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Susan Kare, designer of the original Apple icons, is back with a new 32-icon collection, one that you can buy in the form of silver or gold vermeil mechanical keys and pendants. Called Esc Keys, the new icons perfectly capture the everlasting magic of her 1-bit legendary past work, always mesmerizing in their extreme minimalism and at the same time as satisfying as triple-chocolate cake. Kare obviously had lots of fun creating them. Her new designsfrom an alien head to a light bulb to love birds to puppies, plus a Panic! key that we all really need right nowinspire the same joy she was gleaming with when I spoke to her from New Yorkwhere she was visiting for the Esc Keys U.S. launch (and to celebrate her participation in the group exhibition Pirouette: Turning Points in Design at MoMA). We spoke about this collections genesis and about the attraction and everlasting power of pixel art as a universal language. A code that has seemingly crossed generations, beyond the people who originally experienced it first hand, when her original digital creations saw the world for the first time in 1984, when Steve Jobs presented the Macintosh in San Francisco, California. I sent the first photos of the Alien icon pendant to my own three sons and I remember they all immediately wrote back: Sick! she says. I took that as a good sign. “There’s hidden meaning on each one” Kare tells me that she was asked to create the collection by Alastair Walker, the founder and creative director of Asprey Studiothe Mayfair, London, art gallery that sprang up about two years ago from Asprey, a designer, manufacturer and retailer of jewelry, silverware, and all things luxury founded in London in 1781 (The former Queen always bought gifts there! Kare tells me with her charming laughter). Walker says he thought Kare was the perfect person to design his idea of the “escape keys”: Meaningful symbols that would represent things people might want to do away from their keyboards, physical reminders of the joys of physical life. There’s hidden meaning on each one, Walker says, and the whole idea is that they’re literally in front of you on the keyboard or on your chest. It’s a reminder not to be a keyboard warrior. So its kind of almost antithetical itself. It’s a little ironic, but it resonated with me and I loved the idea, Kare says. Walker initially asked if she would be interested in designing roughly 10 icons that would be on keyboard keys or mechanical keyboards with universal attachments. The 10 designs quickly grew to a collection of 60 to 70 concepts. She started doing some icons and then she showed me like a whole bunch of them, Walker says. And then we were like, ‘Oh, well, we can’t get rid of this one, you know. Or this one.’ So then we thought, you know what, just do them all. He was fascinated by the process himself, he tells me. She’s insanely methodical. You speak to her and shes moving a pixel here and then shes like, no, lets move it there. [Photo: Asprey Studio] Stop, observe, reflect The escape keys were a good metaphor of that process too, the idea to stop, observe, reflect, to slow life. There are so many options now, we get sucked into a vortex of choice that make things lose their true meaning and intention. And theres so much meaning and intention in Kares designs. It’s just so funny when there’s 50 layers of undo now. You forget how amazing it was just to iterate undo and back again, Kare tells me. Andy Hertzfeld [one of the core Apple employees who made the Macintosh] wrote an icon editor as soon as I got to Apple. I did some drawings on graph paper to take to my job interviews, but using that icon editor was amazing. It was so nice to get to do it on the machine. In the end, Kare and Walker managed to curate the Esc Keys down to 32 final pieces, although additional icons will appear later for some charity events they have planned later in the year, Walker says. Each icon is a limited edition, from 30 to 120 pieces depending on the icon, with prices ranging from $650 to $2,000 depending on the type of object: You can buy the computer key in enameled silver for $650 or in gold vermeil (a 19th-century technique in which you apply a thicker layer of gold to sterling silver, resulting in a finish that is five-times thicker and more durable than gold plating) for $1,010. The necklace pendant in silver goes for $1,390 while the gold vermeil version is $2,020. We carefully handcraft everything in the studio, Walker says. Things like the enameling is super sharp. You usually get blotches with enamel, but this is beautifully flushed, hand filed to get these sharp edges on the pixels. Each icon is also paired with a digital counterpart on the blockchain. [Photo: Asprey Studio] Shes an icon But more than their material value, these icons carry something that to me is far more precious: Kare’s unique ability to distill complex ideas into minimal, universal symbols that speak directly to our emotions. There’s somethin intrinsically appealing about the minimalist expression of Kares 1-bit icons, a striking contrast to this age of high-definition graphics, photorealistic interfaces, and artificial intelligence. Her iconic imagery, which created the modern graphical computing language after it’s protoform was developed at Xerox PARC, is the progenitor of much graphic language we still see today. Her work has an endearing quality that made it ideal for the collection, Walker says. It celebrates Susan. I’ve been looking at digital arts history in general and shes the pioneer. Indeed, Kare is the GOAT and everyone should say that more often. She should be recognized universally for her founding contribution to the modern era of both computing and design, and not just in those industries. What Kare does may look simple, but the way she distills and synthesizes reality into its purest form, the pure soul of everyday things and ideas in a 16 x 16 or 32 x 32 grid, is nothing but pure art. The pixel aesthetic she pioneered has transcended its technological origins to become something deeply emotional and universally understood, which is the key to these keys. Some may say that this is just nostalgia speaking, but it goes way beyond being a GenXer reminiscing about the golden years of computing and the Pirates of Silicon Valley. And it goes beyond the faux nostalgia of the generations that grew up on touchscreens too. I suspect they crave these essential pixelated representations of reality, plastering their Tik Toks and playing retro games, not because they are artifacts of the past but because there is an intrinsic appeal in Kares work. Because the simplicity of things, the abstraction process, makes all of us put more of ourselves into those graphics. And thats why I believe pixel art transcends generations and is universal. [Photo: Asprey Studio] The beauty of simple forms There’s science to back this up. Shaped by millions of years of life evolution, our brains love to fill in the blanks. And, in that process, we project our emotions into these visual objects, something that is extremely satisfying at a subconscious level. It’s like the original Lego minifig, where there was only one smile and two eyes. It didnt matter it was smiling: I remember putting my emotions in those ‘blank’ faces. A minigif could be happy or it could be sad. It could be angry or in love because of the simplicity of it. It makes us put our brain and soul into it. It creates a connection. At this point in our conversation, Kate reminded me of American cartoonist Scott McCloud’s Understanding Comics. He has a couple illustrations where he showed a few drawings, like a very detailed pen sketch of a person, and then less and less detail, getting down to just a circle with a slight smile and two eyes, she says. McClouds said that, the less detail, the more universal and the more anybody can look at that and feel as if it represents them. I always used to think that the pencil icon can look to anybody like a writing implement. If you draw a chrome pen with highlight and shininess, it becomes so specific that it’s not the writing implement you imagine, she says. Even though most people don’t work in 72 DPI anymore or monochrome, I hope in some of these escape keys there’s that beauty, Kare says. Indeed, thats exactly the beauty of all her work. A beauty that is endearing and, well, cute. “I’ve been accused of being someone who likes things that are cute,” she says. “And yes, I really do think that a tablespoon of cute is good.” But cute may be interpreted as something done on purpose, frivolous and superficial. There’s nothing superficial about her approach to synthesis, however. The cute factor is a side effect of that process and the process of our brain projecting our ideas and feelings into simple forms, which makes them instantly endearing and memorable. The objects in Esc Keys are a convergence of art, technology, and fine craftsmanship but, more importantly, they demonstrate in a physical and most definitive way how Kare’s visual language, born in the constraints of early computer displays, has evolved into something timeless. These aren’t just escape keys. They are escape pods into humanitys core, in a time where so many people feel divorced from it.
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If your company is losing Gen Z talent, chances are, the problem isnt themits you. The phrase “quiet quitting” has become a catch-all for blaming Gen Z workers for workplace disengagement. Older generations stereotype them as unmotivated, unwilling to go the extra mile, and too demanding. But heres the reality: Gen Z isnt disengagedtheyre just done tolerating bad leadership. My research, including surveys, interviews, and case studies across industries, shows that what many have labelled “quitting” is actually a rational response to workplaces that lack fairness, structure, and alignment with employee values. Instead of writing off an entire generation, leaders should be asking: What are we doing wrong? The real problem: Leadership that hasnt kept up Gen Z grew up amid economic uncertainty, social justice movements, and an increasing focus on mental health. They dont just want jobs; they want workplaces that prioritize psychological safety, transparency, and fairness. And yet, many companies still cling to outdated management stylesrigid hierarchies, inconsistent expectations, and vague career paths. If leadership is unclear, unresponsive, or inequitable, Gen Z isnt going to stick around and suffer in silence. Thats not “quitting”thats self-respect. Why traditional leadership fails Gen Z Leadership models that worked for previous generations often fall flat today. Take transformational leadershipwhich focuses on vision and motivation. It sounds great, but often lacks the psychological safety Gen Z craves. Servant leadership, which emphasizes employee well-being, is a step in the right direction but can also fail if it lacks structure and clarity. Gen Z doesnt just want a charismatic leader who inspires them; they want fairness, clear expectations, and leaders who actually listen. When those elements are missing, disengagement is inevitable. This is where the model I developed, Engaged Empathy Leadership Model (EELM), offers a solution. A better leadership model: kindness, fairness, structure Through my research, I developed the EELMa leadership framework designed to retain and engage Gen Z talent by focusing on three essential elements: Kindness: Leaders who genuinely care and empathize build trust and psychological safety. Employees are more engaged when they feel valued as individuals, not just as workers. Fairness: Gen Z expects equitable treatment in promotions, pay, and opportunities. If they sense any sort of favoritism or lack of transparency, they disengage. Structure: Gen Z demands clarity in expectations, consistent feedback, and transparent decision-making eliminate the ambiguity that leads to frustration. Remember, structure isnt about rigidityits about alignment. Real-world success: Companies doing it right Forward-thinking companies are already proving that when leadership evolves, Gen Z thrives. Ive seen it work in several instances. One tutoring company increased retention by replacing traditional performance reviews with casual one-on-one check-inssometimes over coffee or even during a round of golf. Employees didnt stay because they had to, they stayed because they felt heard. Then theres the production company in the manufacturing and retail space that shifted bonus structures from individual seniority-based rewards to team-based outcomes. This resulted in less resentment, better collaboration, and a more engaged workforce. The last example Ill mention is a restaurant that implemented structured weekly feedback sessions. This provided a format for open conversations where employees could ask questions, voice concerns, and get clear guidance. These town halls werent just for top-down critique; they allowed employees to critique leadership in a respectful way and engage in honest discussions. The result? A dramatic boost in engagement and retention. Debunking the ‘bad attitude’ myth One of the most persistent myths about Gen Z is that they have “bad attitudes.” In reality, they simply communicate differently and expect clarity. Workplace conflicts often stem from misaligned expectationslike a Gen Z employee thinking a text message is fine for calling in sick, while an older manager expects a phone call. And lets be clear: no generation is inherently more or less hardworking. Employeesof any agego the extra mile when they trust leadership and see a future for themselves in an organization. The end of the ‘quiet quitting’ myth Gen Z isnt quietly quittingtheyre actively deciding where to invest their energy. If leaders fail to evolve, disengagement isnt a mystery, its a predictable outcome. But for companies that embrace kindness, fairness, and structure, Gen Z wont just staytheyll excel. The question isnt whether Gen Z is willing to work hard. The real question is: Are leaders willing to evolve?
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E-Commerce
As cities continue to expand and infrastructure projects grow more ambitious, the construction sector is facing a crippling problem: There arent enough workers.The U.S. alone will need to attract around half a million construction workers in 2025 to meet anticipated demand for construction services, according to the trade association Associated Builders and Contractors. In fact, the construction industry in the United States has faced a significant shortage since the Great Recession of 2008 when it lost 30% of its workforce.In response, several states have launched apprenticeships and beefed up community college programs to attract people to skilled trade occupations. Others have been busy building another kind of workforce: construction robots. Over the past decade, dozens of construction robots have cropped up on the market. Hilti Jaibot can drill on ceilings. Hadrian X can lay bricks. Okibo can plaster and paint walls. These construction robots werent developed to replace humansrather to perform tasks that are considered dangerous or repetitive.[Photo: Istituto Italiano di Tecnologia/ IIT]The hurdle to broader adoption so far has been that many of these robots can only perform a limited number of very specific tasks. But that could soon change: Researchers at the Italian Institute of Technology have designed what they claim to be the worlds most modular construction robot, referring to the customizability of its component parts. Dubbed Concert, it can perform a wide array of tasks, including drilling, spraying insulation, sanding, and transporting 400-pound payloads.[Photo: Istituto Italiano di Tecnologia/ IIT]Named for its ability to be composed or assembled for different scenarios, Concert consists of a mobile base and a modular arm that looks a bit like a Mars rover. The base is equipped with wheels that can be changed to fit the terrain, while the robotic arm can be outfitted with various tools depending on the task to be performed. Researchers tested Concert in Poland, and hope it will be available to the market within the next two to three years.[Photo: Istituto Italiano di Tecnologia/ IIT]Why its so hard to build a construction robotWhen it comes to automation, the construction industry lags behind others. In fact, construction robots specifically only begun to crop up over the past 10 years or so, according to Nikolaos Tsagarakis, a tenured senior scientist and coordinator of the Concert project who has studied robotics for 30 years.One of the biggest challenges is that construction sites are complex, unpredictable, and decentralized. Unlike, say, a manufacturing facility, where operations tend to be fixed, construction sites can vary wildly from one to the next. This makes it much more challenging for the robot, says Tsagarakis, noting that for a robot to be useful and efficient at a construction site, it must be able to adapt and have some degree of autonomy.Another challenge is the array of tasks that are performed at a construction site. When companies develop a robot specifically for one task, they provide efficient and safer alternatives for humans, but these alternatives are not sustainable for construction companies in the long run. The largest construction companies in the world need systems that are multipurpose, says Tsagarakis.[Photo: Istituto Italiano di Tecnologia/ IIT]How researchers design a robot that worksTo understand what construction companies really need, the researchers developed Concert in collaboration with Budimex, one of the largest construction companies in Poland. The team also worked with research partners in Austria and Germany.Thanks to a $3 million grant from the EU, the team spent three years developing the robot in a lab. Then, they tested it at a hospital construction site in Krakow, Poland. They performed one test in the winter and one in the summer, with both tests lasting 10 days each. During these field tests, the team validated four use cases: drilling on walls and ceilings of up to 3.5 meters high; spraying insulation (which is highly toxic to humans and must be performed while clad in protective suits); wall sanding (which is a very repetitive job); and assisting people when transporting heavy materials.To operate utonomously, the team equipped Concert with a series of sensors like laser scanners, 3D cameras, and ultrasonic sensors. These allow the robot to perceive its surroundings, avoid obstacles, and interact with humans. It can also respond to basic voice commands like lift or follow me though its reaction time remains slow for now. In the tests, the robot was able to move from the construction sites parking lot to an assigned location on the site completely on its own, where it drilled a hole with an accuracy of 1mm.The team faced a number of challenges during the testing phase of the construction robots, which they have since been working on addressing. Critically, Concert struggled to perform in extreme temperatures (both too cold and too hot). They also had to adjust the user interface they had developed so workers with no technical background could use it more easily. Tsagarakis maintains that these challenges are part of the process and that the robot will be optimized and reliable when it eventually hits the market. (The EU funding has ended, and the team is now busy raising funds and spin off into a startup.)[Photo: Istituto Italiano di Tecnologia/ IIT]Why construction robots might be coworkers, not co-optersTsagarakis acknowledges that theres a fear that robots replace the need for humans and therefore cut jobs, but he believes that humans will remain crucial to the industry. Much like the steam engine, electricity, and even AI, he says that construction robots will simply eliminate some jobs and create others.By bringing robots into the equation, companies could help convince the next generation of workers that construction isnt as tedious or dangerous as it once was. Whether thats enough to rebuild the workforce remains to be seen, but if robots like Concert succeed, the future of construction might not be about choosing between humans and machinesbut about finding new ways for them to build together.
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E-Commerce
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