Give people a reason to step out of their routine and into the brand.
Some campaigns are watched. Some are entered. We design and produce temporary brand environments around what people should notice, enter, do, feel and remember — then solve the physical and operational system underneath them.
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What should people actually do inside it?
Trusted with the briefs that matter.
Each caption states exactly what the environment is. No visitor numbers, dwell time, social reach, impressions, content generated or commercial outcome has been attached to any photograph — none of those have been documented for publication, and inventing them would undo the point of the rest of this page.
Pick a name. We’ll show you what happened.
An environment created for a streaming platform where the space itself was the campaign rather than a backdrop to it. Red Giant designed and built it. It is recorded internally as an immersive build rather than event decor, and the photography shows a constructed world rather than a branded corner of an existing room.
This is Red Giant.
Environments, not decorated rooms.
Visitor numbers, dwell time, social reach, impressions, content generated and commercial outcome are absent from every caption on this page. None of them have been documented to us for publication, and inventing them would undo the point of everything else here. There are few projects in this gallery for the same reason: most beautiful activation photography is not an experiential installation, and we only counted work where the environment itself carried the idea. One truthful project beats six stretched ones.
People do not owe the experience their time.
A pop-up asks somebody to stop what they were already doing, cross a threshold, and give the brand some of their day. That is a meaningful ask, and the entrance, the first interaction and the journey after it all have to keep earning it. Decor adds things to a space. Experience design decides why people are there — and if you could remove the structure and the message would survive unchanged, it was decor.
If people can walk past without wondering what is inside, the experience has already lost something.
What should people actually do inside it?
Something else — or is the environment not actually the answer?+
What we would bias towardA programme direction, not a fixed catalogue. We propose specific formats once we know the team, the venue and the day.
Three things decide whether anybody steps inside.
Do not spend all the creative attention inside. An experience has an outside, a threshold and an inside, and a beautiful interior nobody enters is commercially weak. The approach is what makes somebody notice, understand and walk toward it without a promoter physically intercepting them — if the answer is “staff will invite people in”, the architecture has not done its job. Then the threshold has to announce that you have crossed into something: a doorway, a change in light, a drop in sound. The moment the outside world stops.
A queue is not automatically a good sign+
It may indicate demand. It may also discourage visitors, block circulation, damage a neighbouring operation and create a poor first impression of the brand. Waiting, capacity, a fast lane, visibility and staff management are all design decisions rather than things to be pleased about afterwards.
We publish no visitors-per-hour figure and no maximum capacity, because neither exists without an actual footprint, an actual interaction time and an actual station count. Circulation width, accessible routes, emergency egress, equipment footprint and where the queue really forms rather than where the drawing says it will — those are planned into the design and against the venue’s own requirements. We do not provide structural engineering or safety certification; where a build needs those they are specified and sourced as part of the scope.
Enter, discover, do, understand, next step. Can somebody tell where to go without an instruction sign or a person explaining? If they need a manual, the space is not finished. What unfolds rather than being announced is the thing you only see after committing to walk further in. There should be one signature moment, everybody should reach it, and it should not be at the exit by accident. And what they leave knowing, carrying, feeling and intending to do is the part most experiences forget to design at all.
Technology is a tool, not an experience strategy+
The test is simple and it disqualifies most of what gets proposed: does it enable something otherwise impossible, remove friction, personalise, reveal, respond, or measure something genuinely useful? If it does none of those, it is an expensive thing to maintain in a hot room — and whatever is specified needs an answer to what still works if it stops working.
We do not hold AR, VR, AI, projection-mapping, motion-tracking, sensor or RFID capability in-house. Where a concept genuinely needs any of it, it is specified in the design and sourced through specialist partners as a named line in the scope — not implied as something sitting in our building. An agency that lists ten technologies on a services page has usually listed its suppliers’ capabilities as its own.
Shareable is a consequence, not the brief. The useful question is never “where is the photo moment” — it is why somebody would want this image on their own feed. Design transformation, exclusivity, scale, surprise, beauty, participation, personalisation or a story into the space and the photographs happen. Print a hashtag on a wall and they mostly do not.
Most experiential failures are scheduling failures. Site dimensions that differ from the drawing, loading access that will not take the crate, an install window that closes at six, power that is not where the plan assumed, weather during an outdoor build, internet that works everywhere except inside the structure. Every one of those is knowable in advance by someone who goes and looks — which is why a site visit before design freeze changes more than any negotiation does. A concept has to be buildable; creative intent that floats free of access, module size, transport and power is a drawing rather than a plan.
What is sourced, not owned — and what happens afterwards+
Red Giant owns no fabrication workshops, scenic shops, lighting, AV or interactive-technology inventory, and holds no modular structures in storage. Fabrication, scenic, lighting, sound, AV and any interactive technology are specified in the design and produced through specialist suppliers, as named lines in the scope. This is normal in the discipline; pretending otherwise is not.
Build what must be unique; reuse what does not. Modular substructure, interchangeable graphics, durable rather than disposable finishes and hardware that survives a strike all cost more the first time and less every time after. We publish no percentage saving for that, because what it is worth depends on how many lives the build actually gets and how similar they are — which is a design decision nobody has made yet at the point somebody asks.
Everything underneath the experience+
Fifteen categories — decor versus experience design, the words that get used interchangeably, the nine moments between the street and the story afterwards, spatial storytelling, the product and where it lives, how deep the interaction should be, technology and what we do not hold in-house, why somebody would share it, discovery versus destination, every site context and what it decides, dwell time and capacity, production from design to strike, the seven measurement rungs, what changes the cost, and where this service stops. The full system, open when you want it.
Decor, or experience design
The room, dressed
Branding applied to a venue that already existed. It can be beautiful, expensive and completely correct for the brief — plenty of events need exactly this and nothing more.
- The space was already there
- Elements are added to its surfaces
- Visitors look at it
- Remove the branding and the room is unchanged
The room, built to do something
The environment is constructed to produce a specific sequence of noticing, understanding and doing. Architecture, light, sound, material, product, people and content all serve one idea.
- The space is created for this
- Every element earns its place or leaves
- Visitors move through and participate
- Remove one element and the journey breaks
Which you need is a budget question as much as a creative one
An experiential build costs more than dressing a venue, and it is worth it only when the environment has a job that a stage and a screen could not do. Where the brief is really a launch with a programme and guests, or a stand at a trade show, we will say so — those are different pages and usually cheaper answers.
Words that get used interchangeably and should not be
A temporary branded destination. It has an address, opening hours and a reason to visit or stumble into, and it may contain product, interaction, retail, content, hospitality or programming. The defining quality is that it is a place, for a while.
A designed physical, or physical-and-digital, intervention people encounter and interact with. It can stand alone, or sit inside a pop-up, an event, a retail floor or a public space. The defining quality is the interaction, not the footprint.
A branded wall is not immersive. A photo booth is not immersive. An LED screen is not immersive. The word earns itself when the environment genuinely surrounds, transports or involves the person — when stepping in changes where they feel they are. Most work that gets called immersive is well-produced decor, and calling it immersive devalues the word for the projects that deserve it.
A stand works inside somebody else’s show, to their footprint, their rules and their visitor flow, usually toward a business objective. It is a real discipline with real constraints and it has its own page.
A launch has a programme, a guest list, media, a reveal and a running order. It might happen inside an extraordinary environment — but if the thing you are buying is the show and the moment, that is event production.
A retail pop-up belongs here when the space itself is the experience. When the real problem is influencing a shopper near a purchase decision on somebody else’s shop floor, that is retail activation.
Brand activation is the broad discipline — any marketing that asks people to do something rather than just see something. A pop-up or installation is one specialist answer within it, chosen when the environment itself needs to create the behaviour. Most activations do not need a build; when yours does, this is the page.
A launch has a programme, a guest list, media, a reveal and a running order — it happens at a time. A pop-up has opening hours and people arrive throughout — it happens for a period. A launch can take place inside a remarkable environment, and a pop-up can host a launch moment, but what you are buying differs: the show and the moment, or the place and the visit.
Nine moments between the street and the story they tell afterwards
What makes somebody notice, understand and walk toward it — without a promoter physically intercepting them. If the answer is “staff will invite people in”, the architecture has not done its job.
Does the threshold announce that you have crossed into something? A doorway, a change in light, a drop in sound. The moment the outside world stops.
Can somebody tell where to go without an instruction sign or a person explaining? If they need a manual, the space is not finished.
What unfolds rather than being announced. The thing you only see after you have committed to walking further in.
What the visitor is doing instead of looking. The difference between an audience and a participant.
The signature moment. There should be one, everybody should reach it, and it should not be at the exit by accident.
The commercial or brand action that matters — trying, registering, buying, booking, sharing. Designed into the flow rather than bolted on at the end.
What they leave knowing, carrying, feeling and intending to do. Most experiences design the entrance beautifully and let people fall out of a fire door.
What survives once the build is struck: content, data, product in a home, an intention, and physical assets that either travel again or go to landfill.
A good space has a point of view
One sentence. If it takes three, the space will not communicate it either.
What is withheld, and for how long.
Where it physically lives, and what it does there.
What deserves to be enormous. Usually one thing.
What deserves to be small, quiet and close.
Storage, cable, crew, queue. The magic dies in the visible extension lead.
Which composition people will actually take, whether you designed it or not.
Where people stop. Design it or the queue will decide for you.
Where they should move through quickly, and why.
Form follows behaviour, not the other way round
Briefs often open with a structure size — a six-by-six, a container, a dome. That is starting at the end. What are people meant to do: walk through, dwell, queue, browse, test, play, customise, listen, watch, photograph, buy, register? Answer that and the footprint is arithmetic. Answer it afterwards and you have bought a shape and now have to invent a reason for it.
The product, and where it actually lives
Where trial becomes the main event
If what actually matters is that people taste, apply or use the product properly — condition, portion, hygiene, throughput, what they do next — then the installation is the setting and sampling is the substance. That has its own discipline and its own page.
Yes, and it is often the point of building one — a space designed around trial gives the product a context nothing else can. The installation owns the environment and the journey; the trial mechanics, product condition, portion and throughput are their own discipline.
Where the location, the client and the commercial system support it — which means a transaction route you have approved, stock, and whoever controls the site agreeing to retail activity taking place. The purchase decision itself, and everything around shopper behaviour, sits with retail activation.
How deep should the interaction be?
Seven rungs, and the right one is set by the objective and the dwell time, not by ambition. A queue of two hundred people and a ninety-second window makes look the correct answer — and a beautifully engineered create-your-own mechanic in that situation produces a bottleneck and a hundred and eighty disappointed people.
Throughput is a creative constraint
Interaction depth multiplied by visitor numbers equals a queue. Decide which of the three you are willing to lose — depth, volume or waiting time — because you cannot have all three, and the decision is much cheaper now than on the opening morning.
Technology, and what we do not hold in-house
What we do not claim to own
We do not hold AR, VR, AI, projection-mapping, motion-tracking, sensor or RFID capability in-house, and we do not own fabrication workshops, lighting, scenic or AV inventory. Where a concept genuinely needs any of that, it is specified in the design and sourced through specialist partners as a named line in the scope — not implied as something sitting in our building. An agency that lists ten technologies on a services page has usually listed its suppliers’ capabilities as its own.
And where digital genuinely extends the physical
Personalised output the visitor takes away, registration that survives the queue, product information at the moment of curiosity, content that reaches the people who did not come. Useful, provided it is designed as part of the journey rather than added as a layer after the build is signed off.
We design the experience and the interaction, and coordinate the production. What we do not do is own the technology: we hold no AR, VR, AI, projection-mapping, sensor or RFID capability in-house, and no fabrication workshop, scenic shop or AV inventory. Where an interaction genuinely needs any of that, it is specified in the design and produced through specialist suppliers as a named line in the scope. That is how most of this discipline works; the difference is that we say so.
Showmax Subterranea is recorded in Red Giant’s own project data as a brand experience and immersive build — a constructed environment rather than a dressed venue. That is the standard we hold the word to. Plenty of well-produced activation work is not immersive, and we would rather show one project that genuinely was than call six things immersive because they photographed well.
Why somebody would put it on their own feed
Design one of those into the space and the photographs happen. Print a hashtag on a wall and they mostly do not.
Where it sits — discovery or destination
Put it where they already are
- Footfall does the work of promotion
- Approach and threshold carry everything
- Shorter dwell, higher volume
- Competing with whatever they came to do
Make it worth the journey
- Needs a reason and a reach plan
- Visitors arrive already committed
- Longer dwell, deeper interaction
- Empty on a wet Tuesday if promotion underdelivers
Every context, and what it decides
Where it sits changes the threshold, the dwell time, the build method and who has to approve it. Site suitability and approvals depend on the concept, the location and the venue’s own requirements. We coordinate them; we hold no standing access to any mall, venue or public space, and no proposal from us will imply otherwise.
Discovery territory with a captive flow of people who came for something else. Strong footfall, tight rules — footprint, setup window, sound, power and what may be built at all are set by mall management.
Access, footprint and install windows are granted by mall management, never assumed.
The shortest distance between experience and purchase, and the tightest space. Everything competes with trading, and the retailer decides what is possible.
An audience already gathered and already occupied. The installation has to earn attention against a programme, and usually gets a short window to be built.
The most creative freedom and the most responsibility. Nothing arrives by accident — every visitor came because something told them to, which makes promotion part of the budget.
The venue agreement governs build method, hours and what can be altered.
Scale, visibility and weather. Wind loading, drainage, power, security overnight and permissions from whoever owns the ground all become design inputs rather than afterthoughts.
Public space may belong to a county, a landlord or a mall rather than the venue you are talking to.
If the installation lives inside a trade show, the show’s rules dominate: build height, rigging, hours, neighbouring stands and the organiser’s technical manual.
A defined, invited audience and a controlled environment. Usually smaller in scale and higher in finish, because people will be close to it for a long time.
Then decide discovery or destination first — whether people should stumble into it or travel to it. That single choice narrows the site list faster than any other question.
Malls, retail floors, standalone venues, inside events, exhibition floors, corporate spaces, and outdoor or public sites. Site suitability and approvals depend entirely on the concept, the location and that venue’s own requirements — footprint, install window, power, structural limits, sound, security and what may be built at all. We coordinate those; we hold no standing access to any mall, venue or public space and no proposal from us will suggest we do.
We coordinate site and venue requirements as part of planning, and where a specific approval is needed we pursue it. What we do not do is guarantee an outcome that belongs to a mall, a landlord, a county or an organiser, and we do not provide structural engineering or safety certification — where a build genuinely needs those, they are specified and sourced within the scope.
Dwell time, capacity and flow
Capacity and flow, before aesthetics
Beautiful pop-ups fail when people cannot move. Enter, queue, participate, move, exit — each one needs a physical answer. Circulation width, accessible routes, emergency egress, equipment footprint, where the queue actually forms rather than where the drawing says it will, and how many people can be inside at once without the experience becoming a corridor. We plan these into the design and work with the venue’s requirements; we do not provide structural engineering or safety certification, and where a build genuinely needs those they are specified and sourced as part of the scope.
Forty-five seconds and forty-five minutes are not the same building. Pick an intended dwell time and this is what it decides. Longer is not automatically better — the interaction should last only as long as it takes to deliver something worth stopping for.
- Seconds, not minutes — the whole idea has to land at walking pace
- One clear moment, no sequence
- Capacity is rarely the constraint
- Measure traffic and impression of the space, not participation
- A single interaction that completes fast and resets instantly
- Queue management starts to matter
- Staff ratio becomes a real number
- Measure participation against traffic
- Multiple moments, a route, and somewhere to pause
- Circulation width and flow become design decisions
- Wayfinding without signage is the craft
- Measure participation and what people made or tried
- Seating, shade, comfort and a reason to remain
- Capacity limits become hard limits
- Content or programming has to fill the time
- Measure dwell only if it is genuinely measurable
- Timed entry, a host, and a start and end
- Booking or queueing structure required
- Highest production value per visitor, lowest volume
- Measure sessions run, completion and output
- Decide this before the footprint — it changes everything downstream
- Volume and depth pull against each other
- Staffing follows from it directly
- We will propose a shape and say what it can deliver
There is no universal answer — it is set by the site agreement, the build method and the commercial case. What matters more is that duration is decided before design, because a structure built for one weekend and one built to stand for six weeks are different objects with different materials, finishes and maintenance needs.
Production — design to strike
Concept and experience design, the spatial and visitor-journey design, graphics, the technical plan, production coordination with fabrication and specialist suppliers, install and strike, and operating the experience while it is open — including the people inside it.
We do not own fabrication workshops, scenic shops, lighting, AV or interactive-technology inventory, and we do not hold modular structures in storage. Fabrication, scenic, lighting, sound, AV and any interactive technology are specified in the design and produced through specialist suppliers, as named lines in the scope. This is normal in the discipline; pretending otherwise is not.
Most experiential failures are scheduling failures. Site dimensions that differ from the drawing, loading access that will not take the crate, an install window that closes at six, power that is not where the plan assumed, weather during an outdoor build, internet that works everywhere except inside the structure. Every one of these is knowable in advance by someone who goes and looks — which is why a site visit before design freeze is not optional.
Worth deciding at concept stage, because it changes how everything is built. One-off, designed entirely for this context. Redeployable, where components can be reused. Touring, designed from the start to move. Or adaptable, where a core structure takes new graphics between sites. Asking whether materials can be reused, whether modules travel and whether graphics can be replaced is practical rather than performative — and we will not make sustainability claims we cannot evidence.
It is struck within the site’s window and then it either travels, gets stored for redeployment, has components reused, or is disposed of. Deciding which at concept stage changes the construction. We will ask whether materials can be reused, whether modules can travel and whether graphics can be replaced — but we will not claim carbon neutrality, circular design, recycled percentages or zero waste, because we cannot evidence them.
Some experiences can be designed for redeployment, and deciding that at concept stage changes how everything is built — modular construction, replaceable graphics, transport-aware dimensions, repeatable install. Touring adds production, logistics and consistency requirements that a one-off build does not carry, and a design that was never intended to move rarely survives being moved.
Measuring it — seven rungs, never merged
Traffic
People who entered, where entry is genuinely countable. Passers-by are not visitors, and a busy mall is not an audience.
Participation
People who did the thing the space was built for. Always lower than traffic, and far more meaningful.
Dwell
Only where it is genuinely measurable rather than estimated by somebody at the door.
Output
What was made, tried, personalised or taken away. Countable, tangible, and usually the best evidence the experience produces.
Action
Registrations, purchases, bookings — where a valid tracking mechanism exists. Without one this stays empty.
Amplification
Content and social performance from actual platform data, not from counting how many phones came out.
Qualitative
What the team observed and what visitors said, labelled as observation. Genuinely useful, never a statistic.
Footfall past the site does not become visitors. Visitors do not become participants. Participants do not become qualified leads. Social posts do not become reach without valid platform data. And photographs taken do not become brand impact, however beautiful they are. The last one is the hardest to resist, because the deck looks incredible either way.
By what the space was built to make people do. Traffic where entry is genuinely countable, participation, dwell only where measurable, output such as things made or tried or taken away, action where a valid tracking mechanism exists, amplification from actual platform data, and qualitative observation labelled as observation. Footfall past the site is not visitors, visitors are not participants, and photographs taken are not brand impact.
What actually changes the cost of a build
- Concept complexity — how much is custom-madeThe first variable
- Footprint and heightHigh
- Fabrication and scenicUsually the largest line
- Materials and finish levelHigh
- Lighting, sound and AVConcept-dependent
- Interactive technologySpecified and sourced
- Venue or site costSet by the site
- Duration and operating daysHigh
- Install and strike windowsOvernight work costs more
- Transport and storageMedium
- Power and infrastructureSite-dependent
- Staffing while openDuration-driven
- Content and documentationScope-dependent
- Touring or redeploymentChanges how it is built
The principle worth holding on to
The experience does not need everything. It needs the right things to feel deliberate. A restrained space where four decisions were made properly reads as far more expensive than a crowded one where fourteen were made adequately — and it photographs better, installs faster and survives contact with a wet Thursday.
Where experiential budgets go wrong
Concept approved before anybody visited the site. An install window nobody checked against the build method. Interactive technology specified because it was exciting rather than necessary, then needing a technician on site for three weeks. Content scoped after the build. And the classic: the whole budget spent on the peak moment, leaving the approach so weak that nobody walks in to see it.
Who runs it, and where the boundaries are
People inside an immersive environment need more than a uniform: they have to understand the story, their role in it, how visitors flow, the interaction, the product, the escalation route and the action that matters. Where staffing is a significant part of the scope, it is scoped as its own discipline rather than assumed.
A stand exists inside somebody else’s show, working to their footprint, their rules, their visitor flow and usually a business objective — qualifying visitors, capturing leads, holding meetings. An installation can exist independently: in a mall, in public space, inside retail, inside an event, or as temporary architecture of its own. Different constraints, different success measures, different page.
Get an instant pop-up and experience estimate.
A build is the least suitable thing on this site for an instant number — the same footprint can differ by a multiple depending on how much of it is fabricated, how long it stands and how hard it is to get into the site. So this is a planning range, not a quote. Answer a few quick questions to see a very tentative cost, built from published Kenyan fabrication, print, flooring, screen, lighting, furniture and transport rates plus a clearly labelled staff benchmark. Design, fabrication, graphics and flooring are charged once and never multiplied by the days the build stands. Interactive technology is always quoted, never estimated here.
Enter width and depth and the estimate uses the real area and the real perimeter instead of the size band above.
Tell us the number and we will show you what we would protect, what we could simplify, and what still needs a conversation.
Not a formal quotation. Ask for a formal quote →
The part we could say ourselves, but it’s better coming from clients.
“They blend creativity and precision flawlessly. Our event was an unforgettable masterpiece, thanks to their innovative touch.”
Philip Barasa
“Their attention to detail and creativity in every aspect, from décor to audiovisuals, was flawless. What sets them apart is their ability to truly understand your vision.”
Anne Kibunya
“From start to finish, they flawlessly manage every detail. Highly recommend them for any event management needs.”
Collins Nyachoti
These are public Google reviews of Red Giant as a company. They are reproduced word for word and are not attributed to any specific experiential installation on this page.
Keep the idea. Add the ground that builds it.
The idea, the design language and the experience intent stay yours. What changes is how it is actually made here — available materials and finishes, fabrication methods, install windows, transport, power, and what the site will physically allow. Where a specified material or method is not realistically available, we propose the closest thing that preserves the intent rather than quietly substituting and hoping. Keep what must stay fixed; solve what has to work locally.
Renders and production drawings if they exist, the design intent behind them, and the non-negotiables — the two or three things that must survive contact with local production. Then a site visit before design freeze, because dimensions on a drawing and dimensions in a mall are two different numbers surprisingly often. We will not imply that every material or technology in a global pack can be reproduced here; what can and cannot is a review, and you get it before production is confirmed rather than after.
No owned fabrication workshop, no scenic shop, no lighting or AV inventory, no interactive-technology stack, no modular structures in storage, and no standing access to any venue or public space. We claim no customs or temporary-import capability, no structural certification, no visa handling and no regulatory approval. Site suitability and approvals depend on the concept, the location and the venue’s own requirements; we coordinate them and we do not guarantee them.
Progress against the production programme, photographs from the workshop and the site, the install as it happens, and a named person who answers when a dimension turns out different from the drawing. Structured reporting rather than a live dashboard — we do not own production software and will not imply we do.
Before the brief.
Experiential marketing creates a direct interaction between a brand and people, letting them experience, participate in or respond to the brand rather than only see its advertising. In its physical form it usually means a designed environment — a pop-up, an installation or a temporary brand space — where the space itself helps carry the idea. If you could remove the structure and the message would survive unchanged, it was decor rather than experience design.
A temporary branded destination — somewhere with a location, opening hours and a reason to enter, existing for days or weeks rather than permanently. It can contain product, interaction, retail, content, hospitality or programming. The defining quality is that it is a place, for a while, whereas an experiential installation is defined by the interaction rather than the footprint and can sit inside a pop-up, an event, a retail floor or a public space.
It depends on the footprint, how much of the space is actually fabricated, how long it stands, the location, graphics, flooring, lighting, AV or interactive elements, furniture, staffing, installation and logistics. There is no rate card and no honest way to produce one: the same footprint can differ by a multiple depending on how much of it is custom-made and how hard it is to get into the site. The estimator above builds a tentative planning range from published Kenyan fabrication, print, flooring, screen, lighting, furniture and transport rates plus a clearly labelled staff benchmark, charges design, fabrication, graphics and flooring once rather than per day, and marks the site fee, power, security and any interactive component as to be confirmed rather than guessing them.
Build time depends on the design, the materials, approvals, technical requirements, venue access and fabrication complexity. A simple branded pop-up and a custom immersive environment need very different production schedules, and we do not publish a universal timeframe or promise a turnaround. What compresses the schedule more than anything is a site visit before design freeze — most experiential failures are scheduling failures, and almost all of them are knowable in advance by somebody who goes and looks.
Yes, where the design and production requirements can be executed within the verified local scope. Send the renders, production drawings, brand rules, technical requirements and the two or three things that cannot change. Materials, finishes, fabrication methods, install windows and what the site will physically allow are reviewed before production is confirmed, and where something specified is not realistically available here we propose the closest thing that preserves the intent rather than substituting quietly. We hold no AR, VR, AI, projection-mapping, motion-tracking, sensor or RFID capability in-house and own no fabrication workshop, scenic shop, lighting or AV inventory — all of it is specified in the design and sourced through named specialist suppliers.
Malls, retail floors, event environments, standalone venues, outdoor and public space, exhibition floors and corporate spaces all work, and each changes the threshold, the dwell time, the build method and who has to approve it. Red Giant holds no standing access to any mall, venue or public space and no proposal will imply otherwise. Site suitability, footprint, install windows, sound, power and operating conditions are set by the site and coordinated against the actual concept — we do not publish a universal permit process, promise turnaround times or give legal advice, and we provide no structural engineering or safety certification.
We already have the experience so far.
Who should we send the formal next step to? If you already hold a concept, a render, production drawings, a floor plan, a venue pack or an RFP, send that instead — and if you have a space rather than an idea, send its dimensions, photographs, access and install window, because half the design decisions are already made by those.
Tell us about it.
No finished plan required.
No finished plan required
Got it. Your scope is with us — a Red Giant lead will come back to you on it.
Send the messy version. hey@redgiant.co.ke →
Whatever exists already — a deck, a floor plan, a spec, a date, or half the idea. Send what you have.
Build the scope first.
The estimator carries straight into this form. Start there →
- 1We receive your scope exactly as you built it.
- 2Red Giant reviews the commercial and operational requirements.
- 3We come back to confirm anything missing.
- 4You receive a formal quotation against that scope.
Give us the idea. Let us work out the world around it.
A concept, a render, a space, or just the thing you want people to feel — any of those is enough to start. What happens next: Red Giant receives the experience scope and whatever concept or site information exists, reviews the design, production, operational and commercial requirements, confirms the site, fabrication, technical and third-party costs that are not ours to set, and comes back with the formal commercial next step.