>> a special project in iraq. >> and creating the perfect eye pleasing dish. >> let's go meet the editor. david: you have a double issue coming out locust on design. how did this come about? bought bloomberg business week in 2009, we

rethought the magazine and since then, design has been part of what we do. our writers and editors work itsely with our editors and drives the way we tell stories. we tell stories graphically and design moves and us. four years ago, we started doing these special issues and do a design conference. many speakers are featured in the special issue. what we are trying to do is talk about this in terms of design. we are talking about how to improve your business and your life. cover you cover food, you everything.

yout's a fun story because get inside his head and ask him what he thinks about when he comes up with costumes. supports about how to the actor and how to make the actor feel more comfortable in the role and understand the actor's vulnerability and ink about what is the audience going to want to see? european company trying to resurrect full film. why feature that? >> this is about one man's obsession who bought an old factory that made polaroid film. polaroid cameras don't exist anymore. for polaroid and it was a complicated process but he wanted to get it right.

it was the market of people who own and love polaroid's, so now he is coming out with his own camera which will be a polaroid type camera and we took the photos for the story with the camera and he has come up with a design that speaks to the past but also speaks to the future. carol: old is new again and it all comes back. david: i talked to the reporter who wrote that stories -- you with that story. >> this is one of the most complicated chemical products in the world. when they took over that factory, the entire supply chain polaroid had built was being is assembled or close down as it happened. all the different layers that went into the film that spits out of a polaroid camera. those different elements were hard to find and some of them were banned for environmental

reasons. they had to go back to the drawing board reengineering , polaroid film or from network to polaroid cameras from scratch instead of however polaroid resources, the company spent $1 billion dollars in 1950 to develop the camera, and these guys have half a dozen people and a shoestring budget that only understand part of the process. for the first couple of years, the film was very tricky. pictures rarely developed, they had weird splotches, teachers 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. david: what is the new camera coming out -- i1? david: it has been made and designed from scratch. previously, they have been selling refurbished cameras they bought on ebay and garage sales. read them in places like urban

outfitters -- remarketing them in places like urban outfitters. the i1 is the from scratch take that has a camera that works with the polaroid format, but it takes advantage of all the sort of newer and digital technology that makes it more reliable and takes better pictures. david: have you got your hands on one? david: i did. when interviewed the company's ceo about a month ago, i was able to check out the camera and even take some photos with it. it is a beautiful device and elegantly designed and minimalist in the look, but it has interesting features, for example, it has a halo or ring flash 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. there are all kinds of micro that adjust the aperture. they have been able to have a

lieu tooth connection to a smartphone app, so they can institute precise controls or how much light or timing of the flash that goes in the camera, but you can also go to the cap and do filter features like you can on instagram. it can do fairly complicated things like create a double exposure which puts to photographs in one frame or a countdown timer. things that would have been pretty much impossible with older polaroid camera technology that are not possible. david: 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. david: exactly. 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. we walk around with one and our pockets now. those have become so ubiquitous that a number of people are turning back the film cameras to instant cameras the curse of the unpredictability, because they are serendipity and there is something fun and wild about it and because it is not that impacted me but a luxury and choice. in the way that final records -- final records are -- in a way that vinyl records are for instance. there is a growing market for niche film photography and instant photography with this and fuji film's in stack system which is somewhat to polaroid and they have been incredibly well. >> it is a pretty tall order for a magazine. we talked to him about this. >> we started with a line of six, four and that we needed to come up with those problems, so we incorporated all these different problem solvers inside the issue, so there are some

funny ones, boredom, relevance, laziness, and apathy. we found that with that sort of working, that can link 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. he is at the intersection of pessimism and apathy. you would say that certain people have a certain pessimistic view of iraq and because of that, they're not doing anything about it. because their cultural and some is at risk.

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

kind of dresses people from the neck down in vintage but decided to keep the head of modern. we shot him pretty much surrounded by his work and costumes and we juxtaposed that against the image of the actors on stage. carol: and quickly on food, the art of the meal. >> this is the restaurant in san francisco and she does amazing dishes that looks like science experiments so we just shot it and made it a postcard and it, -- and made it for spread and annotated it. that goes into the process of creating this. david: up next, what it is hard out there for movie moguls as a struggle to fill crucial roles on shoots outside of a l.a. carol: and the architect to redesigned ground zero working on a secret project in iraq. david: we have the details ahead on bloomberg businessweek. ♪

♪ carol: welcome back. i'm carol massar. david: not everything in the design issue is focused on design. carol: there are dozens of articles on economics. there is a story [indiscernible] david: a new era of shortages in the entertainment industry. >> a lot of places that attract hollywood studios actually don't have the resources in some cases to accommodate them, so we are seeing shortages of everything from construction crews, to props, and i spoke to the prop rental store in queens where they are down to the last tombstone and there are three tv series that are fighting over the same fate -- the same fake 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 the biggest states and georgia has been a huge place for film production. "walking dead" is filmed in georgia and they have attracted a lot of production through tax incentives. vancouver is that they place. "x-files" was filmed there. not only did they have tax incentives, but currency exchange there is attractive for hollywood studios, so those are really the places that are attracting a lot of hollywood filming and california is starting to bring back a lot of production that 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 and tripled it almost. david: if i were a show runner, are the tax incentives enough to cover the cost of me having to fly 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. i spoke to a hollywood producer who filmed a couple years ago in atlanta and needed some construction workers to build a set and found out that there were not any left because there were no construction workers like to help them build the set because they were more than 30 tv shows in filmed around atlanta and the couple movies, so they had to fly and construction workers from out of town. that happens more and more, especially in places with people that have specialized skills, but the cost of flying these people and is still much smaller

than the tax breaks they are getting for filming in some locations. carol: up next, but one of the world's leading furniture designers selected to do for target. david: and bringing the costumes created for "hamilton" to life. ♪

♪ david: welcome back. i am david gura. carol: i am carol massar. david: i got a peek inside of burke's world. >> you would have seen his work in harlem, 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 company that probably has his designs. david: what do they look like? >> these are described as ebullient. because they have these wild and kinetic designs. some of his iconic lamps are kind of woven and a colorful cast of it that mirrors baskets you would see in senegal. for his european travel chair, and usually cost more than $14,000 and you see it kind of woven with plastic fibers. in a kind of hood. it is really quite strange and original. it draws on a lot of his cultural influences. david: if the content with having that audience of people buying his work? would he like to go more mainstream?

>> he is actively looking for a business partner and he is very, very concerned of the idea that could design is designed at the us like it has a personality, a soul, and he feels like a majority of mass-market objects, be they hard drives, be they from a kind of generic furniture company, they don't have that, and he feels like he can view these objects with something special. david: a remarkable moment in your interview with him, he picks up an iphone as representative of good design and that has been popular because of the design and he is skeptical on that. >> because it is one-size-fits-all and he fundamentally disagrees with that and he feels design should be more personal, and people converting themselves to the design instead of design being for people in a certain respect. david: he believes his work can be made the way people want the things made. >> he likes to think of it as collaboration rather than him

coming up with a specific design and 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 "hamilton" fits into character? david: a little help from the costume designer. mark: he explains with coming up with a shoulders up, shoulders down rule. david: explain that. mark: it is set during the revolutionary war but it is a hip-hop contemporary musical, so

the characters from the shoulders down are wearing. riding boots, corsets for the women, but from the shoulders up, they arer shaved heads, somebody has a mohawkb,, people love dreadlocks, it is like you are on the street in new york city. 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. instantly, you know these actors are people like you so they don't seem like mount rushmore figures. they seem like young revolutionaries. david: you are describing something intuitive. 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, materials and storytelling. he has a background as an actor himself, but at some point, he is alone in a sitting room with 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 doctors think of costumes and what it means for them when they are doing performances? in a play like "hamilton"? mark: that is interesting. i asked him how he had worked with some pretty big divas because he has worked with a -- elaine stritch, and some exacting actresses, and he says that you don't get caught up in the starstruck thing. you have to treat the person of another collaborator. the matter how humble a great the 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 the character that they may have not seen.

david: you have seen the play. how effective are the costumes? you mentioned this top down, bottom down approach. how does it work. mark: it worked flawlessly. i spoke to paul and i said that his costumes, for me as a viewer, where the glue that holds the whole thing together. because the words are all very contemporary. completely contemporary, yet, the book, these story is completely historical. so the costumes perfectly bridge both worlds. george washington has a shaved head and he takes off his tricorn hat and he is just this big 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 about my age or younger trying to free his country. carol: up next, we will hear from the ceo. david: plus, the secret kept for six years. that is coming up on "bloomberg businessweek." ♪

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get better internet installed on your schedule. comcast business. built for business. ♪ david: welcome to "bloomberg businessweek." carol: we're into the newsroom. david: defining islamic state one museum at the time. and what to do would your food is too pretty to eat. carol: we're back with "bloomberg businessweek" editor, and there are so many must reads. this includes the ceo of slack. david: what is it, first of all? >> it is workwear for the workplace. it is a way that members of a team can collaborate online. it replaces e-mail, it replaces

the standup meeting you have in the morning. it allows people to communicate as a group. david: this is a company that has grown massively. >> it just raise $200 million. carol: where do they come up with this idea? >> he was trying to build a video game. the videogame didn't quite come to be. in the process, he used the technology and was developing that with two other products. the first was flickr, which he sold to yahoo!. the second was slack. a communication tool he developed while he was working on the videogame. of course, we interview the ceo on slack. it was communication between one of our staffers and butterfield,

who is in australia at the time. it was as though you were having a conversation on a chat p latform, which is basically what it is. so they just talked about flickr, the development of slack. his hopes for it in the future. carol: did it feel comfortable? >> i think it did. it felt like a real conversation. like when i chat with my daughter online. it is a little bit like that, with more substance. david: chatting for a while now, what does the future of this medium? >> part of the question is whether he does replace e-mail, and whether it does facilitate collaboration and teams, which is increasingly important. david: you have another piece in this issue, a profile of an architect. he is been working on a secret project for many years now. >> he has.

he will reveal the secret on stage at our art design conference next week. he is designed a museum for iraq, that is in the kurdish sector of iraq. he has had it on his drawing board for quite some time. and what is keeping it from being built, primarily, is the violence in iraq due to isis. it is one of those projects that could kind of bring a group heritage to the fore. it is a lovely project that can't be built right now. the design takes its inspiration from kurdish heritage. he wanted to reveal the secret and we are proud to be able to do that. carol: what a great mission considering all the devastation that area has undergone. >> it really is. it is a fully peaceful project that he feels for a passionate about. david: does he address the islamic state in the design? ellen: he does.

again, it is one of the reasons he wants to reveal it now is because of what isis is doing, and the violence around in the area. this is a service beacon of possible hope. david: i spoke to the reporter who interviewed him. liz: the prime minister had this i did great in kurdish history. and kurdish culture, he was talking with people in kurdistan. the prime minister chose the designer based on his prior work, as well as the initial designs. david: he has done a lot of museums. he designed these sort of master plan for the world trade center site here in new york. i was in the one they settled on? liz: his resume really lends itself to this kind of project. he was the master planner for the world trade center site but he has also done a number of cultural museums in particular. not just art museums, but once a

particularly take on questions of identity, and persecution and oppression. the themes i think a 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 those into the architecture and the building itself. so, as soon as they saw his idea which they liked a lot, i think it makes sense. it made sense to them, and a lot of people, that he was the one that they selected. david: he is sworn to secrecy, that is part of the commission here. why was that and how was he able to do it? liz: their are a few different factors. a lot of it has to do with kurdish politics both local and regional. the kurds are an autonomous people, but not recognized by the iraqi government. they are not a state. when you look at the region they live in, it crosses the borders of many countries including

turkey, and iran, and syria, and iraq. they are spread out. they haven't been treated well, i mean, that is an understatement. in the arab countries that they live in. i think the government had a sense that in order to facilitate this moving forward, and to make sure nothing got in the way it was best to keep it quiet. the turkish government may not be happy to hear that they're building a museum to the kurdish people in kurdistan. so, it was the idea that keeping this moving forward, have it start building, then tell everyone about it and have -- get those reactions. david: how extraordinary is that? you write about walking through his offices. anything identifying them with the project would have been put away? liz: i think the early stages of projects in the stock uncommon

to keep things quiet because you don't know when it is going to be playing out. we don't know how long it will take to get designed up and going. but a few years ago when they were ready to build from the ground, who are doing construction contracts. at that point, you are usually public. it is usually posted on the website. it has been announced. to keep it quiet at that point, he has never had a project with that request has been made before. they did take efforts to keep it quiet that were rather extraordinary for his work, and his field. david: what would this museum look like? liz: yeah, so, the concept he presented and it's continue to develop was based on an idea of four parts, or fragments. each represent a country in which most kurds live in.

each represent a fragmented and they have the sharp angles that are typical of his work. they come together, and intersect in the middle. that is the basic form. then he has two paths, lines that cut through the museum. and so if you were to look at and aerial view you can actually see these two lines that are straight lines that kind of cut and zig and zag. and one line represents the genocide that saddam hussein took against them in the late 80's, and the second is a more hopeful i'm -- line looking towards the future of less conflict hopefully. so those two lines organize the form as well. david: how does this museum plan to address what the kurds have been fighting against? liz: when the museum was conceived, the islamic state must not on the radar. now it is.

and so, interviewers have been on the ground, interviewing kurds coming back to collect material for the exhibition. this is actually part of a larger strategy of this museum that will document. the filmmaker that is involved has been documenting kurdish history for the past 30 years. he has done a lot of films and he has film crews which have been around. so as soon as isis invaded mosul, they have been they're doing their regular documentary work. the point at which they thought the museum would and, the story that it tells around 2014 when they started building now that the construction has been delayed, the story will continue. david: beyond every issue of "bloomberg businessweek" is a design team creating the images you see each week. carol: i spoke with the team behind this cover page. >> the greatest challenges overcame with the look and feel

of the typography in this issue. and how it came about is, we were thinking about design as how it relates to human emotion. so we asked ourselves, what would design look like if it had needs and wants and feelings? carol: that is so different from what you have done in the past. trace: it is a new way of looking at type. and kind of because we design for a static medium, we very rarely think about how each letter interacts with one another. because we get to put up this conference, and this website that goes along with it. we started thinking about how type could be animated. carol: it is interesting, this is your idea. when you took it to robert, was he like, what are you talking about? >> he got it. by this time we communicate through vibes, grunts, and sounds. it is a different way to look at design. design and the business magazine

is usually something that feels cold, and deals with the money. and businesses. so it is kind of a neat way of looking at to like human. the human condition and human needs and wants. carol: this whole idea, this cover, which is so cool. you mentioned it is an abstract idea. it just kind of translates and trickles through the whole magazine. you do these bright colors in the issue and kind of a beautiful and playful way of wrapping type around. try to limit our use of very harsh edges. you see a lot of very fluid, and organic shapes. >> one of the fun things is we kind of draw on the shapes ourselves. i would say in most magazine juicy photo crafts or rectangles with the photographs are just

wobbles. so they are kind of like these organic, abstract shapes. david: up next, exquisite detail in the founder of the gap's massive art collection. carroll: and food that pleases the eye as well as the tummy. that's ahead on "bloomberg businessweek." ♪

carol: welcome back to "bloomberg businessweek." david: next month, the founders of the gap will have a home for their art collection. >> it is by far the biggest single item from the original building that the new extension wipes away. it basically replaces the

staircase at the heart of the original atrium. it was a soaring, open room that visitors entered the museum. they faced the stairs. the problem was, they were a bit forbidding. the opening, the base of this staircase was a dark, cavelike granite structure. it wasn't very inviting to museum goers and the staff never really liked it. what has been done is to remove that staircase and build an elegant, wooden structure. with a turn in it that instead of going all the way up to the ceiling now stops at the first floor where the visitors will now enter the new extension. david: the norwegian architecture firm that won the commission, what will it look like? peter: so, the extension itself is about 35,000 square feet it

doubles the size of the original museum. it is a built in long wedge in the back of the museum. it is a plastic composite that is white in color and is rivoli, like the waves on the water. like the water that it is modeled on, the san francisco bay. it rises about 10 stories and looks nothing like the surrounding buildings which are generally 1930's, 1940's mid-level high-rises. up to 20 or 30 stories in that part of town. so this building sort of just sticks out waged on the back of this original museum, which was built in 1995. it also has doubled the size. there is lots more gallery space. david: this isn't cheap. why did it have to happen?

peter: it is to accommodate the fisher collection, which is the marvelous collection of contemporary art collected by doris and the late donald fisher. they were founders of the gap in san francisco and obviously, made a fortune. they spent some of it on collecting contemporary art. they have some 1100 different pieces of warhol, and all kinds of beautiful modern art. they really did not have a home for it. they were keeping it in the gap headquarters and originally, donald fisher wanted to build his own museum at the large national park. it used to be an army base by the golden gate bridge. the presidio trust said no thank you, this isn't what we envision. so, literally on donald fisher's

deathbed in 2009, the family agreed with san francisco moma that's an extension would be built to house the fisher collection. which, by the way, remained in the fisher family hands, but is available to the museum to show and exhibit and send around the world as they choose for 100 years. david: how do they look to gather, the original, and extension, how did look together? peter: the founder and the main designer of this extension says he pays deference to the original 1995 museum on 3rd street in san francisco. however, i think most people who look at it would disagree. they are entirely different types of structures with totally different materials. he says that he meant to fit his design into the downtown. a lot of brick, masonry, some interesting shapes that are

different and that are meant to be iconic in this early context. but really basically blending in and harmonizing. there is nothing harmonious about the new shapes. as i mentioned, it is this tall wedge of rippling white plastic. that said, i think some people will find them complementary in some respects, internally. i believe the galleries flow into one another in a very smooth away. you want really know when you are going from one into the other. there are a lot of things that he has done, particularly on the ground floor, to make it much more inviting. for example, their 45,000 square feet of gallery space. visitors can come in without buying a ticket to and look at artwork in the ground floor. completely enclosed by glass windows on the street, it is a wonderful thing that has been

done here. but, they aren't exactly what the original had in mind. carol: up next, a chef who cares as much about the design of a plate as the taste of her food. ♪

david: welcome back to "bloomberg businessweek." carol: a trip to restaurant can take months to make the perfect dish. >> she was born in france, and studied business. when she got to the states she discovered that cuisine was her calling. it's reputation is these beautiful re-plated dishes. and the fact that she writes poetry, and each line is what comes out of the dish.

david: there is a correlation there. she sees the service as like literature. howard: exactly. to come from her memory, and her childhood. it is part of her storytelling. and that is what makes the experience at her restaurant quite unique. it is the magical nature of the food that comes out. the fact you are entering someone else's imagination. she is there. she guides you through the low -- she guides you through the whole thing. david: what would it be like if he sat down for dinner there? howard: you would probably start off with some evocative intonation of the forest because she remembers that. this restaurant is almost a true b to her father. his paintings are all over the wall. she is open other restaurants over mother doesn't feel out of place. it is devoted to her mother and

her grandmother. david: some wonderful photographs, one of particular is called "walk in the forest." howard: she says it sometimes takes months to put together a dish. to plan it out, for your out how it is going to look. and the desserts, particularly, have to plan out very carefully. what they have done for this dish, which is itself a revival of an older dish which was a savory dish. this one is a sweet dish. the design this gorgeous, they designed this ceramic bowl that looks like it is been carved out of a tree. blueberries, blackberries, and it is sort of a magical dish that comes out just smoking. we have an image of it in the magazine. it is a beautiful, beautiful dish. david: "bloomberg businessweek" is on newsstands now. carol: we will see you here next

week. ♪

>> stories that shape the we of business around the world. controversy. >> not just anywhere. oncoming down hard inversions. what should we make of this debate?