Our 3D Designs

We designed and built the Riyadh Chamber stand on one governing decision: that it be open on every side. No front elevation and no back — the visitor enters from wherever they arrive, which raises the number of entry points and with it the chances of engagement. A single curved canopy carries both roles at once: from a distance it reads as a sculptural element marking the stand's position in the hall, and up close it provides shade and defines the space. The palette is contemporary and quiet — soft cream over a warm timber floor — reflecting the Chamber's identity without shouting it.

Client

Riyadh Chamber

Treatment

Curved canopy and open plan

Materials

Cream surfaces and timber flooring

Documentation

7 shots and drawings

• A wide view of the stand: the curved canopy defines the space without closing it.
• The stand from the opposite angle — no single frontage acts as the entrance.
• The curve of the canopy as it drops to meet the stand floor.
• The canopy as a sculptural element in its own right, legible from across the hall.
• The reception counter under the canopy, and the stand read at human scale.
• The internal area and the circulation between its several entry points.
• The construction drawings and elevations the stand was built from.

A complete stand for Halliburton, built to present products in a language combining refinement and innovation. The treatment rests on an extended red wall that carries the identity and acts as a single visual backdrop for the entire stand, with display plinths arranged in front of it in an order that leads the eye from one product to the next without crowding. The choice of materials is what carries the sense of quality: natural timber flooring, polished acrylic, and contemporary metal accents — a combination that makes the stand look elegant and modern at once. Alongside the display, comfortable seating turns passing traffic into conversation, so the stand becomes a place to work rather than a frontage to look at.

Client

Halliburton

Treatment

Extended identity wall and display plinths

Materials

Natural timber · polished acrylic · metal accents

Documentation

6 shots and a top-down plan

• The extended red wall with the display plinths in front — a single visual backdrop for the stand.
• A wide view showing the stand's reach across the darkened hall.
• The arrangement of display plinths and the path the eye follows.
• A side view taking in the display plinths, the identity wall and the red seating corner.
• The full frontage from mid-aisle — the lit wall, the run of plinths and the timber floor.
• The internal layout plan with display and seating zones.

The stand for the Coordination Council of International Pilgrims' Guides and Service Providers, designed against four explicit criteria before a single line was drawn: visual draw through colour, lighting and graphics; function through a plan that eases movement and makes room for interaction and display; identity, so that the stand speaks the Council's name and colours; and interaction through screens and a meeting area. The architectural treatment befits the gravity of the mission: a warm cream palette, an arched canopy framing the space, and a honeycomb ceiling drawn from traditional geometric ornament — a language that says "guests of the Merciful" without explanation.

Client

International Pilgrims Services Coordination Council

Criteria

Draw · function · identity · interaction

Treatment

Arched canopy and honeycomb ceiling

Documentation

4 shots and drawings

• A top-down view showing the octagonal form and its openness on every side.
• The reception counter and the screen built into the stand structure.
• The identity frontage in cream and gold, carrying the Council's name and logo.
• The floor plan: zoning and circulation routes.

Stand design is the craft of shaping a small space that tells a whole story: in a single moment the visitor takes in the coordinated colours, the considered lighting and the clear identity. And because beauty is only complete when elegance meets function, the stand was built on three elements: a refined surface for displaying products, an open space for networking and interaction, and simple visual touches that leave a lasting impression. We delivered two different designs for Proptech at the same show: the first built on the cloud and arches motif in a magenta and white palette, the second on a digital frontage with a large screen and magenta lighting — one identity, two spatial solutions.

Client

Proptech

First design

Cloud and arches motif

Second design

Digital frontage with a large screen

Documentation

4 shots

• First design: the cloud and arches motif in a magenta and white palette.
• Second design: a refined display surface and open space for networking.
• The digital frontage with its large screen and magenta lighting.
• The stand's extended frontage as read from the aisle.

Two proposals for Arkaz in a single palette — deep turquoise green and white. The first is a corner open on two sides: a ribbed wall carrying the logo, a curved white canopy shading the seating area, and a round totem at the aisle edge with a vertical screen and the site address. The second is wider: a barrel vault wrapping over the stand with a lightbox carrying the identity at its front, a lounge and two meeting tables beneath it, and a run of white fins opening the side elevation. Both designs share an LED light line around the stand floor and a curved reception counter carrying the brand. The views are annotated with their materials and screen sizes — melamine, acrylic and P1 LED panels at 2×1.5 and 1×1.5 metres — so the client reads what will be fabricated, not merely what looks attractive.

Client

ARKAZ

On display

Two alternative designs

Screens

P1 LED at 2×1.5 m and 1×1.5 m

Documentation

2 shots

• Second option: a barrel vault and a lightbox carrying the identity above the lounge.
• First option: an open corner with a ribbed wall and a round totem at the aisle edge.

A stand in a steel blue and white palette. The main wall is vertically ribbed and carries "Established 1944" in large white numerals: the first thing the visitor sees is not a description of the service but the company's age, which a newer competitor cannot easily match. Above it sits a lightbox with the logo; at the aisle edge, a round totem with a vertical screen and the site address; and behind the seating area, a wall of interlocking circles in the identity colours. The seating is white benches and high chairs around a glass table, the reception a curved counter carrying the brand, and an LED line runs around the floor. The views are annotated with their materials and screen sizes: melamine, acrylic and P1 LED panels.

Client

Al-Muallem Facility Management

Governing element

Founded 1944, on the wall

Screens

P1 LED at 2×1.5 m and 1×1.5 m

Documentation

1 shot

• The ribbed wall and the founding year 1944, with the round totem at the aisle edge.

A stand in navy and white for a pipe manufacturer. The governing element is a suspended ceiling ring, its underside lined with rippling white light strips that redraw the wave in the company's logo — so the identity is not printed on a surface but turned into light visible from any angle in the hall. Beneath it, a navy gateway carries the brand mark, and in front stands a white display case with rounded edges holding pipe sections and fittings in their real colours: orange, black and white. The stand shows what the company makes, not a picture of it. On the aisle side, a full-height LED tower displays a field shot from a live site, pulling the visitor in from a distance before they read a name. Between the two sit white product shelves and a hospitality area with navy seating and white tables.

Client

AMIANTIT

Governing element

Ceiling ring with rippling light

Display

Real pipe sections in a display case

Documentation

2 shots

• The ceiling ring with its rippling strips, and the display case holding the pipe sections.
• The stand from the aisle: a full-height LED tower showing a shot from a live site.

One stand for two companies — a situation that usually causes trouble, because each brand wants the frontage. The solution here lies in planning rather than concession: a white frame with rounded corners wraps the stand, and inside it a curved green wall divides the mass into two frontages — one carrying the JANA logo in its header, the opposite one carrying NAMA. Each frontage holds an image panel from the worksite showing both logos, so the partnership stays legible from either side. At the centre, a curved white reception counter carries both marks side by side — a single point receiving both companies' visitors instead of two competing counters. Inside is a white lounge with a wall-mounted screen, and a blue light line runs along the floor edge, unifying the stand visually from the outside.

Client

NAMA Chemicals

Status

Two brands in one stand

The solution

A frontage per brand and a shared counter

Documentation

3 shots

• The JANA frontage: the curved green wall and the image panel carrying both logos.
• The opposite frontage, with the NAMA logo in its header.
• The shared reception counter carrying both brands, and the light line at the floor edge.

A complete design line for Founding Day, built on one decision: to read Najdi architecture rather than copy it. The wall takes the colour and texture of clay, its upper edge crenellated like the walls of Diriyah, and the Najdi ornament — triangle, arch and dots — is not printed on the surface but carved into it and lit from behind, appearing at night as inscriptions made of light. A warm LED strip traces the edges of the mass, separating it from the darkness and letting it read from a distance.

The line runs from the gateway to the stage to the photo corner: a stage framed by red and white Sadu drapes with an LED screen at its centre, copper lanterns on the columns, and a floor majlis with Sadu spreads and coffee pots. And a corner bringing together successive arches and lit shelves holding pottery and ceramics.

What separates good design from the rest is the detail: a close shot revealing the grain of plaster on a column, the copper reflecting off its surface, the cleanness of the reveal the light escapes through. We show this because it is what we build.

Organisation

Arena Rise — in-house design line

Occasion

Saudi Founding Day

Visual language

Najdi architecture · carved, lit ornament · Sadu

Elements

Gateway · stage · majlis · photo corner

• The gateway against black: the crenellated edge, and the Najdi ornament carved into it and lit from behind.
• The stage with Sadu drapes and the LED screen, fronted by a floor majlis with Sadu spreads and coffee pots.
• The photo corner: successive arches and lit shelves holding pottery, with columns in illuminated Najdi ornament.
• The detail: a copper lantern on a plaster-textured column, and the reveal the warm light escapes through.

A project measured not by a single element but by a whole plan. We took the waterside walk at Patio and its surroundings and turned them into a destination for Founding Day: a main gateway with a crenellated Najdi edge carrying the project's logo in neon alongside the Founding Day mark; a series of smaller lit gateways repeating along both banks, guiding movement without a single directional sign; and lighting runs hung with lantern-shaped fittings stretching overhead, unifying an open space that had been disconnected.

Then the places to stop: mobile carts carrying the Patio identity, a photo corner with a timber bench, a Sadu throw, clay jars and a backdrop with a lit Najdi edge, and majlises in red and white Sadu with low tables on worked bases holding coffee pots and gilded hospitality dishes.

The aerial view is what settles it: it shows the elements are not scattered but set along a route — gateway to bridge to cafés — and that the lighting is designed as one layer across the whole project. That is a level of planning no furniture supplier reaches; it takes a company that designs the event as a whole and then builds it.

Client

Patio

Occasion

Saudi Founding Day

Scope

A whole destination, not a single element

Elements

Main gateway · repeating lit gateways · suspended lighting · carts · photo corner · majlises

• The plan from above: the gateway, the bridge and the lit gates set along one route around the waterside walk.
• The main gateway at night with its crenellated Najdi edge, the Patio logo in neon and the Founding Day mark.
• The timber bridge and suspended lighting runs, with lit gateways guiding movement along both banks.
• The photo corner: a timber bench, a Sadu throw and clay jars in front of a backdrop with a lit Najdi edge.
• The majlises in Sadu fabric, with low tables on worked bases holding coffee pots and hospitality dishes.

An event design delivered not as a pretty picture but as an element schedule ready for fabrication — and that is what separates an event company from a décor supplier.

The first element is a photographic exhibition wall 1100 cm long and 250 cm high, broken into four panels at angles that open the view to anyone walking past, carrying 56 framed images with directed lighting over each group, in the airline's palette: navy and gold with two horizontal bands at the base.

The second is the falcon carved in timber at 175 cm high by 170 cm wide, with longitudinal grooves through the wings and LED backlighting, on a base carrying the airline's name in Arabic and English — a photo piece in its own right, not a sign.

The third is a 200 cm wayfinding sign on an 80 cm base, with the falcon's wing wrapping around its body so the sign itself becomes an identity element. The dimensions are written onto the views because the client signs off on what will be fabricated, not on an impression.

Client

Gulf Air

Exhibition wall

1100 × 250 cm · 56 images

Logo sculpture

175 × 170 cm · timber, backlit

Wayfinding sign

200 × 80 cm · timber

• An 1100 cm by 250 cm exhibition wall carrying 56 framed images under directed lighting.
• The 175 cm backlit timber falcon sculpture, on a base carrying the airline's name.
• The 200 cm wayfinding sign, with the falcon's wing wrapping around its body.

An industrial company's event in Jubail, designed from the plan rather than from the décor. Open ground became an ordered site through purple carpet routes with patterned borders, drawing on the ground the path the guest should take: from a lit circular gateway, along a walkway flanked by lighting columns and potted plants, to the reception tent, and on to the glass hall where dinner is served.

This is the difference between designing an event and furnishing one: the visitor never asks "where do I go?" because the floor answers, and the wayfinding signs in the brand's two colours — orange and blue — only confirm what they already know.

Inside the tent, a stage with a wide LED face carrying images of the plant, flanked by two navy panels: ArcelorMittal on the left and JISCO on the right — a partnership legible from the furthest guest's seat. The platform is white and curved with an orange light strip, facing rows of white seating. Outside, a Sadu tent in red and white shades the seating area, because an industrial event stays Saudi in its hospitality.

Client

JISCO · ArcelorMittal Tubular Products

Location

Jubail — Eastern Province

Governing idea

Carpet routes direct movement instead of signage

Elements

Lit gateway · walkway · LED stage · glass dining hall · Sadu majlis

• The site plan: carpet routes linking the lit gateway to the tent and on to the glass hall.
• The lit circular gateway, and the walkway with its lighting columns leading to the reception tent.
• The stage with its wide LED face flanked by the ArcelorMittal and JISCO marks, facing the seating rows.
• The wayfinding sign in the brand's two colours, with a majlis in red and white Sadu behind it.

An event for an energy services company, solving a problem anyone who has run an industrial event knows: how to display heavy equipment without the hall looking like a workshop.

The answer is in the treatment: the subsea unit stands on a raised purple plinth with clean edges, behind it a white information panel with rounded corners carrying the brand and the product description, and between them a blue light strip separating the yellow mass from its background so it reads as an exhibit rather than a machine parked in a hall.

The identity governs the whole scene: the brand's triangles in purple, sky blue and red repeat from the main gateway to the feather flags to the floor cubes. And in the dining hall, round tables with purple runners and napkins folded in the brand colour, facing an LED wall carrying the campaign, and a stage with lit risers.

Then the detail that reveals the standard: a clear acrylic welcome card carrying the brand's triangles on every table. Whoever designs the table card with the same care as the gateway leaves nothing in between to chance.

Client

TechnipFMC

Event type

An industrial company event with a product display area

Treatment

The unit on a lit plinth, as an exhibit

Span

From the gateway to the welcome card on the table

• The gateway marked with the identity's triangles, with the reception wing inside the tent behind it.
• The identity wall with its triangular blocks separating the dining hall from the equipment display behind it.
• The dining hall: round tables with purple runners in front of an LED wall and a stage with lit risers.
• The clear acrylic welcome card with the brand's triangles, on every table.

Designing for sport differs from designing a corporate event on one decisive point: the audience already belongs to the brand, and the design does not build that belonging but gives it somewhere to happen. That is where the design for Dar Al-Qadsiah began — an events venue for Al-Qadsiah Club in the Eastern Province.

The line "هنا دارك · WHERE YOU BELONG" is not merely words on a screen; it is the decision that ordered the space. The main stage carries a wide LED wall in a gold frame with two angled red blocks bearing the venue and club marks, a moving lighting grid of twenty units above it, and lit risers with red strips separating the platform from the seating.

Alongside it, three elements turn the hall from a stage into a "home": the club history wall, a timeline dated from 1935 that tells the story of the founding and frames two doorways; a photo wall with an angled red frame and the club crest backlit, working as a backdrop for media appearances; and a hospitality area with seating, cushions and vases carrying the identity.

The red is not distributed evenly but in gradation: a full block on the stage, a frame on the photo wall, a touch on a cushion. So the identity reads from the hall entrance as clearly as it does from a seat in the back row.

Client

Al-Qadsiah Club

Logo

هنا دارك · WHERE YOU BELONG

Elements

Stage · history wall · photo wall · hospitality

Timeline

Starting from 1935

Documentation

6 shots

• The main stage: a gold-framed LED wall carrying the "هنا دارك" mark, with a moving lighting grid above it.
• The whole hall: the red gateway, the seating, the protocol barriers and the reception counter.
• The club history wall: a timeline dated from 1935 framing two doorways and turning the corridor into a story.
• The photo wall: an angled red frame with the club crest backlit, and a plinth carrying both marks.
• The hospitality area: cushions, vases and a standing sign, all carrying the identity.
• A standing sign carrying the venue and club logos, with the hall behind it.