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In a time where the value of money seems to be uncertain, various questions about its future can arise. Our orientation towards contactless payments and intangible means of exchange is inevitable. However, this has led us to forget the rich history and graphic elements that can be found in cash. As a response, this project explores the design possibilities of paper money. The Arabic Naksha is a utopian undertaking, initiating the creation of a common currency to be used by all countries of the Arab World. As a response to the conventions of money design bound by a framework of formal

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A Cosmopolitan Future with Historic Roots A Mediterranean Contribution to Contemporary Architecture A True Gateway to Modern Life Inspired by Culture The Unique Fragrance of Stylish City Life Built with Innovation Return Home to a Unique Vista There's no place like home Welcome to Your Future Home

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December 3, 2020 | $1= 8,225 L.L. | 4,46 Paracetamol Tablets July 1, 2020 | $1= 9,200 L.L. | 400g Lebanese Bread July 15, 2020 | $1= 8,500 L.L. | 143g Somali Banana May 12, 2021 | $1= 12,750 L.L. | Menstrual Pad

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"Tariq Keblaoui" by Tariq Keblaoui

Q & A with Tariq Keblaoui on “Lamb House”


1. What was the motivation behind this photograph?

Well, I took my camera out for a late night walk with my dog, Margo, around 1:00 am, and decided to take a seaside route that I take less frequently with my flatmates. Eventually, walking up near Lamb House, I stood right about where I took the photo, and while looking at it, I thought “Hey, that kind of looks like that one Edward Hopper painting.” So I ended up quickly taking the photo with that in mind and just continued my walk. After putting it through a little color grade and posting it online, I remember thinking that maybe some people will notice the reference to the Edward Hopper painting. But then, I started to realize that a lot of people were immediately noticing the similarity to Nighthawks. I looked up the painting again myself and was shocked by the similarity. I definitely can’t say it was calculated to be so strikingly similar, I just took the photo with the painting as a reference from memory.


2. There is something melancholic, almost eerie, about the colors and the texture of the photograph. Can you speak more about that?

I think the main thing about the colors that might resonate with people is that there is a contrast between the warm, closed interior of Lamb House and the cold, dark and empty exterior of the streets. Like Edward Hopper’s Nighthawks, the contrast helps portray a lonely and cold urban image.


3. How is the particularity of the Lamb House essential to this work?

One of the main reasons I suspect why people like the photo to begin with is because it gives people an immediate sense of familiarity. First of all, they might notice the resemblance to Nighthawks, a familiar popular painting. Then they might recognize a sentimental landmark, Lamb House, which in a way represents a longlasting gem that survived through a long period of Lebanon’s troubled recent history. So I think the photo wouldn’t have been so well-received if it weren’t for those two main aspects.


4. Do you see this work as a product of a particularly troubled moment in Lebanon?

I don’t see it as a product of the crisis we’re all going through in Lebanon, per se, but I think it maybe succeeds in capturing the lonely, dark cityscape that Lebanon has become– with so many people having left the country with a city left behind covered in darkness from the electricity crisis.


5. When you say, "I definitely can’t say it was calculated to be so strikingly similar, I just took the photo with the painting as a reference from memory,” how does this idea play out in your other work as, for example, a filmmaker/videographer who uses similar faculties/skills in capturing images within a frame? In other words, perhaps you can tell us more about these subconscious referencing and framing choices. And hence, how might the "cinematic" play a role in your photography?

I'm not too sure if there is a unique correlation that my cinematographic background has in photography compared to how other photographers approach their work, but generally whenever I take an image, my main objective is to try and capture some sort of story– whether it's a moment with some character or a scene that carries a mood. I admit that I generally find photography more difficult than video since you don't have the luxury of movement and time to make your image engaging, but it poses a nice challenge, nonetheless.