tv Bloomberg Business Week Bloomberg April 9, 2016 7:00am-8:01am EDT
carol: welcome to "bloomberg business week." i am carol. david: i am difficult. -- i am david gura. let's go meet the editor. ♪ we are with the editor of "bloomberg businessweek." you have a double issue focused on design. how did this come about? >> when bloomberg bought is this week in 2009, we read that the magazine and design has been
part of what we do. our writers and editors work closely with our artists and art photography editors and it drives the way we tell stories. we tell them graphically, through photography and we all whattogether and designe moves us. we started doing 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: are there a few that you think about? ellen: not really. we try to talk about all designs. we have graphic artist, architects, and sometimes a scene emerges. in this issue, it emerges that all the designers were talking about how to solve problems and improve your business and life, so that kind of organically became the theme. everything,over food, business, art and you have the custom designer -- the
costume designer for "hamilton." ellen: it is fun because you get inside his head and you ask when he thinks about when he comes up with costumes. how toly thinks about support the actor, how to make the actor feel more comfortable in the role, and he tries to understand the actor's ability and he tries to think about what the audience will want to see. david: the future company called the impossible project, european company trying to resurrect film, why featured this? 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 polaroid and it was a complicated chemical process, but he wanted to get it right. basically, he was feeding that
market, people who loved and owned vintage polaroid's so he is coming out with this on camera that is a polaroid-type camera, instant camera we took the photos for the story with the camera. he has come up with a design that speaks to the past and future. carol: old is new again. it comes back. ellen: exactly. david: we talked to the reporter who wrote the story. >> this is one of the most in the world.ings it relies on hundreds of components. when it took over that factory in 2008, the entire supply chain that polaroid had dealt 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 for the 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 from network to polaroid cameras from scratch health polaroid three sources, 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. for the first couple of years, the film was very tricky. pictures fairly 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? has been made and design from scratch. previously, they have been selling refurbished: chemist that they buy at garage sales, ebay and remarketing it 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 took photos. it is a beautiful device and elegantly designed and minimalist in the look, but it has interesting features, for halo or ringas a flash that goes around the lens lightn adjust based on that is needed so you don't get underexposed or overexposed. the brightest thing is in has been digital brain, so there are processes that can adjust light.
there have been able to the bluetooth 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, and go can also do cap filter top features like you would on instagram. 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 position 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 walk around with one inner pockets on the smart right 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 are for people who listen to music, there is a growing market for niche film photography and instant photography with this systemifilm's in stack which is somewhat to polaroid and they have been incredibly well. it is a pretty tall order for the maxine that designed -- it is a pretty tall order for a magazine. we talked to him about this. sixe started with a line of
, 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? ksskin. he is designing a museum in iraq which is a wartime country, cultural heritage and there is that risk. you would say that certain people have a certain pessimistic view of iraq and because of that, they're 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 to simple things -- 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 ends cleanly and clearly. we set up a simple close of him sitting at the table in his office with a model building foreground and him just kind of looking over it. deal with "hamilton" but 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. we design 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 dress as people from the neck down but decided to keep the head of modern. we shot him pretty much surrounded by his work and thatmes and we juxtaposed against the image of the actors on stage. carol: and quickly on food, the art of the meal. 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, which 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. the architect to redesigned ground zero working on a secret project in iraq. ♪
carol: welcome back. in thenot everything design issue is focused on design. carol: there are dozens of articles on economics. there is a story [indiscernible] 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 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? york: california and new are the biggest states and georgia has been a huge place for film production. "walking dead" is filmed in georgia and they have attracted taxt of production through 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 with the facteal and not being able to get on the ground, in georgia, say, what i need to shoot my tv show? erry: 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
interested in buying his work, you could see it in showrooms and any really, really high european miniature company that probably has his designs. like? what do they look >> these are described as [indiscernible] 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. 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 you 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 it should be more personal and people converting themselves and the design should be for those 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: mark explains. upk: he explains with coming with a shoulders up, shoulders down role. david: explained that. mark: it is set during the revolutionary war but it is a hip-hop contemporary musical, so
the characters from the shoulders down her wearing ga 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, 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. he 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 backend 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 realized the character. david: did he talk about what doctors think of costumes and what it means for them when they are doing performances? is interesting. i asked him how he had worked with some pretty big divas because he has worked with a lane stretch, -- 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? did the approach 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 story is completely historical. so the costumes perfectly bridge both worlds. george washington has a shaved head and he takes office hats at the end of the battle and he is 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. kept forus, the secret six years. that is coming up on "bloomberg businessweek." ♪
david: welcome to "bloomberg businessweek." carol: we're into the newsroom. 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 the yahoo!. the second was slack. then he spun that out as its owno product. f co -- 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. the talk about flickr, the development of slack. 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? 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 kurdishat is in the sector of iraq. it has been on his drawing board for quite some time. what is keeping it from being built, primarily, is the violence in iraq due to isis. it could bring a group's heritage to the fore. it is a lovely project that can't be built right now. it takes its design from kurdish heritage. we are proud to be able to reveal the secret. 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: tennessee address islamic state in the design -- does he
address islamic state in the design? he does. one of the recent two wants to reveal it is because of what isis is doing, and the violence around in the area. this is a service beacon of possible help. david: i spoke to the reporter who interviewed him. thisthe prime minister had i did great in kurdish history. culture, he was talking with people in kurdistan. he chosen based on his prior work, as well as the initial designs. david: he has done a lot of museums. he planned the world trade center site here in new york. i was in the one they settled on? resume really lends itself to this kind of project. he was the master planner for the world trade center site but is 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. saw his ideaey 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 selected. david: he is sworn to secrecy, that is part of the commission here. how was he able to do it? are a few different factors. a lot of it has to do with kurdish politics both local and regional. e an autonomous people, but not recognized by the iraqi government. 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 haven't been treated well, that is an understatement. i think the government had a sense that in order to fulfill -- facilitate this moving forward and make sure nothing got in the way it was best to keep it quiet. kish 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 its moving forward, have 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 was then put away? stages ofnk the early
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. on thesually posted 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? the concept he presented and it's continue to develop was based on an idea of based on an idea of four parts, or fragments.
that involves the four countries that the kurds live in. angles thate sharp 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. you could see the two lines from an aerial view. they're not straight, but as a gens anger. 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 looking towards the future of less conflict. those two lines organize the format 12. 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. interviewers have been on the ground, interviewing kurds coming back to collect material for the exhibition. this is part of the larger strategy. the filmmaker that is involved has been documenting kurdish history for the past 30 years. his done a lot of films, and so as soon as i says invaded most ul, they have been they're doing a 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. 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 ase thinking about design how it relates to human emotion. ask 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. ofce: it is a new way looking at type. 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. it is interesting, this is your idea. when you take it to robert, was the let cord you talking about? trace: 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. ofis kind of a neat way looking at human -- the human condition and human needs. carol: this whole idea, this cover, which is so cool. you mentioned it is an abstract idea. it trickles to the whole magazine. that was her kind of idea to bring it through. we used these bright colors and the issue. and also a playful way of wrapping type around. try to limit our use of very harsh edges. of very fluid, and organic shapes. >> we have joy on the shapes ourselves. i would say in most magazine or rectanglesafts with the photographs are just wobbles. they are these organic, abstract
wipes away. it basically replaces the staircase at the heart of the original aetrium. it was a soaring, open room that visitors entered the museum. they faced the stairs. the problem was, they were a bit forbidding. thispening, the base of 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 ant staircase and build elegant, wooden structure. into the going awfully up to the ceiling, and now stops of the first for what were visitors will enter the new extension. david: the norwegian architecture firm that won the commission, what will it look like? peter: so, the extension itself 235,000 square feet it
doubles the size of the original museum. it is a built in a long way in wedge in the long back of the museum. it is a plastic composite that is light -- a 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. so, this building just kind of sticks out her right there, wedged onto 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 delay to donald fisher. they were founders of the gap in separate cisco, and 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. have a homedidn't port. there were keeping it in the gap headquarters for the originally, donald fisher wanted to build largen museum at the national park. it used to be an army base by the golden gate bridge. said no thank you, this isn't what we envision. literally on donald fisher's deathbed in 2009, the family
agreed with san francisco moma that a extension would be built to house the fisher collection. which, by the way, remained in their hands, but is available to the museum to show and exhibit and send around the world as they choose for 100 years. david: how complementary are these buildings? the original, and extension, how did look together? and the mainunder designer of this extension says he pays deference to the original 1995 museum on 3rd street in separate cisco. however, i think most people who look at it would disagree. they are entirely different types of structures would totally different materials. to fit hist he meant downtown.o the
a lot of brick, masonry, some interesting shapes that are different, and immense to the iconic, but really basically blending in and harmonizing. there is nothing harmonious about the new shapes. it is a tall wage of -- wedge white plastic. that said, i think some people will find it complementary. i believe the galleries flow into one another in a very smooth away. is lots of things that he is done, particularly on the ground floor, to make it much more inviting. their 45,000 square feet of gallery space. visitors can come in without buying it ticket and look at artwork in the ground floor. completely enclosed by glass windows on the street, it is a
♪ 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. it's discovered that cuisine was her calling. she started a restaurant which, interpretation is these dishes.l re-plated in 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. that is what takes the experience at her restaurant quite unique. 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 thing. david: what would it be like if he sat down for dinner there? howard: you would probably start with an invocation of divorce 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. david: some wonderful photographs, one of particular is called "walk in the forest." says it sometimes takes months to put together a dish. desserts, particularly, have to plan out very carefully. dish,ere is done for this which is itself a revival of an older dish which was a savory dish. this one is a sweet dish. the design this gorgeous, ceramic bowl that looks like it is been carved out of a tree. basically, there blueberries, blackberries, and it is a magical there's that comes out just smoking. it in the image of magazine. it is a beautiful, beautiful dish. david: "bloomberg businessweek"
♪ >> coming up on "bloomberg best," the stories that shape the business around the world. the panama papers deliver a flood of leaks and tsunami of controversy. >> his name is not registered anywhere. the u.s. comes down on conversion with implications for deals. the fed to discuss a rate hike, but what should make of that debate? and the serious challenges to global growth and john kerry on the serious opportunities for companies minute to clean energy. >> we need clean energy jobs and