TBWA\RAAD in a Live War Zone: Creatives on Set "Were Seen as Heroes”
When violence erupted in Lebanon in 2024, the last operational hospital in its southern region became a direct casualty of targeted attacks. Despite the explicit protections granted to medical facilities by the Geneva Convention. Signed by 196 countries. Over seven decades ago.
So the International Committee of the Red Cross (ICRC), TBWA\RAAD, and Lebanese muralist and calligrapher Ghaleb Hawila had it painted on the hospital’s shattered walls.
The image hits you in the heart: every crack disfiguring the convention’s text is a grim record of international law violated, the vulnerable betrayed, and the world’s humanity ignored. An ultimatum for governments to either pay heed to their commitments, or recognise their hypocrisy.
It’s a campaign of historic importance that was incredibly dangerous to make happen, taking place right where the war was most intense. Understandably, few were willing to take the risk, but those who did were deemed heroes.
TBWA\RAAD executive creative director, Santiago Cuesta, reveals the unfiltered behind-the-scenes story of this campaign for change, in this interview with LBB’s Zara Naseer.
LBB> What was the brief from ICRC, and what was your initial response?
Santiago> Since October 7th 2023, hospitals, ambulances, and medical personnel have been attacked repeatedly during the ongoing conflict in the Middle East. Yet back in 1949, the Geneva Convention saw 196 countries pledge to protect healthcare in times of war.
The situation escalated further when violence reached Lebanon. Attacks on healthcare facilities and workers became so frequent, they risked becoming normalised – amplified by the lack of comprehensive coverage in much of the Western media.
That’s when the ICRC knew it had to act. To cut through the noise, capture global attention, and push this humanitarian crisis back into the spotlight – where it belongs.
LBB> The crux of the message – that international humanitarian law continues to be violated – is one that can be applied to so many contexts today. How did you decide on using what was once the last operational hospital in southern Lebanon?
Santiago> As the last operational hospital in the area, it was located at the heart of the conflict zone in southern Lebanon – where the war was most intense. Being a government-run facility also made it easier to implement the campaign.
LBB> Was it difficult to secure permissions for the hospital building?
Santiago> The ICRC presented the idea to the hospital director, who responded immediately with support and helped coordinate all necessary arrangements for its implementation.
LBB> The mural is straightforward and pared back. Can you delve into what your vision was for the design, and what informed those decisions?
Santiago> At first, we considered using a projection – it would’ve been the easier route. But we were committed to writing out the convention’s text word for word, preserving the exact look and feel of the original printed document. It felt like we were inscribing the law directly onto the hospital walls.
LBB> You worked with Lebanese muralist and calligrapher Ghaleb Hawila on the painting. How did you select the right artist, and what did Ghaleb bring to the artwork?
Santiago> The artist is a member of the southern community and had deep personal ties to the region – he knew some of the victims who had been attacked and killed. For him, the project was deeply personal. His connection to the area also helped earn the community’s trust and support.
LBB> How did you actually complete the mural, and how long did it take?
Santiago> After weeks of preparation, the mural was completed over two intense days – 12 hours of non-stop work each day.
LBB> What was the biggest challenge you faced in executing this campaign?
Santiago> One of the biggest challenges was finding a production house willing to document the project. We were operating in the middle of a war, and understandably, few were willing to take the risk. We had initially secured a team, but they pulled out at the last minute, deeming it too dangerous. Eventually, we found a brave director from the region who agreed to take on the mission.
Flying drones for the final shot was another major challenge. Doing so in an active conflict zone carried great risk, with the constant threat of the drone being targeted.
Having agency team members on-site was also incredibly difficult. The creatives who made it to the shoot were seen as heroes – they had volunteered to enter a live war zone to help bring this idea to life.
LBB> The topic can be incredibly divisive today. Did that impact your approach to this campaign in any way?
Santiago> The ICRC remains strictly neutral. The goal is not to assign blame or single out any country. Our communication is focused on highlighting the Geneva Convention and the collective commitment made by the international community to uphold it.
LBB> What’s your strategy for broadening this campaign’s reach, and is there a specific target audience in mind?
Santiago> This reality is well known in the Middle East, but not as widely recognised elsewhere – mainly because much of the Western media tends to present only one side of the story. That’s made it harder to give the campaign the global reach it deserves, but we continue to push forward. Thankfully, with support from platforms like LBB, the idea is beginning to gain momentum.
LBB> What action do you hope this campaign will inspire?
Santiago> The most important outcome is raising global awareness about what’s happening on the ground – especially the violations of international agreements signed by nearly 200 countries. We’re already seeing impact: the conversation is growing, people are speaking out, and pressure is building on governments to act.
The campaign is also starting to resonate beyond the region. A country in Africa has expressed interest in adopting the initiative locally, inspired by what they saw.
It gives us hope that actions like this can spark real change – and that creativity truly has the power to make a difference.
