carol: welcome to "bloomberg business week." i am carol massar. david: i am david gura. carol: someone designed a special project in iraq. david: the san francisco upgrades. carol: it is all ahead on bloomberg businessweek. david: let's go meet the editor. ♪ david: we are here with alan pollack, the editor of "bloomberg businessweek." you have a double issue focused on design. how did this come about? >> when bloomberg bought is this -- businessweek in 2009, we read and since then

design has been part of what we , do. our writers and editors work very closely with our artists and art photography editors, -- our photography editors and it drives the way we tell stories. we tell them graphically, through photography and we all work together, and design kind of moves us. a few years ago we started doing these special issues and we did design conferences which starts on april 11 in san francisco and many of the speakers are featured in the special. carol: is there a theme you kind of think about? ellen: not really. we are try to talk about all different kinds of design. we have graphic artist, architects, and sometimes a theme kind of emerges. in this issue, it emerges that all the designers were talking , we are talking about how to solve problems and improve your business and life, so that kind of organically became the theme. carol: it is interesting because you cover everything. you cover food, business, art and you have the costume designer for "hamilton." it is like the show to go see on

broadway right now. ellen: it is fun because you get inside his head and ask him about what he thinks about when he comes up with costumes. carol: paul tabs well. -- tadswell. ellen: how to make the actor feel more comfortable in the role. how to understand the actor's vulnerability, and what the audience wants to see. david: the future company called the impossible project, european company trying to resurrect polaroid film. why featured in this issue? ellen: this is the story about one man's obsession who bought an old factory that made polaroid film. polaroid cameras do not exist anymore, only the vintage ones. he made film for polaroids, and it was a complicated chemical process, but he wanted to get it right. and basically, he was feeding , the market of people

who owned and loved vintage polaroid's so he is coming out with this on camera that is a polaroid-type camera, instant camera, and we actually took the photos for the story with the camera. he has come up with a design that speaks to the past but also speaks to the future. carol: old is new again. it comes back. ellen: exactly. and he is obsessed with making this work. david: we talked to the reporter who wrote the story. >> this is one of the most , located chemical products in the world. it relies on hundreds of components from dozens of factories. the problem is, when they took over that factory in 2008, the entire supply chain that polaroid built was being disassembled and closed down as it happened. so this factory was the final step in the process and it assembled all the different layers that went into the film that space out of a polaroid camera. -- spitz out of a polaroid camera. those different elements for

basically hard to find, discontinue and some were banned for reasons. they had to go back to the drawing board, reengineering polaroid film or film that worked in polaroid cameras from scratch instead of polaroid resources. at one time, the company spent $1 billion to develop a camera, and these guys have half a dozen people and a shoestring budget that only understand part of the process. so the film for the first couple of years, the film was very tricky. pictures barely developed, they is weird splotches, victor -- pictures would fade and it was a real crapshoot. only in recent years have they wrestled the chemistry to the ground where it is somewhat reliable. 1 the newat is the i- camera that is coming out? reporter: it has been made and design from scratch. previously, they have been selling refurbished cameras they found on garage sales.

the the i-1 is the from scratch take of designing a camera that works with film, works with the all right format, but takes advantage of all the newer digital technology, newer optics technology that makes it more reliable and frankly takes better pictures. david: have you got your hands on one? reporter: i did when i interviewed the company's ceo, about a month ago, i was able to check out the camera and took photos. it really is a beautiful device, elegantly designed and minimalist in the look, but it has some really interesting features. for example, it has a halo or ring flash of led lights that goes around the lens and can adjust based on light that is needed so you don't get underexposed or overexposed. but the smartest thing is that it has a digital brain. so there are processes that can adjust light and aperture.

they have designed a bluetooth connection for a smart phone so , they can institute precise controls or how much light or timing of the flash that goes in the camera, but you can also do sort of cap and go filter top features like you would on instagram. to do fairly complicated things like create a double exposure which puts two photographs in one frame or a countdown timer. things that would have been pretty much impossible with older polaroid camera technology are now possible with this new camera. david: is this a crapshoot? when i used polaroid cameras in the past, part of the fun is you take a picture and you really don't know how that image will come out. reporter: exactly. and you know what maybe when , digital was first coming out and the precision and predictability of the digital camera was the great selling point, that would have negated the possibilities to be successful, but the fact of the matter is, we all have digital cameras.

you know, all of us are walking around with a digital camera in our smartphones right now. we are used to it. those have become so ubiquitous that a number of people are turning back the film cameras to instant cameras because of the unpredictability, because of their serendipity. there is something fun and wild about it, and because it is not that de facto need for it, but it is a luxury. like the way records are for people who listen to music, there is a growing market for niche film photography and especially instant photography with this and fujifilm's in stack system which is somewhat -- similar to polaroid and they , have been incredibly well. carol: creating images for something called the art of design is a pretty tall order, especially for a magazine about design. we talked to the designer about this. mind thought about what to

-- designers do, and that is, solve problems areas we started with a line of six, four and that we needed to come up with those problems, so that was an interesting process, it incorporating all these different problem solvers inside the issue into. so there are some funny boredom, ones, relevance, laziness, and insecurity, pestilence apathy. ,we found we can link the people from the issue to them in a way that speaks to how they are solving it. carol: what is the word for this one? >> leap skin. leap skin, you find them at the intersection of pessimism and apathy. that is because he is designing a museum in iraq, which is obviously a wartime country, cultural heritage sort of at risk. certain people have a pessimistic view of iraq. because of that, they are not doing anything about it. carol: when it came to doing his image in the magazine, what did

you think of in terms of composition? >> we knew two simple things. he is a great debt. he is well known, especially in new york and has a distinctive look. this is the first time he is -- has ever revealed his plans for this museum, so we wanted to get both ends cleanly and clearly. we set up a very simple pose of him sitting at this table in this office with a model building foreground and him just kind of looking over it. carol: you have two fun things, and you deal with "hamilton" and you also deal with food in the issue. they are both very colorful and exciting to look at. what was the thinking behind that? >> i think those are good examples of how broad we went with people that we picked. we had the man that designed the costumes for "hamilton," which has been one of the most talked about plays recently. and it went into his sort of design philosophy in terms of

how he dresses people from the neck down but decided to keep the head of modern. we shot him pretty much surrendered by his work, surrounded by his costumes and , we juxtaposed that against the image of the actors on stage. carol: that is so great. and quickly on food, the art of the meal. >> this is a story on a michelin star restaurant in san francisco. she does amazing dishes that looks like science experiments so we just shot it and made it a it,ll spread and annotated which goes into the process of creating this. david: up next on bloomberg businessweek, white is harder for movie moguls as a struggle to fill crucial roles on shoots outside of a l.a. carol: and selling $4000 tail is -- chairs to some of the world's wealthiest people. david: the architect to redesigned ground zero working on a secret project in iraq. details ahead. ♪

♪ carol: welcome back to bloomberg businessweek, i am carol massar. david: i am david gura. not every design is focused on it design. carol: there are dozens of articles on economics. there is a story about how hollywood is running out of tombstones. david: a new era of shortages in the entertainment industry. what is really happening on the ground level a lot of places , that attract hollywood studios through tax incentives actually don't have the resources in some cases to accommodate them, so we are seeing shortages of everything from construction crews to props. i spoke to the prop rental store in queens where they are down to last tombstone, and there are tv three series that are fighting over the same date tombstone because they are shooting

cemetery seems in the same week and it is an example, especially in new york city, of the huge increase in television production and there are shortages of all sorts of things now. david: outside of hollywood and queens, where our tv shows being made? gerry: california and new york are still probably the biggest states. georgia has been a huge place for television and film production. walking dead, the most popular show on tv right now is filmed , in georgia and they have attracted a lot of production through tax incentives. vancouver is a really big place. "x-files" was filmed there. not only did they have tax incentives, but they also have currency exchange there is attractive for hollywood studios, so those are really the places that are attracting a lot of hollywood filming and then california is starting to bring back a lot of production. they used to lose production to a lot of other places and countries, but they are starting to bring that back as california has increased their tax

incentives, tripled it almost. in light of all of this if i were a show runner, are the , tax incentives enough to cover the cost of me having to fly in crew and deal with the fact and not being able to get on the ground, in georgia, say, what i need to shoot my tv show? gerry: tax incentives are so huge and in some cases, you can cover 30% of the cost of producing a show. so even if you -- i spoke to a hollywood producer who filmed a couple years ago in atlanta and got there and needed some construction workers to build a set and found out that there were not any left because there were no construction workers left to helping build a set because it with more than 30 shows being filmed around atlanta and a couple movies as well, so they had to fly in some construction workers from out of town. that happens more and more, especially in places with people who have very specialized skills, there is not enough of them. but the cost of flying these people in is still much smaller

than the tax breaks they are getting for filming in some locations. carol: up next on bloomberg businessweek, what one of the world's leading furniture does einar's would like to do for target. david: and bringing the costumes created for "hamilton" to life. it is ahead on bloomberg businessweek. ♪

david: welcome back to bloomberg businessweek. i am david gura. carol: i am carol massar. we got introduced to furniture designer stephen burke. david: i got a peek inside of his world. >> you would have seen his work in harlem. you would have seen his work at the museum of arts and design, but if you are interested in buying his work, you could see

it in showrooms and any really, really high end european furniture company probably has stephen burks design. david: what do they look like? what are the facets of it would are most familiar? >> these are described as ambilient. - because they have these wild and kinetic designs. some of his iconic lamps are kind of woven and a colorful that mirrors baskets you would see in senegal. for his european travel chair, and usually costs more than $14,000 and you see it kind of woven with plastic fibers. a kind of hood. it is really quite strange and quite original. it draws on a lot of his cultural influences. david: is he content with having that audience of people buying his work? would you like to go more mainstream? >> yeah, he is actually looking

for a business partner, and he is very, very concerned of the idea that good design has a personality. he feels the majority of mass-market objects need a -- be they hard drives, generic furniture company they don't , have that and he feels like he can imbue these objects with something special. david: this is something widely lauded as good design. he has been skeptical of that. >> because it is one-size-fits-all and the fundamentally disagrees with that. he feels it should be more personal and people converting themselves and the design should be for those people in a certain respect. if that makes sense. david: he comes up with the idea. he conceives a lot of his work can be made the way people want the things made.

>> it is a bit of both. he likes to think of it as collaboration rather than him coming up with a specific design and then kind of finding people who know what he wants them to do. for him, it is much more about learning about institutional and social and cultural craft that has been passed down in various ways. and then using that craft wherever he finds it to inform and ultimately decide the final shapes and colors and materials that his designs take. carol: have you ever wondered how the cast of broadway's hamilton gets into character. david: i will let mark explained. mark: he explains with coming up with a shoulders up, shoulders down role. david: explained that a bit. mark: it is set during the revolutionary war and yet it is a hip-hop contemporary musical, so the characters from the shoulders down her wearing

-- shoulders down are wearing period garb, riding boots, corsets for the women, but from the shoulders up, they arer shaved heads, somebody has a mohawk, people love dreadlocks, it is like you are on the street in new york city. the way he describes that is they didn't want to get bogged , down in the historical stuff. they wanted it to feel fresh, energetic, sexy and contemporary and that is the way they do it. ,you just instantly, you know these are actors, people like you, so they don't seem like mount rushmore figures. they seem like young revolutionaries. david: your describing something intuitive there. paul has an interesting background. mark: [laughter] yes, he decides his job as a costume design or as something like a psychiatrist. he has to understand fabrics, and materials and storytelling. he has a background as an actor himself, but at some point, he withone in a fitting room an actor or actress, and they

have a lot of fear, and he finds out how they will work together and helps them ultimately realize the character. david: did he talk about what actors think of cash jim's, what it means when they are doing performances like a play like hamilton? are doing performances? mark: that is interesting. i asked him how he had worked with some pretty big divas because he has worked with and gina pingch, that you- and he said don't get caught up in the starstruck thing. you have to treat the person of as another collaborator. no matter how great or humble a person is they'll have , insecurities about how they will look. it is sort of like you are coaxing the actor to accept a view of their character that they may have not seen. david: you have seen the play. how effective are the costumes? you mentioned the top down, bottom down approach.

did it work? mark: it worked flawlessly. i spoke to paul, and i said that his costumes, for me as a viewer, or the glue -- were the glue that holds the whole thing together. because the libretto, the words, are all very contemporary. completely contemporary, yet, the story is completely historical. so the costumes perfectly bridge both worlds. george washington has a shaved head. he takes off his try quarter hat at the end of the battle and this guy with a shaved head not , the man on the one dollar bill, so you immediately relate to him. it is like, oh, my god, of course, he was a man with presidents, but about my age or younger trying to free his country. carol: up next for bloomberg businessweek, the next asked for flak. we will hear from the ceo. david: plus, the secret kept for six years. that is coming up on "bloomberg businessweek."

carol:

there is a way that members of the team can collaborate online. it allows people to easily communicate as a group. >> and this company is still fund-raising right now? raced $200s, just million. >> where did you come up with this idea? >> it is an odd story. he was trying to build a videogame. comeideogame didn't quite to the, but in the process, he used the technology he developed and that for two other products which he sold to yahoo!. slack which was a comedic asian's tool he developed while working on the videogame and then he spun that out as its own product -- communications tool, he developed while working on the videogame and then he spun that out to its own product.

it was as though you are having a quick conversation on a chat platform, which is basically what it is. they talked about flickr, the development of slack. >> did it feel comfortable while doing it? >> i think it did. it reads like a real conversation. sort of the way when i chat with my daughter online. it's a little like that but with more substance. >> we have been chatting for a while now with instant messenger and slack, what is the future of this medium? >> part of the question is whether it does replace e-mail and whether it does facilitate collaboration which is increasingly important. >> you've another piece in this issue which we know from the museum in berlin, from his work on ground zero, he has been working on a secret project. >> he has, and it is a secret he

will reveal on stage at our design conference next week. the secret is that he has designed a museum in iraq in the kurdish sector of iraq. on his drawing board for quite some time and what is keeping it from being built is primarily the violence in iraq due to isis. that one of those projects could kind of bring a group's heritage to the four. design takes its inspiration from kurdish heritage and he thought with all of the violence, it is time to reveal the secret. >> a great mission considering all the devastation. >> it is, and it is a fully peaceful project that he feels very passionate about. >> does he address the islamic

state in the design? >> he does. it is one of the reasons that he would like to reveal it now because of what isis is doing and because of the violence surrounding the area. the beginning of possible hope. >> i spoke to the reporter who interviewed him, liz greenspan. >> the prime minister had this idea to create a museum that addressed kurdish history and culture. so he was talking with people in kurdistan and the prime minister priorhim based on his work and his initial designs and ideas for this project. has done a lot of museums. he designed the master plan for the world trade center site. why was he the one that they settled on? >> like you said, his resume lends himself to this kind of project. he has done a number of cultural

is e.m.'s in particular. art museums that take on questions of identity, as well as persecution and oppression. the themes that are very much a part of kurdish culture and history are ones that he has worked on and has thought a lot about. in particular, how to build them into the architecture. as soon as they saw his ideas, it makes sense to them and others that he was the one they selected. >> he is sworn to secrecy. why was that and how is he able to do it? >> there are a few different factors and a lot of it has to do with kurdish politics. the kurds are not recognized by the iraqi government.

so it crosses the borders and multiple countries encoding turkey, iran, syria, and iraq. the government had a sense that if it -- that to facilitate this going forward, it was best to keep it quiet. the turkish government may not be happy to hear that they are building a museum to the kurdish people. have it start building and keep it going and get those reactions. >> how extraordinary is that. these are anything identifying their involvement with the woman -- with the project, put away?

at the early stages it is not uncommon to keep things quiet because you don't know how it will be playing out or how long it will take to get designs up and going, but once you are at the place with a were ready to go a few years ago, everything was built out. at that point you are usually public. people know what is going on. it has been announced. from what i understand from lima libeskind, it did take effort, but they did take efforts to keep it quiet that were extraordinary for his field. >> what is his philosophy here. >> there are four parts, what he calls fragments or masses.

these parts are fragments and have sharp angles. their typical of libeskind's work. they intersect in the middle. he has two paths that he calls lines that cut through in the middle. if you looked at an aerial view you consider that they are lines that cut through and zig and zag. thatepresents the genocide saddam hussein took against the kurds in the late 1980's and the second is more hopeful, looking toward the future of less conflict. so those two lines organized the form as well. >> how does this busy implant to address with the kurds have been fighting the last two years? washen the museum conceived, the islamic state

really wasn't on the radar. now it is. interviewers have been on the kurds, interviewing coming back to collect material for the exhibitions. this is part of a larger strategy of what the museums will document. involved has been documenting kurdish history for the past three years. film andne a lot of has film crews on the ground. as soon as isis invaded moses, they have been there doing the regular documentary filmmaking work. it was a point at which they thought the museum would end around 2014 when they started building. hasthat the construction been delayed, the story will continue. >> behind every issue of "bloomberg businessweek," there is a team behind the images. >> what we saw is the look and

feel of the typography in this issue. is, we wereabout thinking about design as it relates to human emotions. so we asked ourselves, what would design look like if it had needs, wants, and feeling. >> which is different from the past? >> right. static we design for a medium, we rarely think about how each letter interacts with one another. and because we get to put out this conference and the life website that goes along with it, we started thinking about how it could be animated. >> it is interesting. when you took a to robert, was he like, what are you talking about? >> he got it. i think by now we can indicate through vibes, grunts, and sounds. >> but it is a little different

way of looking at design. >> design and business magazines are usually subbing that feel cold and deal with money and businesses, so it is kind of a neat way of looking at the human condition and human needs and wants. idea, as youhole mentioned it is an abstract idea, which is kind of trickles through the whole magazine. -- how did youat do that? >> we used the bright colors as a playful way of wrapping type around and we try to limit our use of harsh edges so you see a lot of organic shapes. >> we also draw the shapes ourselves. and i would say in those magazines you can see photographs or rectangles that most of the photographs in this

issue are just wobbles. >> up next on bloomberg's businessweek, exclusive details on the massive art collection. pleasing thetrend eye as much as the tummy. that is a new trend ahead. ♪

>> welcome back to bloomberg businessweek. >> next month, the founders of the gap of finally have a home for their enormous art collection. >> the fisher family is the driving force behind the $265 million extension. >> it is by far the single biggest item from the original building that the new extension wipes away.

it basically replaces the staircase at the heart of the original aetrium which was a soaring open room where visitors enter the museum and faced these stairs. the problem was that the stairs were a bit for bidding. the opening to the stairs was a dark cave like granite structure that was not very inviting to museum goers and the staff never liked it. what they have done is remove that staircase and build an elegant, wooden structure that instead of going all the way to of the aetrium stops at the first floor which is where visitors will enter the new extension. >> ahead of the region architecture firm that won the commission, what do they have envisioned here. about extension itself is

235,000 square feet. it essentially doubles the size of the original museum. it's built in a long wedge in the back of the museum with an original material. it's a kind of fiber plastic composite that is white in color and is rippling like the waves of the water which some architects have said it is modeled on. francisco bay rises about 10 stories and looks nothing like the surrounding buildings which are generally 1930's, 1940's mid-level high-rises. so this building just kind of sticks out right there wedged onto the back of this original museum built in 1995. as i said, it doubles the size. >> this edition is an cheap.

what it have to happen. >> it is to accommodate the fisher collection which is a marvelous collection of contemporary art collected by doris and the late donald fisher. they were founders of the gap in san francisco, made a fortune and spent some of it on collecting contemporary artists throughout the 20th century. they have 1100 different pieces of war halls. all caps a beautiful and modern art but they really didn't have a home for. they were keeping it in the gap headquarters individually donald fisher wanted to build his own museum at the presidio which is a large national park now. it is to be an army base. youthe trust said, no thank . this is and what we envisioned so literally on donald fisher's deathbed the fisher family

agreed with san francisco that a new extension would be built to house the fisher collection 'sich remains in the fisher hands but is available to the andum to show, and exhibit send around the world as they choose for 100 years. >> peter, how come from entry are these two buildings? how do they look together? snowaig, the founder of head and the main designer of this extension says that he pays deference to the building. the original 1995 museum month or street. but i think most to look at it would disagree. they are entirely different types of structures with different shapes and totally different materials. he says and we have an e-mail exchange that he meant to fit weave of santo the

francisco's downtown. bricks and masonry. basically blending in, harmonizing with the old downtown. there's nothing harmonious about these shapes. as i mentioned it is this tall wedge of rippling white plastic and they are very different. that said, i think people will find them, metairie in some respects. i believe that the galleries flow into each other in a smooth way and you won't really know when you're going from one to the other. there are a lot of things that he has done on the ground floor to make it much more inviting, and inclusive in a public way. 45,000 square feet of gallery space where visitors can come in without buying a ticket and look at artwork on the .round floor

completely enclosed by glass windows on the street. there are some wonderful things they've done here, but the not exactly what mario had in mind. >> up next, a chef who cares as much about the design of for plates as the taste in her food. ♪

>> in this week's double design issue. >> the trip to a restaurant where it can take months to create the perfect eye pleasing dish. >> when she got to the states, she discovered that the cuisine was her calling and started this restaurant. reputation has these beautifully plated dishes that come out and the fact that she writes poetry and each line of

rotary is what comes out of her dish. >> you mentioned the menus and poetry. she sees these like literature. >> they come from her memory, from her childhood. it is part of her storytelling. that is what makes the --erience c atrenn quite nnke the experience at cre quite unique. you are entering into someone's imagination. and she is there. she guides you through the whole thing. >> soap if you were lucky enough to sit down for a, what would it be like? >> you would probably start out with some avocation of the forest. she remember is that, growing up with her father very tenderly. in this restroom is almost a tribute to her father.

new restaurant which is devoted to her mother and her grandmother. >> couple minting your text are some wonderful photographs. one in particular is a walk in the forest. that it sometimes takes -- desserts particularly, this is a desert. i have to plan it very carefully. and what they have done for this dish which is a revival of an older dish called the walking forest which is a savory dish, this is a sweet dish. they do point -- designed the ceramic bowl that has been carved out of a tree. it is kind of a magical dish that comes out. it in the image of magazine and it is a beautiful dish.

>> we will see you back here next week. ♪

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