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by Alexandra Mansilla
A Giant Hashtag Installation To Take Over d3. Interview With Boo Design Studio
17 Oct 2025
Jo and Amanda Booabbood. Photo: Julian Velasquez
Rooted in Doha yet resonating far beyond, Boo Design Studio — founded by Amanda and Jo Booabbood — crafts narratives through objects. Their "Medaillon" Collection, inspired by traditional antique jewelry, reinterprets heritage through sculptural form and material precision; for Hermès, they created poetic window displays that weave light, texture, and movement into stories of legacy; and in "The Keys to Memories", they explored the emotional architecture of belonging and remembrance.
And now, they are preparing a new piece for Dubai Design Week — an installation created in collaboration with artist Maryam Al-Homaid. The piece embodies the idea of a majlis — a traditional gathering space — reimagined in the form of a hashtag, a symbol of connection and conversation in the digital age. Why so? Let’s dive into the story behind this upcoming installation — and explore some of Boo Design Studio’s most memorable creations along the way.
— Jo, in 2015, you and your wife, Amanda, founded Boo Design Studio. How did it all begin?
— The thing is, after I graduated, I tried working with different companies and designers, but every time, I’d only last about nine months. It was just a coincidence — it wasn’t on purpose!
It felt like there was something I needed to build on my own. The nine-to-five routine and the usual job framework just didn’t fit me — it wasn’t who I was.
So Amanda encouraged me to start something together, and in 2015, we launched our studio — back then it was called Booabbood because of our family name. What we do now is definitely more difficult and super challenging, with a lot more responsibility — but I love it. It is a passion for me. I don’t even call it “work,” because it is simply part of my life.
— And why did you change the name to Boo?
— After we launched, we worked with a consultant to restructure everything. She suggested that “BooAbbood” was a bit long and might be difficult to pronounce or write internationally.
So we decided to take “Boo” from our family name. It felt short, catchy, and a little playful — like a small surprise.
— Do you remember your first project?
— Oh, definitely. When we graduated, we started taking part in a few exhibitions and creating some products — but it wasn’t under any official platform or studio; it was just under our own names.
Our first official project under BooAbbood — it was still called BooAbbood back then — was a backgammon set.
We designed it for a corporate client who wanted around 300 custom-made pieces as gifts, and that project really marked the beginning of everything for us.
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Hermès
— I am really fascinated by the Hermès seasonal windows you created in Doha last year. How did this collaboration come about?
— Every year, Hermès develops a theme that guides its collections and creative collaborations. The theme that year was Faubourg, inspired by their first boutique on Rue du Faubourg Saint-Honoré.
As we began researching the world of Faubourg, we discovered that one of the key ideas was this sense of everything being upside down. So, we imagined the shop as if you were looking at it from above — an upside-down perspective. The whole scene revolved around the horse and the tassels, which became the main focus because we wanted to celebrate Hermès’ craftsmanship.
Hermès
The tassels also carried a personal connection for us. They have been part of our design language for a while — we first explored them in a project commissioned by Qatar Museums for the FIFA World Cup stadiums in 2022, where we created decorative artworks for the VIP lounges of several venues.
The inspiration came from Qatari heritage — tassels were traditionally used to decorate tents, camels, and various objects. We thought, why not take this cultural element and transform it into functional pieces? So we reimagined tassels as tables, lights, and sculptures.
That earlier project really shaped our approach, and when Hermès came along, it felt like a natural continuation of that story.
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The Keys to Memories
— And you also created a stunning The Keys to Memories installation for the FIFA World Cup in Qatar.
— Exactly. And it is still there in Lusail.
The idea came when we received the brief — it was a limited open call, where several artists were invited to submit proposals. The project was organised with the Supreme Committee, the body that managed and represented Qatar during the FIFA World Cup.
After the tournament, they had collected around 250,000 keychains — these were the ones fans used for their accommodation keys. They wanted to reuse them somehow, to create something meaningful from this massive collection.
That is where our idea came in — to transform the keychains into a pixelated pattern, almost like digital memories. We collaborated with Maryam Al-Homaid and designed a tunnel linking the Lusail Metro Station with the Lusail Stadium, where the World Cup final was held. That area was one of the most vibrant spots during the event — full of energy, chants, and emotion — so we felt it was the perfect place to keep that legacy alive.
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The Keys to Memories
Inside the tunnel, we created a series of typographic artworks inspired by the chants of the fans — because, for us, that sound was the strongest memory of the World Cup. It was everywhere — in the streets, in the stadiums — an emotional rhythm that defined each team’s identity.
Each section of the tunnel represents one of the four finalist teams — Argentina, France, Croatia, and Morocco — with their iconic chants.
As you walk through, it feels like you are entering a memory tunnel, surrounded by these voices and patterns — reliving the collective energy of that moment.
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The Keys to Memories. Photo: Julian Velasquez
— I also have a question about the evolution of your studio. This year marks ten years since you founded it. That is quite a milestone! How has Boo Design Studio changed over this time? Because even in three years, a lot can happen, and ten years is a real journey.
— First, I started to notice wrinkles, haha! But really, what I have gained is maturity.
When you start out, you are full of excitement — you want more projects, you want to shine, to be seen. But with time, that changes.
Now, I feel that I want to leave something meaningful behind — a legacy, a trace. I don’t want to create just for the sake of creating.
Of course, sometimes you have to take on projects simply to survive — it is part of life, part of our daily bread. But over the years, you start to question things more deeply. You want to build solutions that are strong, well-rooted, and purposeful.
I have realised that when a project has a solid foundation and a clear intention, it shines on its own. You don’t need to chase attention anymore — like in the beginning, when you wanted everyone to know about you through the press, magazines, and social media. Now I believe that if you are doing something truly good, people will find you.
For me, the projects that really succeed are the ones that are personal and human-centred, that touch people’s emotions. Whether it is an exhibition piece or a client commission, if it is grounded in a real story, it resonates.
Today, we live in a world where everything looks the same — cities, towers, streets. What makes the difference is our personal experiences; that is what gives identity and meaning.
So when we design — whether for ourselves or for a brand — we try to dig deep and ask: What is their story? What makes them different? And if we can capture that essence and turn it into something emotional and authentic, that is when a project truly connects with people.
Medaillon Collection. Photo: Julian Velasquez
— And do you remember any other project (apart from the backgammon) that played a major role in your story?
— Yes, honestly, the lights we created for the Medaillon collection really reflected the way we think — how we transform our ideas into tangible products.
The exposure we received through Design Doha, and later at Dubai Design Week and Milan Design Week, was incredible. Taking the collection to these major international and regional fairs was a big leap for us. It allowed more people to discover who Boo Design are and what we stand for.
The project itself was inspired by traditional antique jewelry from the Arab world. The first time I saw pieces like that was in a museum here, maybe in 2019 or 2020, and since then, the idea stayed with us.
Sometimes you have these ideas that you feel deeply, but you hesitate to share — maybe because you are afraid to fail or unsure how people will react. But we have learned that those are often the most successful ideas. You just have to trust your instinct. Try it, show it, share it. Maybe people will like it, maybe not — but at least you tried. That is one of the most valuable lessons we have learned.
The geometry and the large ornamental details of the old jewelry were fascinating to us. We wanted to reinterpret that beauty in a functional way, turning it into objects that carry the story and spirit of the originals.
From that inspiration came a series of functional artworks — tables, armchairs, lighting pieces — all echoing the shapes and lines of traditional jewelry. And it turned out to be a real success.
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Medaillon Collection
— So, you are presenting a new installation at Dubai Design Week this year. What is it about?
— We are working with Maryam again on a project that started about two years ago. The idea was to design a majlis as a contemporary furniture and spatial concept.
We brainstormed together, and Maryam created a pattern inspired by an Arabic phrase traditionally used when someone enters the majlis — a greeting that means “you enlighten the space; you are welcome.” It is not a literal translation, but it captures the spirit of warmth and hospitality.
From that phrase, she developed a custom typography, and we transformed it into a pattern. This year, we decided to bring the idea to life — to design a real majlis, transforming that typography into a spatial experience.
Historically, the majlis was a place for communication and storytelling — people shared news, poetry, and personal stories. Today, we communicate differently, mostly through screens. So, for Dubai Design Week, we wanted to create a space that connects past and present forms of communication.
When seen from above, the installation takes the shape of a hashtag — the symbol of modern communication. It represents the bridge between traditional oral storytelling and today’s digital conversations.
Inside the space, we are going to host a series of storytelling sessions — encouraging people to reconnect through real, in-person conversations. It is a kind of gentle reminder: we are not rejecting virtual communication, but inviting people to rediscover human connection — like in the old days, in majlis gatherings, homes, and cafés.
The project is produced and sponsored by Spectra arts, a factory here in Qatar. We are using recycled glass from previous projects to build the installation, which will be shipped from Doha to Dubai.
It is a project about connection — between people, between times, between stories.
— I know you decided to change the colour of the installation. Now it is blue. Why?
— We felt it would be interesting to create a contrast with the city, with all its buildings and urban landscape. Last year in Dubai, there was a blue installation that really stood out, and we wanted our piece to pop in the same way, to catch the eye within its surroundings.
So, we chose to work with blue tones and light, which together create a beautiful visual effect. We have been experimenting with different textures and materials, but the main element is glass. We are using glass because it reflects the light beautifully and ties into the theme of transparency and connection that runs through the project.
— I know this might sound like a silly question, but I will ask it anyway. I believe everyone has a dream project. We have to dream in order to make things happen, right? So, is there a project you are dreaming about?
— I think it is our house. We want to build something that truly reflects how we’d like to live, our personal space. I have always dreamed of having a studio and a house in the same place — where work and life naturally blend together.
For sure, it would have a lot of outdoor spaces, and we’d use our own products too. From the very beginning, we designed things for ourselves — for our own use — before sharing them with others.
Now that our family has grown — we have three kids — the way we think about space has changed. We are somewhere between the world of toddlers and teenagers, so it is a mix of different needs and energies.
When you first get married, your home is simple; it reflects just you. But once you have children, the house starts to reflect everyone — their toys, their drawings on the walls, all the beautiful chaos that comes with family life.
So, creating a home that balances both — our taste and their world — is a challenge, but also something very meaningful to us. We want a place where the kids can express themselves freely, just as we do through our work.