audience. However, by itself, this is not a story. The message only becomes a story when it is given a narrative thread with a clear beginning, middle and end.

Narrator

A narrator is needed to drive the story forward. The narrator can be created using any number of mediums, such as text, graphics, or technology. Most exhibition stands employ multiple narrative mediums.

Path

The path is what gives the story its structure, transforming the narrative into a three-dimensional space, which brings the story to life for each visitor. The space must be organized into a sequence that relates to the story and the visitors who will experience the exhibition. This sequence of experiences can be arranged around a timeline, theme, or hierarchy; any structure that has a consistent logic. Exhibition stands provide this sequence of experiences in segments, building up the whole story, but never allowing the visitor to see the entire structure at once. Revealing the story step-by-step or through series of possible steps is a key factor in engaging the visitor.

Context

Often the most neglected part of storytelling in exhibition stand design is the external context. An exhibition booth does not stand in a void; it is integrated into a building or landscape. How the visitor approaches and engages with the booth is as important as the booth itself. The visitor’s introduction to the exhibition stand is not a part of the story, but is crucial to preparing the visitor for the experience.

Telling a story correctly

The obligation of a good exhibition designer is to use space, technology, displays, and materials effectively in service of that story.

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With numerous industries hosting events and a single venue having the capacity for hundreds of thousands of booths, trade shows are the most common type for exhibition stand design. Trade show stand designs focus on promoting client’s brand, hence it is critical to redesignthe exhibition stand regularly in order to keep pace with changes in the company. Trade show design is fast-paced: it has the shortest deadlines of any type of exhibition display in terms of design time, construction time, and life span. The process can be as short as two months for both design and build on a large-scale project. As deadlines are finite and predetermined, swift decisions need to be made, even if it means changing the design; if it’s not ready in time, then there is no reason to have it.

The life span of these exhibition stands depend on the client and the industry. A typical design can last between one and five years and its duration on the trade show floor is limited from there to five days either annually or several times a year in different locations. Exhibition stands need to be adaptable and durable enough to be used at various shows, and appeal to different audiences. In contrast to museums, trade shows are market-driven, so the designs need to communicate the message to the audience very quickly and bluntly, and the amount of content is generally low.

Decisions and presentations must be made quickly in order to keep up with fast-paced schedules. Clients are generally not involved in the design process, so it is critical for designers to understand and follow the brief.

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This area of exhibition stand design has the most cross-fertilization of design professionals with architects, event designers, trade shows manufacturers, industrial designers, environmental graphic designers, and interior designers all contributing their skills, with the addition of the expertise of marketing strategies and sales representatives.

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While all exhibitions use the environment to communicate, they diverge in the goals of their narratives. Educational museum exhibitions focus on interpreting a specific subject, theme or story; while corporate and institutional exhibitions use interpretation as a marketing device or to support a place. Trade shows and showroom displays are the most focused, marketing a specific product or service. These different goals not only reflect in diverging narrative approaches, but also in how much money will be invested, the duration of the design process, the nature of the collaborative effort, and the longevity of the final product.

If there is a common thread among the divergent disciplines it is in the design process itself. Exhibition standsmay tell different stories in different environments, but they are consistent in the way they require collaborative effort to succeed, their need for a clear narrative approach, and the way they have to balance the needs of creating a space with communicating a message.

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The overwhelming majority of businesses exhibiting at trade shows focus on obtaining sales leads. But that is not the only possible reason to exhibit. Other reasons include maintaining current business, increasing industry exposure, and making media contacts. You have to be clear about what you are trying to achieve with your exhibit. Answer these questions when establishing what you are trying to achieve:

• Which initial goal(s) is most important to you: new business (leads), maintaining business relationships, creating industry exposure, or meeting media contacts?
• What key industries should you exhibit in?
• What show types should you exhibit in?
• Who are the key prospects in each industry?

Depending on your market, you should also take into account what shows your competitors exhibit at. Sometimes having a competitor at the same show can be a big plus because it creates more awareness for your product type; this is often the case if you are offering something innovative. On the other hand, if you are competing with a market leader a bigger company that has roughly the same offerings that you do, going to a differnt show where you can be the only fish in your industry pond can be more important.

New Business (Leads)

If your business’s goal is supplying your sales force with qualified leads, find targeted exhibitions with large volumes of key prospects. The better defined your target, the easier this is going to be.

Most exhibitions claim they are the perfect place too get leads, A show that is serious about offering good lead-gathering opportunities, though, offers free or paid attendee-lists, exhibit hall receptions, and a variety of networking events.

Maintain Current Business

Exhibiting at trade shows to maintain current business is probably the easiest goal of all. Ask your important customers what shows they attend. Have their account manager call them directly and just ask. If you are in an industry with fewer personal sales contacts, you will have to resort to some time of survey. Send an e-mail or postal mailing. If you can, offer some time of incentive for every customerwho replies with his or her show attendance lists.

After you receive the show names, you have a ready -to-go list of shows to evaluate. If only a show name was provided, find a link to the show’s site by searching trade show in search engines and traditional search engines. Review the exhibition’s site, obtain exhibition data, and evaluate the individual exhibition opportunities. The primary component that thease shows must have is a large number of networking and socializing oppotunities.

Industry Exposure

If your primary goal is to further industry recognition by branding and building your image within the industry, look for exhibitions that offer a great deal advertising opportunities at reasonable costs. Sponsoring a networking event, contributing to event kits, or having your name printed on the event hotel’s key cards can be great ways of getting your name noticed.

Other examples are preshow e-mails and postal mailers, show floor and outdoor signage, show guide ads, show daily ads, prominent logo placement on the show’s website, and logo placement ob show lanyards.

Media Contacts

As an exhibitor, you should always have public relations (PR) initiatives for every exhibition. However, you should only define this as a primary goal when you are going to be making an important new or improved product announcement.

When you evaluate possible shows for this goal, remember that the highest concentration of media attendees tends to be at the larger, national shows. Other things to look for are spaces on the show’s website for exhibitor press releases, preshow networking portals, preshow availability of the press list with contact information to arrange meetings, an at-show press room to put press kits, and press conference facilities.

Exhibition Prospectus and Audit

After you have outlined your goals and are ready to start your show search, always obtain the exhibition prospectus. Exhibition information and attendee data provided in the prospectus will vary in detail and accuracy, but in most cases it will have facts and figures about attendee profiles, titles, purchasing roles, budgets, sales volume, and geographic location.

An exhibition prospectus may also include both package information and a list of marketing opportunities. Most of the time, you can easily download this information directly from the show’s website. When analyzing the data, keep in mind that the show prospectus is a sales and marketing tool of the show’s producer.

Exhibition Audit

Always ask if an exhibition audit of the previous year’s exhibition is available. The types of facts and figures provided are very similar to those in the exhibition prospectus, but exhibition audits are verified by a third party, confirming the attendee data accuracy by monitoring the show registration process and following up with attendees postshow.

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When you have selected and registered for the exhibition, you will receive the exhibitor guide / manual / kit. This manual contains a huge amount of information, as well as all the forms you have to complete.

Most probably you will be provided with a link to the show’s website, along with a username and password for secure excess to the exhibitor guide. From here, you may choose to download all the paperwork from the site, create your own binder, and fax in the paperwork to the exhibition. Another option you might be provided with is the ability to access all show details and fill in all order forms online.

Exhibitor Manual Details

A good exhibitor manual contains everything relevant to exhibiting at that show. It covers details such as available services, show hours, setup and breakdown hours, insurance requirements, and rules and regulations.

Most exhibitor guides are similar. However, they are not identical. Areas that may differ include rules and regulations, union guidelines per city, and convention facility requirements. Treat the exhibitor guide like you would treat a contract for buying a house – read it from beginning to end, even if it feels paiful!

Exhibition Hours

As the name suggests, these are defined exhibition hours. These can range greatly from a few hours on a single day to more than a week with 10 exhibition hours per day for a big international exhibition.

It also informs you when your booth staff is allowed on the floor before and after the actual exhibition hours to set up for the day and shut down the exhibition stand at the close of the exhibition.

Exhibition Contacts

The exhibitor giude provides you with a list of contacts who are available to help you with various areas of the exhibition.

Depending on the exhibition, contacts are listed either individually with their respective responsibilities or by department. The typical contact are exhibitor sales, registration, advertising, sponsorship, exhibition manager, services, electrical, etc.

Rules and Regulations

Rules and regulations vary greatly between each show and convention centre, and they are usually very long and often printed in small print. Like most things in fine print, the rules and regulations contain the details that may result in unpleasant surprises if you don’t read them thoroughly. These might include restrictions on height, audio, balloons and food.

Exhibition Stand Staff Registration

Many exhibitions set no real  limits when it comes to the number of exhibitor badges provided. Others provide only a fixed number as a part of your exhibit package , requiring additional exhibitor badges to be purchased.

Most of the time, exhibition stand staff registration is done online. However, some exhibitions might require a faxed registration list. In most cased, you will provide the full name and job title for each staff member who requires an exhibitor badge.

Essential Shipping Details

Each exhibition has a specific shipping information outlining dates, warehousing, destination, and many other useful items related to getting your exhibition stand to and from the exhibition. Shows often provide shipping labels and have a recommended shipping company, normally referred to as the show carrier. While using the show carrier may help with the loading dock procedures, you can use any freight company you like. If you are exhibiting at an exhibition outside your home country, be aware of customs requirements, which are rarely found in an exhibitor manual.

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Truss systems are often used as specific components of a larger exhibition stand, but they are flexible and can also be used to build a complete display.Truss components provide the building blocks for a limitless number of variations. Truss components are usually round, box-shape, triangular, or flat pieces designed for an easy assembly process. Truss pieces are constructed of durable steel or composite material and are capable of supporting heavier items such as monitors, lights, or even collateral. Truss components are available in multiple colours and can be used to create artistic displays.

The truss system goes up easily, is stable structurally, sturdy enough to withstand heavy paneling and hanging products and visually appealing. And if necessary, truss systems are customizable enough to become multilevel exhibits.

Another reason why  truss is perfect is their physical appeal – their metallic steely structure is futuristic enough to look modern yet functional in all ways.

Sometimes, exhibition  truss is referred to as convention truss. There is not much difference between the two, except that convention truss systems often provide for more areas of communication and customer relations while exhibition truss focuses more on the exhibits.

Convention truss systems often come in ready-to-construct kits of truss system, lights, built-in counters, cases and color tubes. And of course, they are fully capable of product spotlighting as well with ample areas and facilities for vendors to hang, drape or display their products, graphic panels and LCD monitors. More sophisticated convention truss designs may even come with hidden panels and cabinets for storage of products and convention and trade show paraphernalia.

Exhibition truss systems are an easy, convenient and quick way to set up a sophistically, professional and visually attractive exhibition stand. With the right graphics and exhibit work, any exhibition stand will look unique, while maintaining its appeal to the general public – qualities of which are essential can help ensure business expansion.

Here are a few designs you may be interested in:

- The Box – A simple four by four. Create a symmetrical four-sided parallelogram to illuminate precision and look organized.

- The Open Box – Simple remove the top downstage portion of your box and have the freedom to display larger signs and banners.

- The Triangle – Like the Open Box, the Triangle can provide you with sufficient room for large signs and banners.

- The Open Arch – This design looks innovative and fresh. With a beautiful arch in the background, low side walls, and an open front, your booth will have ample room for large banners and allow customers to easily enter and exit the space.

- The Cross – The x-shaped booth will easily allow traffic in and out of your booth. You can display signs and banners from any corner of the booth.

Choosing your perfect design will be up to you. Think about what you will need and what requirements your products demand. The convention truss can be shaped and re-shaped into so many forms. You have the freedom to take your truss one step further than the guy next to you.

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