The Yamaha Apex 2026 build leaned into the brand’s classic red, white, and black palette — wrapping a 30’ × 40’ footprint in continuous Yamaha header bands, halo-lit tuning-fork logo walls, and the “Revs Your Heart” tagline carried clean around the perimeter. From overnight rig-in through final touch-ups on show morning, the crew kept every seam, light line, and graphic edge tight so the booth read as one cohesive Yamaha environment the moment the hall doors opened in Anaheim.

The Adobe Max 2025 build called for a brand-precise environment that could hold its own next to Adobe’s own product design language. Our crews handled the install end-to-end — from initial set to final dismantle — building out a clean, demo-ready space that put Adobe’s creative tools front and center. Structural panels, tensioned graphics, AV elements, and finish work were all dialed in before show open, giving the Adobe team a stable, polished stage to run their on-floor programming from day one.

The Jinko Solar build at RE+ 2025 was a 3,000 sq ft island at Booth V9044 inside the Venetian Expo Center, anchored by a 20′ × 20′ halo-lit Jinko Solar canopy hanging overhead. The footprint carried two enclosed conference rooms, a lounge with hi-top seating, waterfall hospitality tables, a vertical solar panel display, double-sided LED screens, and a holographic fan display — all sequenced around a hall column running directly through the booth. From rig-in of the canopy through final AV calibration, the crew kept every panel seam, halo gap, and cable run tight so Jinko Solar’s island opened clean on Sept 9 and held through the close of the show on Sept 11.

The Paul Mitchell build was a full-ballroom takeover — wall-to-wall custom carpentry and finished panel walls staged inside a hotel ballroom, not a convention hall, with the AES crew working around fixed architectural features, hotel carpet protection, and noise/access constraints across a multi-day install. From raw frame to finished face, every wall section, riser, and trim detail was assembled, faced, and dressed on-site so the room turned over clean for the Paul Mitchell brand experience.

The Bandai Namco build at Anime Expo 2025 was a 3,200 sq ft retail-style activation at Booth SH-2214 inside the Los Angeles Convention Center — a double-height BeMatrix structure with a storefront-style facade, a line of cashier transaction windows, two satellite sales stations, and a serpentine stanchion queue engineered for the kind of fan traffic Bandai Namco draws at AX. From rig-in through final POS check, the crew kept every panel seam, sightline, and queue lane dialed in so the booth opened clean on July 3 and held its line through four straight days of show-floor crowds.

The BBC Studios build at Licensing Expo 2025 was a 1,500 sq ft licensing-meeting environment at Booth N204 inside Mandalay Bay, engineered to run back-to-back rights and partnership meetings across the three-day show. The footprint carried 14 meeting tables, 72 chairs, four LED kiosks, an overhead architectural header with six suspended character cubes, a branded merch case, and a dedicated photo op — all dialed in so BBC Studios’ team could move from one licensee to the next without losing the brand environment around them.

The Bandai Namco / Pokémon build at the TPCI World Championships 2025 was a 900 sq ft retail-style island at the Anaheim Convention Center, dressed end-to-end in the Pokémon Model Kit Series identity — Pikachu hero graphics, Pokéball motifs, the iconic Pokémon-red lightning-bolt wallpaper, and a four-sided overhead banner reading “Pokémon Model Kit Series — Bandai Namco — Fun for All into the Future.” Inside the footprint, illuminated product towers, multi-tier shelving, oversized box-art lightboxes, and a wall-mounted LED screen put the full Model Kit lineup in front of fans flowing past from the Championship floor.