Design and architecture have a deep urge to innovate. Not only
because it enables the designer and, by extension, the user, to
profile themselves, but also from an economic point of view,
new is better. Because of this consumptive mentality, the pure
search for functional lighting fixtures is increasingly being
buried by the design
Created by Loes, Tineke, Bastiaan, Iris, Frederik, Maarten,
Lien, Marcel, Bruno, Kristof, Zoë, Inge
By no means every lighting manufacturer produc-
es design (present objects), kreon, for example,
has never felt a compulsion to create these.
kreon tools of light are always reduced to two
rational components: the useful and the formal.
Rather than letting form dominate, we have al-
ways tried to let function, the illumination of space
and object, prevail. In doing so, we have always
taken care to maintain the same uniform, mini-
mum aesthetic language for the long term.
In today’s consumer society, however, design
has become fashionable. This is both a strength
and a weakness, because everything that suggests
itself as innovative, marginal, rebellious, even an-
ti-design, from industrial products to mainstream
objects, obeys the same rational components
The revolution
of the object
— the useful and the formal — and precisely be-
cause of this it becomes design again and again.
From the point of view that the aesthetic compo-
nent is increasingly taking the lead, the kreon-be-
lux product developers were asked to create an
object around a single technical battery module.
The usage aspect is always the same: to intro-
duce light as a tool for atmosphere and function.
The aesthetic component, fed by the personal
choices of the designer and harmonised in a
series of group discussions, yields objects, shapes
and materials that are unique and different.
The objects are not only a collection of interpreta-
tions of the original “kreon style” but are a labo-
ratory of form and materials from which kreon will
draw for future collections.
bespoke
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kreonicle
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