One fixed number. One project manager. A booth that clears the Seattle Convention Center checklist before the truck turns onto Boren.
Seattle exhibits on a hillside. The Convention Center is two buildings two blocks apart — Arch on Pike, Summit on Pine — fed by an 18-bay dock you can only enter southbound, a marshalling yard eight miles down MLK, and hand-carry garages where a full-size van clears one entrance and not the next. Pure Exhibits builds Seattle trade show booth rentals around that map from the first sketch — designed, fabricated, fully pre-staged and photo-approved before anything ships, priced in one contractual figure — so the only thing your team manages on show week is the show.
More than 500 exhibiting teams hold us to the standard we bring to Seattle unchanged: the signed number survives to closeout, the booth matches its photo proof, and a person answers the phone during move-in on Pike or Pine.
“They never just build the booth and disappear — I always know I have someone on call when the unexpected happens.”
Amanda Horner · Three years of Adobe Summit booths · Google Review
“It’s always a pleasure to work with Utsav. The process is simple, straightforward, and high quality. I have worked with them for 3 years now and will continue!”
Carlos Bautista · Three-year client · Google Review
On the Seattle calendar — Emerald City Comic Con · PAX West · Northwest Flower & Garden Festival · Seattle Boat Show · Sakura-Con · Pacific Marine Expo · Seattle International Auto Show
Every build below shipped at the number it was quoted and matched the photographs its owner approved — inlines through 30×30 islands, cybersecurity to consumer goods. Your Seattle rental comes out of this same inventory, from this same shop. Click any project for a closer look.
Curious what sat behind a build — the brief, the budget, and how the show went? Teramind, Appdome, Afresh, WillowTree, Yuna, LHH and Genea each tell it in the case study hub.
A booth that works in Seattle is finished before it crosses the Cascades. Pure Exhibits fabricates every exhibit in-house, stands it up completely in the shop, photographs it for your sign-off, then crates it so the I&D crew on Pine Street re-assembles a known quantity in the fewest possible labor hours — the line where downtown convention budgets bleed fastest. Fortune 500 teams and first-time exhibitors run the same playbook with us across ECCC, PAX West, the Flower & Garden Festival, and 200+ events a year nationwide, all on one contractual number.
“The prospect of managing all of the details with big trade shows is daunting to say the least. But the Pure Exhibits team made it easy… If you are looking for a real partner that you can count on, then I recommend you talk with Utsav and his team.”
Footprint sets most of what you will spend at the Seattle Convention Center — the material-handling bill, the labor hours, the electrical order, even whether your own staff may legally set the booth. Washington is a union market and the venue’s trades handle assembly; the practical carve-out is narrow — a display your full-time employees can stand up in about half an hour with no tools and no ladders. Anything past that, the design has to earn its hours. Pick a size below and the fixed price comes with it.
“Since being with SpyCloud, Pure Exhibits has exceeded our expectations at every turn. They truly understand our brand and needs, from starting with a 10×20 booth to maximizing our presence with a 20×30 including a meeting space and four demo stations! Pure Exhibits has been with us every step of the way. They have helped us create a commanding presence on any expo floor that authentically represents who we are. It is a thrill to work with them and see what’s next on our journey. I highly recommend them.”
Torn between two sizes? Send the show and your space number — we’ll tell you which one that floor plan actually rewards.
A quote should be a commitment, not an estimate. The ranges below are what Seattle exhibitors actually pay us — design through dismantle, one line on the purchase order, and no reconciliation invoice afterward. Take them into the budget meeting and hold us to them.
| Footprint | Area | Fixed price | Typical use |
|---|---|---|---|
| 10×10 | 100 sq ft | $13,000 – $15,500 | Inline. First show downtown, one clear message. |
| 10×20 | 200 sq ft | $20,000 – $24,000 | Inline. Two demos and room to seat a buyer. |
| 20×20 | 400 sq ft | $31,000 – $35,000 | Island. Traffic from every direction. |
| 20×30 | 600 sq ft | $33,000 – $38,500 | Island. Adds an enclosed meeting room. |
| 20×40 | 800 sq ft | $38,500 – $49,500 | Island. Demo, briefing, and hospitality zones. |
| 20×50 | 1,000 sq ft | $44,000 – $55,000 | Island. Showroom length for a full product line. |
| 30×30 | 900 sq ft | $44,000 – $55,000 | Island. Center structure with theater seating. |
| 30×40 | 1,200 sq ft | $60,500 – $71,500 | Island. Flagship footprint, double-deck capable. |
Four costs in Seattle go to the show or venue no matter who builds the booth: the exhibit space itself, electrical service through the Convention Center’s exhibitor services, drayage — billed per hundredweight (CWT) by the show’s general contractor, and higher here than the national average because the dock is downtown and the labor is union — and rigging for anything hung. We can’t make those lines ours, so we do the next best thing: estimate each one against your booth’s real crated weight and power plan, before you commit to anything.
Payment terms: 50% to open design and production, the balance 30 days ahead of the show — the full cost picture in writing from the first quote.
Ask an exhibitor here where the budget actually went and the booth is rarely the answer. It’s the paper that followed: a drayage true-up because nobody weighed the crates before the yard, overtime because the truck missed its dock window on Boren, a reprint, a filing fee, a “minor” change order. Here is the same 20×20 island in Seattle, quoted two different ways:
Certainty costs less than surprises. One contractual figure from design through dismantle, the show-billed items forecast beside it — and a closeout your finance team approves without a single question.
Two buildings on a hill, one 18-bay dock with a one-way approach, a marshalling yard eight miles south, union trades on the floor, and hand-carry garages with three different height clearances — the Seattle Convention Center rewards exhibitors who plan for its system and punishes the ones who discover it on move-in morning. We plan for it.
The fixed price runs design through dismantle, and the show-billed lines — space, electrical, drayage, rigging — are forecast beside it from your real crate weights. The budget is finished on day one instead of reassembled after closeout.
Washington is a union market and the venue’s trades handle booth assembly. Full-time exhibitor staff may set only what goes up in about half an hour with no tools or ladders, and the docks are the general contractor’s alone. We design to that reality — pre-built once, labeled, and fast to erect — so the billed hours stay short.
Summit’s 18 covered bays sit mid-block on Boren between Stewart and Olive, and trucks enter southbound only — no left turns from the northbound lane. Larger shows route through the SCC marshalling yard on MLK Way South. We book the carrier, hit the target date, and time the check-in so your crates are not the ones waiting.
Your booth is assembled completely in our shop — every wall, light, and bracket — photographed for your approval, then crated. What comes off the truck on Pine Street has already worked once.
Arch on Pike carries up to 205,700 sq ft of exhibit space; Summit on Pine adds 248,590 more, including a 149,200 sq ft heavy-load hall with direct drive-in access. Big shows like ECCC now span both. Which building your space number lands in changes the dock, the freight path, and the install plan.
The final invoice reconciles to the PO to the dollar. No overtime line you never approved, no drayage true-up weeks later — the project ends the day the show does.
Quotes within 24 hours — sooner if your Seattle show date is close.
Renders sell booths; video proves them. Walk finished builds from a 10×10 up to 40×40 flagship scale and judge the finish for yourself — the same standard every Pure Exhibits rental ships with, whether it’s bound for PAX West, the Boat Show, or Pacific Marine Expo.
▶30′×60′ Custom Rental Booth Build
▶40′×40′ Custom Rental Exhibit
▶30′×30′ Custom Exhibit
▶30′×30′ Custom Exhibit
▶30′×30′ Custom Exhibit Rental
▶20′×30′ Custom Exhibit Booth
Booths are tools. Before we draw anything for a Seattle floor we ask what the space has to produce — leads scanned, demos run, meetings held — and design backward from those numbers, not forward from a render.
Scaled to read across Summit’s 149,000 sq ft heavy-load hall
Openings set for how the aisles actually feed your space, not how the render looks
Your core message legible before an attendee is close enough to badge-scan
Demo stations that hold a small crowd without choking the aisle behind them
Height and lighting spent where the hall demands it — and nowhere else
Layouts built from your lead and meeting targets, not a template library
Meeting space placed where it will actually get used between sessions
Modular bones that re-skin for next season’s show instead of starting over
Space confirmed late, a vendor dropped out, the launch moved up — it happens every season. Our rush track builds, stages, and ships a complete exhibit in 24 business days, at the same fixed price. ✓ Rush rentals, 24 business days
Quotes that grow between signature and closeout are the industry’s oldest habit. Ours can’t grow — the contract is the price, and the show-billed lines are forecast next to it before you commit. ✓ One contractual number
A designer, a fabricator, a freight broker, a labor company, and a graphics shop — each pointing at the others when something slips. Here it’s one team and one phone number from sketch to teardown. ✓ Single-team delivery
A southbound-only dock, a marshalling yard on MLK, CWT drayage, union assembly, garages a van can’t clear — the system catches first-timers every show. We’ve designed for it long enough that it’s built into the booth itself. ✓ Seattle Convention Center experts
Somebody promised a client, a CMO, or a board what this booth would cost and when it would be standing — usually the event manager. In a building where a missed dock window or an unweighed crate can break both promises before lunch, our whole process exists to keep your word for you — and to hand you the paper trail that proves it, stage by stage.
One conversation about your show, space number, and goals. You leave knowing what your budget actually buys at the Seattle Convention Center — including the show-billed lines nobody else mentions until the invoices arrive.
3D concepts within 3–5 business days, drawn around your actual placement and sightlines — then revised until they’re right. Revisions are part of the process, not a change order. Anything with a roof or canopy over 100 square feet gets its booth plan filed early: the venue wants about three months for approval.
The booth goes up completely in our shop — walls, lighting, graphics, screens — and you approve photographs of the real thing. Nothing is crated for Washington until you’ve seen it standing.
Final QC, then we run the logistics: carrier scheduling over the passes, the advance-warehouse or direct-to-dock decision, the marshalling-yard routing when the show requires it, the southbound approach on Boren on your target date, and the venue paperwork. Your team never talks to a dispatcher.
Because the booth has already stood once, the crew on Pine Street is re-assembling a known quantity — every panel labeled, every connection proven. Fewer billed hours, no improvising on the floor.
A screen misbehaves, a graphic needs swapping, the client wants a change before day two — one call, and it’s handled while the hall is still open.
Teardown, crating, and outbound freight are ours. Your team walks out when the show closes; the closeout invoice that follows matches the contract you signed.
Most of Seattle’s show floor sits downtown in two connected buildings on Pike and Pine — but the consumer giants exhibit at the stadium south of the city, and the Eastside runs its own calendar in Bellevue. If your program travels, the same fixed-price model runs in Chicago, Denver, Houston, and St. Louis.
The 2023 building: a 149,200 sq ft heavy-load hall with drive-in access, a 99,250 sq ft Flex Hall, and a 58,650 sq ft column-free ballroom. LEED Platinum, daylight everywhere — which changes how finish quality reads, so we light and detail booths for it deliberately.
The original building over I-5, home floor for the Flower & Garden Festival and half of ECCC and PAX West. Its own dock rhythm and its own hand-carry garage on 8th Avenue with a 6′5″ clearance — a full-size van will not clear it, and we plan around that.
The stadium’s exhibition hall south of downtown, where the boats, the cars, and the commercial fishing fleet exhibit. Different dock, ground-level freight, consumer-scale crowds — built for volume traffic and hard wear.
A waterfront conference venue for corporate programs and smaller expos, with the Boat Show’s in-water side next door. Light builds, service-corridor freight, and crating that respects a pier.
The Eastside’s exhibit floor, ten minutes from the tech campuses. Different building, different dock rhythm, same fixed price and the same photo-approved prebuild.
Hotel programs and corporate user events run on freight elevators and overnight windows. We right-size the build for the room and keep the delivery model identical.
The year opens on the water — boats in late January, gardens in February — then the fandoms take the Convention Center: comics in March, anime in April, games over Labor Day weekend. November belongs to the working fleet and the car buyers down at the stadium. Pure Exhibits designs for the specific floor you’re walking into, not a generic exhibit hall.
A show date is really a chain of earlier dates — design sign-off, prebuild, dock check-in. Read this table backwards and the real deadline behind each anchor show appears. If yours isn’t here, we’ll pull its exhibitor manual before we quote.
| Show | When | Venue | Start planning |
|---|---|---|---|
| Seattle Boat Show | Late Jan – early Feb | Lumen Field Event Center + Bell Harbor | 5 months |
| Northwest Flower & Garden Festival | February | Seattle Convention Center | 5 months |
| Emerald City Comic Con | March | SCC — Arch + Summit | 4 months |
| Sakura-Con | April | Seattle Convention Center | 3 months |
| PAX West | Labor Day weekend | Seattle Convention Center | 4 months |
| Pacific Marine Expo | November | Lumen Field Event Center | 4 months |
| Seattle International Auto Show | November | Lumen Field Event Center | 4 months |
The winter shows get five months, not four — the Boat Show and the Flower & Garden Festival open weeks apart in late January and February, which parks fabrication, approvals, and freight across the holiday shutdowns and the mountain-pass season. Carriers thin out, nobody answers a phone the week your crates need to move, and the dock keeps its own schedule. Plan the runway and it’s routine; miss it and the calendar negotiates for you. Already compressed? The rush track below exists for exactly that.
Vendor fell through before PAX West? Space came through late for ECCC? Tell us the date — we’ll tell you what’s buildable.
For most Seattle exhibitors the math favors renting, and the local reasons stack quickly: a booth you own still pays Convention Center drayage, union labor, and show services every year it exhibits — plus warehousing and refurbishment between shows, in one of the country’s more expensive storage markets. A rental resets the design each cycle and drops the ownership overhead entirely.
| Factor | Renting | Owning |
|---|---|---|
| Cash outlay | One predictable fee per show | Large capital purchase upfront |
| Between shows | Nothing to store or insure | Warehousing billed year-round |
| Wear and repairs | Our problem, not yours | Refurbishment on your budget |
| Design refresh | New look every cycle | Rebuild costs to change anything |
| Scaling | 10×10 this year, island next | Locked to what you bought |
| Show logistics | Bundled into the rental | Sourced separately each time |
Ownership pencils out only for teams running one large footprint at many shows a year — and even those teams usually rent in markets their program visits once or twice.
Our published fixed pricing runs $13,000–$15,500 for a 10×10 up to $60,500–$71,500 for a 30×40 — and the figure covers design, fabrication, graphics, freight, I&D coordination, and project management, contractually. Separately, every exhibitor is billed by the show for space, electrical, drayage, and rigging; we forecast those lines against your specific booth before you sign, so the complete cost of exhibiting is visible up front.
Material handling is billed per hundredweight (CWT) by each show’s general contractor, and it runs above the national average here — a downtown dock, an off-site marshalling yard, and union labor all sit in the rate. Drayage is a show charge, not ours. What we do is estimate it line by line in your quote from your booth’s actual crated weight; because our booths are engineered light and crated tight, the number usually lands under what exhibitors budget for it.
Half on signing, which opens design and production; the balance 30 days before the show. Nothing follows — no true-ups, no post-show reconciliation invoice. To see how the fixed model works size by size, browse the priced rental exhibits.
Yes — and the Seattle calendar makes bundling natural: the Boat Show and the Flower & Garden Festival land weeks apart in winter, ECCC and Sakura-Con follow in spring, and the tech user-conference season runs alongside all of it. Booking a program locks pricing across the run, holds your design and graphics between shows, and puts one PM across the sequence instead of three separate projects.
Both, deliberately. We fabricate every exhibit ourselves — structures, graphics, finishes — then deliver it on a rental model. You get build-shop quality without buying, storing, or maintaining anything, and every booth is stood up and tested in our shop before it’s crated for Seattle.
Three things, honestly. The price is contractual — the figure you sign is the figure you pay, with the Convention Center’s show-billed costs forecast beside it rather than discovered later. The booth is proven before it ships — fully assembled in our shop and photo-approved by you, so the crew downtown re-assembles a known quantity in fewer billed hours. And one project manager owns everything from sketch to closeout, including the dock timing and paperwork grind that eats event managers’ weeks.
The structure, custom graphics, flooring, lighting, furniture, and AV where the design calls for it — plus freight to the venue, I&D coordination, show-services filings, and a dedicated PM. One quote, one line on your budget. The rental packages page breaks the scope down in detail.
You pick or commission a design; we build it, stand it up in the shop, and send you photographs to approve. Then we crate it, weigh it, route it through the marshalling yard when the show requires it, land it at the Boren dock on its target date, manage the install, stay on call through the show, and handle dismantle and return freight. Your involvement peaks at the design stage — by show week, your only job is working the booth.
One, kickoff to closeout — the person who priced your booth is the person who answers the phone during move-in downtown. No handoffs between a sales rep, a producer, and a site lead. If you’d like to start there, talk to a project manager before you commit to anything.
Yes — your PM is reachable through move-in, show days, and dismantle. A flickering screen or a last-minute graphic swap gets handled while the hall is open, not logged in a ticket system for next week.
Yes — drayage, electrical, labor, and rigging each get their own line in the quote, calculated from your booth’s actual crated weight and power plan. Those items remain billed by the show, but the estimates are accurate enough that your finance team can budget real numbers, not placeholders.
The working set is — counters, tables, seating, and lockable storage sized to the design. If your brand standard calls for specific premium pieces, we source and include them in the same fixed number rather than tacking on a rental line later.
Four things, none difficult once you know them. Two buildings: Arch on Pike and Summit on Pine, two blocks apart, each with its own dock and hand-carry garage — know which one your space number is in. The dock: Summit’s 18 bays are on Boren between Stewart and Olive, entered southbound only, and larger shows route trucks through the SCC marshalling yard on MLK Way South first. Labor: Washington is a union market; the docks belong to the general contractor, and full-time exhibitor staff may set only what goes up in about half an hour with no tools or ladders. And hand-carry: three garages, three clearances — 6′5″ on 8th Avenue, 9′8″ on 9th, 8′4″ at Summit — so a full-size van clears some entrances and not others. First show downtown? Start with a planning call — it costs nothing and saves plenty.
Yes. We coordinate the I&D crew and — more usefully — hand them a booth engineered to install fast: pre-assembled once in our shop, labeled, and documented. Exhibitors may bring their own appointed contractor with the proper filings, and we handle that paperwork with show management. Where a small inline genuinely qualifies for a tool-free self-set by your own full-time staff, we’ll tell you honestly.
Your booth ships as one coordinated freight move — either to the show’s advance warehouse, usually in SoDo or north of the city, or direct to the dock on its target date. Downtown Seattle is a tight freight environment: narrow streets, a one-way dock approach on Boren, and marshalling-yard routing on the bigger shows. The show’s contractor carries freight from dock to space — that last leg is drayage, billed per hundredweight. We book the carrier, manage the timing and routing, and estimate the drayage from real crate weights in your quote.
Lumen Field Event Center in SoDo, Bell Harbor International Conference Center on the waterfront, Meydenbauer Center in Bellevue, and hotel and corporate venues across the metro and the Eastside. The model doesn’t change with the address: fixed price, photo-approved prebuild, coordinated install — only the freight plan changes.
Yes — the March comics weekend and the Labor Day gaming weekend are regular entries on our calendar, along with the Flower & Garden Festival, Sakura-Con, and the November shows at the stadium. Fixed-price rentals run from 10×10 inlines to islands, every one pre-staged and dock-ready. Winter runways disappear early because the build crosses the holidays — book by September for the Boat Show and the Festival, or if you’re already late, the 24-business-day rush track exists for exactly this.
That’s the job. We start from your brand guidelines and show objectives, design in 3D until you approve, and then — unusually — you approve again from photographs of the physically built booth before it ships. Two sign-offs, zero surprises on the floor.
Everything visible and most of what isn’t: layout, signage, screen count and placement, counters, lighting temperature and intensity, demo stations. The gallery on this page is all rentals — none of them look like they share a kit, because the kit is only the skeleton.
Yes — iteration is budgeted into the process, and most teams take two or three revision rounds before final sign-off. What we don’t do is convert your changes into surprise change-order fees; the fixed price already assumes the design will evolve.
All of them, from a 10×10 inline to 30×40+ islands, peninsulas, and double-deck exhibits — each configured to its space type’s rules (line-of-sight limits for inlines, height and hanging-sign allowances for islands) and prebuilt in-house before shipping to Washington. One Seattle-specific note: any booth with a roof, canopy, or upper deck covering 100 square feet or more needs a booth plan on file with the venue, and the approval takes about three months — we submit it as part of design.
The structure is the least memorable part of any booth — what people remember is what happened inside it. A demo they touched, a meeting that felt private on a loud floor, a message they could read from thirty feet. We spend the design budget on those moments, which is why our rentals get mistaken for owned customs.
Eight to twelve weeks covers most Seattle shows comfortably — design, approvals, graphics, prebuild, and the venue paperwork all fit. The exception is winter: for the Boat Show and the Flower & Garden Festival, start about five months out, because the build calendar crosses the holidays and freight over the passes thins exactly when you need it. Anything with a covered area also needs the venue’s three-month booth-plan window.
Behind schedule already? The rush track compresses the whole build to 24 business days without touching the price or skipping the photo proof.
If you can tell it’s a rental from the aisle, we’ve failed. The underlying structure is modular, but everything an attendee actually perceives — graphics, layout, lighting, finishes, furniture — is produced for your brand and your show. Book a design consultation and judge the difference from the portfolio yourself.
Send the show and your space number. Within 24 hours you’ll have design directions, one contractual figure, and the show-billed charges forecast beside it — the whole cost of exhibiting in Seattle on a single page anyone can approve.
