UFO suspended, light orchestrated
Whiz 2.0 is one of those lights whose design raises more questions than it solves. On the surface, it is an industrial-architectural pendant light, with a polished metal shell and a hidden diffuser that projects soft, focused light downwards and up towards the ceiling. But when we delve into the details, we are faced with a product that is right on the border between pure technology and poetic expression. Its dual-light combination is not just a formal choice, but a division of optical tasks: a precise and powerful downlight for functionality, a wide and color-changing uplight for space-creation. These two light paths can be separated by an advanced DMX control system, meaning that the lighting designer can take control of both sources separately, whether to match the rhythm of daylight or to create cinematic or exhibition atmospheres.
The more technical highlight is Archi-Color™ W+RGB technology, which, unlike conventional hybrid systems, does not sacrifice white light for color. This system allocates half of the light output to precise, selectable white light across a range of color temperatures, and the other half to pure RGB, with no loss of CRI or intensity. In simple terms, this means that the user has access to high-quality white light and dramatic color rendering capabilities, without sacrificing one or the other. The final output reaches 48,750 lumens, which is quite functional and powerful for tall, wide spaces such as atriums, airports or theaters. This level of brightness, combined with the IP64 rating, shows that we are dealing with a light that is built for serious work, both in terms of technical performance and durability, and not just a showpiece.
But the more subtle layer of this design lies in how it plays with the viewer’s perception. Its suspended oval form, with horizontal fins designed to resemble the armor of an alien, subconsciously reminds the viewer of unidentified flying objects, or UFOs; not in the sense of imitation, but as a reflection of our cultural unconscious of technology and the unknown. With a structure that is both heavy and floating, closed and permeable, the designer has tried to translate the inner contradiction of light into physical language. The light emerges from the heart of the form, but the form does not frame it, but rather creates a kind of passage and passageway. This choice is both intelligent and extremely dangerous; because in spaces that do not have a strong narrative or architectural context, this form may become a cold and meaningless volume. In other words, the lamp itself cannot complete the narrative, but needs a context to establish the meaning of its presence.
Ultimately, Whiz 2.0 is not a product that wants to be “cute” nor is it simply for show. This lamp is like a professional actor who needs the right stage to shine; if directed well, it can make silent ceilings into narrative skies. But if used solely as a decorative object, all the technology, form, light and engineering that goes into it will remain a meaningless irony. Whiz 2.0 is designed not to be seen, but to be felt, and this is both its strength and its great risk.
Brand : Meteor Lighting
Photo Credits : Meteor Lighting, Shawn Talbot, RMA Architectural Photography
Prize: LIT Lighting Design Award
