The diamondshaped panels of the tornado and entry sequence-many of which are unique-morph into "flowers" over the dance floor, where acoustical concerns are greatest. "The ceiling design was always aesthetically driven," says Andrew Atwood, the project manager for the ceiling millwork, who worked closely with acoustical engineer Martin Newson during the nine-month design process.
In order to optimize sound absorption and vibration, the architects continually tweaked the overall look and curvature of the ceiling by focusing on the individual elements. The straps used to tie each flower to the next must withstand a certain tolerance of rotation (below). Light fixtures and sprinkler heads are hidden within the center of the ceiling's flower shapes (left). The ceiling's bold design lures visitors up a stairwell to the second-floor club (above). While this glowing, lower portion of the tornado is made up of acrylic panels that are illuminated by the light source behind it, the panels of the tornado's upper portion, and all remaining ceiling panels, are made of 1/2-inch thick plywood coated with white intumescent paint to reflect light, an inexpensive material that doubles as an acoustic treatment. The diamond-shaped panels-inspired by the pattern of footsteps in the rumba-hang like a chandelier beside a curving staircase that carries guests up to the second floor. Descending from the ceiling of the Conga Room's entry lobby, the "tornado," a 20-foot-tall element, pierces through the floor slab below it to act as a beacon. Belzberg's bold ceiling design addressed both challenges, and then some.
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