
Brand Experience
2021
WINDOW GARDEN
79% of exhibitors acquired clients they could not have reached any other way. That is not event ROI — it is brand infrastructure.
Ventures/2020 — 2024
Not an exhibition. An experience.

WINDOW began from a question that most of the events industry avoids: why do brands run events that everyone forgets? The answer was structural. Conventional exhibitions are designed to be attended. They deliver information. They optimise for footfall and square metres.
WINDOW inverted the model. Visitors were curated rather than counted. Spaces were designed to tell a story rather than display a product. Brands were placed in situations where they had to build a relationship instead of running a pitch — and the format measured whether that actually happened.
Six editions ran in the room between 2020 and 2024 — Tehran, Mashhad and Kish — alongside WINDOW MATERIAL, which ran entirely online in early 2021. Each edition drew 2,100+ visitors and 28+ exhibitors. 88% reported satisfaction. 79% of exhibitors acquired clients they could not have reached any other way.
That last number is the whole argument. It is not event ROI. It is brand infrastructure — and it is the reason the methodology transferred cleanly into the work now being done in California.
Capabilities
Six rooms, one online hall, and the sheet that opened each of them.
Every edition of WINDOW was announced by a single poster. Read in order they are the surviving record of the format — where it ran, who it invited, and what it was arguing that year. A chair in Tehran, a garden in Mashhad, a lattice after dark, a beach on the Gulf.

The platform's own title plate — Banaye Bartar and HAYAT, 2020 to 2024.

The first window display exhibition held in Iran. A chair drawn as a window frame states the premise on the poster before anyone reaches the door: the format is about how a room is seen, not how much of it is filled. Build, design, architecture, material — four disciplines in one hall for three days.

The edition that ran without a building. WINDOW MATERIAL took the format online for six days — the same curation, a virtual hall instead of a venue, and the newest building products in the country reachable from anywhere. The overlapping frames on the poster do the work the architecture usually did: depth without a room.

The first edition to take the garden instead of the hall. Open air, an Iranian garden and four evenings at the Homa — the tiled grid on the poster is the plan of that site read as a façade. Building, invest, design, material.

WINDOW moved into a sports complex and staged the whole edition after dark, 17:30 to 22:30. The isometric lattice on the poster is the edition's own diagram: brands set as nodes inside a structure rather than as stands along a row.

The format left the mainland. Four evenings on Kish, six till ten at night, in a cultural complex on the Gulf — the first time WINDOW was built for an audience that had travelled to be there. The coloured rings are the one place in the whole series where the palette breaks.

Garden returned to Mashhad at a larger hotel, and the poster returned to green — cypress forms cut into arches, two of the oldest shapes in the drawing of a Persian garden. Build, invest, design, material.

The series closed where it started, in Tehran, inside the Niavaran complex — three evenings, four till nine. The green louvres read as both a fence and a blind: the last edition arguing once more that what you frame decides what gets seen.
















Brand Experience
2021
79% of exhibitors acquired clients they could not have reached any other way. That is not event ROI — it is brand infrastructure.

Experiential Marketing
2020
The edition established the private-presentation model that the following editions were built on, and won the format recognition from Iran's building industry.
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