The Historic Atlantic City Convention Hall, now commonly referred to as the Atlantic City Boardwalk Hall, was listed on the United State Register of Historic Places as a National Historic Landmark on February 27, 1987. As a result, all work performed in the building must be executed in compliance with the Secretary of the Interior's Standards for the Treatment of Historic Properties.

(above): Interior view of Atlantic City's Boardwalk Hall

The design of the restoration and rehabilitation process identified many challenges that needed to be addressed in order to transform the building into a modern day special events center. Some of the major challenges included the abatement of asbestos fire-proofed space behind ceiling tiles, and a complete replacement of the barrel vaulted ceiling in an historically accurate fashion.

As originally created, the building was not designed to accommodate present-day production standards and efficient use of space. The structural improvements addressed accessibility for rigging, lights and sound equipment; newer, wider and more comfortable seating with acceptable sight lines between the lower edge of the balcony and the floor level; and improved use of corridor space, modern back-of-house facilities and guest accommodations.

Work on the building commenced in November, 1998, and has been completed in five phases:

Phase 1 - Construction of scaffolding for ceiling reconstruction
Phase 2 - Removal of ceiling and asbestos abatement
Phase 3 - Reconstruction of ceiling
Phase 4 - Construction of arena bowl and restoration of historic features
Phase 5 - Special Event Center Fit Out and Finishes

Building History

The $90 million renovation to transform historic Boardwalk Hall into a state-of-the-art special events arena was completed under the auspices of the New Jersey Sports and Exposition Authority, the building's owner. The facility is operated by the Atlantic City Convention and Visitors Authority and managed by SMG.

Scaffolding and reconstruction of the ceiling and lighting system
Due to the unique nature of the arched 137- foot clear span barrel ceiling, the project's architectural firm Ewing Cole worked with Tishman Construction to devise an innovative hung. scaffolding system that was suspended from the existing roof trusses. Approximately 36,000 square feet of custom-designed moveable scaffolding was suspended from the underside of the roof structure and moved from each of the ten 50-foot bays along the length of the building. Support beams were added at strategic locations within the box trusses, and trolley beams. were suspended to carry the traveling scaffolding platforms. The system provided workers safe access for the ceiling restoration, and allowed for the removal and replacement of the existing ceiling without inhibiting other construction below or hindering the Miss America Pageant. Work on the ceiling was completed on September 14, 2000.

The original acoustical ceiling tiles, constructed of sugar cane, were spray painted after installation with aluminum paint, allowing the ceiling to act as a giant lighting reflector. Over time, the tiles sustained damage from water and rigging. Because of asbestos contamination, flammability of the sugar cane fiber and the tile's deterioration, new tiles replicating the original look but constructed of substitute materials have been installed. Metal pan ceiling tiles were selected for the bays and underside of the trusses; the tiles on the sides of the trusses are constructed of glass-fiber reinforced gypsum (GRG). Nearly 23,000 metal pan tiles and 3,600 GRG panels were installed. The size, color, surface texture and reflectant have replicated the original effects. The wood ceiling moldings were removed, then replicated and reinstalled in metal on the tiles.

The frames of the 540 lighting windows in the sides of the trusses were removed and replicated in GRG. The glass panes of the lighting windows were disassembled, restored and reinstalled. Some of the original glass assemblies remain intact and have been installed on the south side of the trusses more visible to the audience. Ventilation louvers that surround each of the 540 window sashes have been redesigned as part of the new HVAC system and replicated to the original louvers.

Behind the original truss lighting windows were 1,500 watt incandescent projector lamps that shone through colored gel filters. A panel in the stage house controlled the lighting and gel filters, but this system was abandoned three years after installation due to maintenance expenses. Pendant lights were later installed along the sides of the trusses, but blocked a view of the ceiling for the audience. The restoration has recreated the original effect with modern technology. All lighting is now computer controlled. The ceiling bays are lit indirectly by space cannons at the top of the loggia and the truss lighting windows are backlit.

To allow more than 130,000 pounds of special theatrical equipment, production lighting and sound equipment to be hung, the existing 335-foot span trusses were strategically reinforced, with additional load capacity for other specialty rigging. A complex system of hoist motors and pulleys were coordinated and supported within the ceiling cavity to provide an operable and flexible system for the center hung scoreboard, speakers and rigging grids.

Upper Balcony Concourse
At the base of the ceiling along the east and west concourses is the balcony upper concourse. It is enclosed by a loggia defined by sets of tripartite arches supported by four columns and set between the arched trusses. The tripartite arches have plaster column capitals that depict land and sea creatures. On the south end, twelve loggia columns and capitals were removed when the mechanical rooms were constructed in 1960. Set into the loggias of the fourth bay and into the ceiling above, are ornate composite material grilles which are part of the Midmer-Losh organ chambers. The concourse, exterior surface of the grilles, extant arches, columns and capitals have been restored and repainted in historically correct colors.

State Seals
The seals of 48 states and territories, and the Great Seal of the United States, are located in the spandrels of the loggia. The seals were painted on canvas then applied to the walls. The state seals have been restored and repainted. During the restorative process, artists repaired any tears or damage to the seals, then cleaned the seals by removing the top layer of varnish and used exposure windows. to examine the seals for original colors under the paint and varnish.

Balconies
The original shallow and steep balcony cantilevered out from the sidewalls below the loggia and balcony upper concourse. The balconies below the loggia did not follow the rhythm of the ceiling trusses in the arrangement of seats, aisles, vomitoria and fascia design. In order to construct a contemporary arena bowl large enough to hold the required number of seats, arranged in a layout that accommodates present day expectations for sight lines, it was necessary to remove the balconies. As originally constructed, the leather and walnut fixed seats in the balconies bore the Atlantic City Convention Center seal and date of construction. Because these seats were smaller than current standards and in questionable condition, they are not being reused for public seating in the hall. Identical seating, restored in the 1980's, remains in place in the Adrian Phillips Ballroom balcony.

The musician.s balcony was originally set into the seating balconies at the south end, opposite the stage. This space was removed along with the rest of the balconies, and a new balcony, closer to the arena floor, was constructed, making visual reference to the original.

Proscenium Pylons, Arch, Leaded Glass Globe and Insert, Curtains and Valance
The proscenium opening is framed on each side by Neo-Assyrian-style pylons rising 88 feet above the Auditorium floor, and cleaved at the top with opposite facing eagles. Above the pylon cornice is a 16-foot high capital with cornice and stepped roof. The capitals feature leaded glass inserts, one depicting the shield of the seal of New Jersey, the other depicting the shield seal of Atlantic City. The proscenium arch spans the 104-foot stage opening at a radius of 137 feet and 18 feet high. The elaborate façade features panels bearing basket weave patterns and graceful moldings. Centered on the top of the arch is a leaded glass globe with the letters WPG. (World's Play Ground) buttressed with stylized eagles and cornucopias. A double band of rays rings the upper hemisphere of the globe.

The proscenium pylons and the cornice of the proscenium arch are set out from the end wall by recessed lighting troughs along the outer jamb and along the top and sides of the pylon capitals. The troughs were finished with reflective aluminum paint and fitted with lampholders and floodlights. As part of the renovation, the troughs were restored and rebuilt and relit with cold cathode lighting.

On the plaster valance of the proscenium arch is a beautifully designed mythological mural featuring Neptune and mermaids in shades of blue, green, and gold, with rose accents. A portion of the sky with billowing clouds is rendered in gold leaf. On the horizon of the scene, the 1929 skyline of Atlantic City is depicted

The proscenium has been restored and repainted in historically correct colors, and the leaded glass cleaned and restored.

As work progressed during the restorative phase, artists confirmed a color study previously conducted by Watson & Henry Associates, who studied all the original colors of the historic aspects of the building through the use of a microscope and other lab equipment. The artists had to match the paint colors to a chart by creating mock-ups. The contractor's conservator and the New Jersey State historic preservation office then approved the mock-ups.

The stage opening is protected by a fire curtain. This curtain is painted in shades of blue, green and gold, with a scene depicting a medieval ship at sea, possible one of Columbus.s ships. Vertical decorative borders on either side of the ship scene feature the City of Atlantic City seal. The safety curtain has been cleaned, repaired and restored. The valance framed the proscenium mural.

North End Walls, Grilles and Bracketed Balconies
Flanking the proscenium are two quadripartite, round arch openings set above shallow bracketed balconies and fitted with elaborate tracery grille, behind which can be found the pipe organ chambers. These features have been restored to their original historically accurate colors.

Main Floor, Concourse and Seating Bowl
To allow the new multipurpose event center to serve a range of events, the designers created a multi-level radial - U. shaped seating bowl that can extend toward the center of the hall to improve sightlines to the stage and ice sheet. The new seating bowl framing is integrated with the original pile foundations that support the building structure while the original architecture of the perimeter arcade from which the vaulted roof springs has been preserved.

The bowl is of structural steel framing - the lightest framing system possible - supporting precast concrete seating. The new framing is designed to support three levels: the balcony, concourse, and event level. 1100 tons of steel, 2500 cubic yards of poured concrete, and 650 pieces of pre-cast went into the construction of the concourse and seating bowl.

The concourse level framing combines new and existing steel framing modified to connect to the lower elevation of the new steel framing. Several of the existing concourse level girders were left in place because they supported the balcony level framing above; these were reinforced by field-bolting new steel angles to the webs of the existing girders at the lower steel elevation and by steel WT sections welded to the bottom of the existing girders. New connection angles were then field-welded to the existing framing. Because some connection angles were oversized with holes located to clear the existing connection rivets, connections had to be field-modified to accommodate existing rivets and other connection plates and built-up angles.

The structural design was performed using the computer software STADD and RAM.

Removing the Ice Sheet and Support of the Event Level
The new ice sheet has been centered in the new bowl layout and on the existing structural arches. To allow for better viewing of special events and to create symmetry of the bowl as it sits in the space, the existing rink has been relocated 20 feet closer to the stage end. The floor framing and the depressed rink slab areas in the event floor have been carefully coordinated with the existing roof truss ties running continuously through the width of the floor for 335 feet. During the course of identifying possible remedies for the deteriorated underlying structural slab (probably caused by brine from the original ice-making system), the engineering team considered improving the load-carrying capacity of the slab as an ancillary benefit.

The new NHL regulation-sized ice rink, which consists of 400 cubic yards of concrete, measures 200 feet by 85 feet. Glycol, a refrigerant used for cooling the floor, runs through 51,200 feet of piping within the arena floor. The addition of a new refrigeration plant allows the entire ice surface for hockey, including the painting of lines and logos, to be completed in 24 hours. A rapid de-bonding system has been installed to facilitate quick ice removal within eight hours, enabling a faster conversion from event to event.

Modern Amenities and Additional Building Enhancement
Two passenger elevators have been installed to move patrons from the basement parking area up to the new concourse and club areas.

The new concourse curves around the east, south and west sides of the Hall, and contains eight permanent concession stands, twelve public restrooms and two merchandise areas. The new flooring is comprised of imported Tajima tile.

The new seating bowl has been installed with 10,500 seats; 7,676 permanent seats, 432 Club Seats; 3,500 telescopic seats, and approximately 2,200 floor seats that can be arranged for specific seating configurations. The Club Seating area features carpeting, upgraded seating, a lounge area, and private food and beverage service. A total of 13,800 seats has been installed and can be easily configured to accommodate a variety of events.

A new video scoreboard and grid have been designed and added to the arena. The center-hung scoreboard system has four full-color, 16mm LED video screens. The control room is conveniently located on the arena floor level near the television support room and TV truck parking. The house equipment includes four cameras (two with studio set ups, one hand held and one wireless hand held). All have communications back to the control room. The arched grid, approximately 104 feet by 87 feet and suspended from the ceiling, can be lowered to the floor to allow easy attachment of sound and lighting equipment. It is capable of hanging 80,000 lbs. of equipment.

Lobby, Box Office and Event Level
Boardwalk Hall's new box office was created from the former Delegate Lounge. It is located in the front of the building and fully accessible from the Boardwalk. The box office is open Monday through Saturday from 11 a.m. to 5 p.m. Other operating hours are contingent upon scheduled events and ticket sales. Tickets to all events at Boardwalk Hall will also be available by calling TicketMaster for charge-by-phone service or by logging onto www.ticketmaster.com

Just off the arena floor are eight team-size dressing rooms, a Green Room, two star dressing rooms, an interview or press room, medical treatment areas, whirlpool rooms, a new 7,000 square foot kitchen, and 15 new event-level rest rooms. Also located on the event level behind the lobby are four meeting rooms; two each offers 480 square feet of space and 660 square feet of space, respectively. New administrative office suites for the Atlantic City Boardwalk Bullies hockey team and Boardwalk Hall operations staff have also been added.

The offices located on the Mississippi Avenue side, just off the Boardwalk, will be made available for future development of retail space.

Project Team
Architects/Engineers: Ewing Cole Cherry Brott
Philadelphia, PA
Donald H. Dissinger, AIA, Project Principal
John H. Sassmann, AIA, Project Manager
William B. McCullough, AIA, Project Architect
Richard A. Esslinger, PE, Senior Structural
Jared J. Loos, PE, Structural Engineer

Sports Design Consultant: Rosser International
Atlanta, Georgia
George D. Bushey, AIA, Design Architect
Paul R. Kinzie, AIA, Project Architect
W. Robert P. Ames, AIA, Project Manager

Preservation Architects/Engineers: Watson & Henry
Bridgeton, NJ
Penelope S. Watson, AIA, Principal Architect
Michael C. Henry, PE, AIA, Principal
Engineer/Architect
Leila Y. Hamroun, Project Manager - Interior Restoration

Geotechnical Engineering Geotech, Inc
Consultant: Maple Shade, NJ
Cetin A. Okcuoglu, PE, Chief Principal Engineer

Signage/Interior Graphic Design: Cloud Gehshan Associates
Philadelphia, PA
Jerome Cloud, Principal
Virginia Gehshan, Principal
Andrew Parsons, Project Designer
Ken Olchewski, Project Design

Clients: New Jersey Sports & Exposition Authority
East Rutherford, NJ
Casino Reinvestment Development Authority
Atlantic City, NJ

Construction Manager: Tishman Construction
New York, NY


Ewing Cole Cherry Brott is an architecture and engineering firm with offices located in Philadelphia and Washington, DC. It is nationally and internationally recognized for its award winning designs in sports, recreational, and entertainment facilities. The firm's sports and entertainment portfolio includes signature projects such as the Meadowlands Sports Complex, Boardwalk Hall, Emerald Downs, and Singapore Turf Club.