Road School

March 9, 2011
Session 6: Incorporating
Aesthetics into Your Bridge
Design

Bridge Aesthetics Fundamentals

Joseph Showers, PE
Chief Bridge Engineer
Denver, Colorado
 What is Aesthetics?

• aesthetic (plural aesthetics)

– The study of art or beauty.
– That which appeals to the senses
– Concerned with beauty, artistic impact, or
appearance
• For purposes of this presentation,
aesthetics relates to visual perception
and the appearance of highway bridges
 Questions
• Question 1:
– Do you think it is important to consider
aesthetics when designing a bridge?
• Yes
• Somewhat
• No
• Question 2:
– What percentage of construction costs
should be allocated to aesthetics?
• Less than 1%?
• Less than 5%?
• Less than 10%?
 Scope: Workhorse Bridges
• There are over 600,000 bridges in the National
Bridge Inventory (NBI).
• Of these, approximately 98% have spans < 300 feet.
• This presentation addresses short and intermediate
span “Workhorse” bridges
 Why care about bridge aesthetics?
• Considering the visual
implications of design
decisions is part of our
job.
– Many routine decisions
made during the design
of a bridge have
implications on the
appearance of bridges
– In many cases, the
visual implications of
bridge design decisions
are only discovered
when construction is
completed
Why care about bridge aesthetics?

“Adverse visual impacts are not consciously designed

into a project. They creep in when decisions are
made without considering visual consequences.”
Why care about bridge aesthetics?
• Public Perception
– Bridges are some of the largest scale and most
prominent structures in our landscape and
neighborhoods.
– Bridges have a long lifespan and are a legacy of
the times that created them
– Bridges are also major public works constructed
largely by public agencies and financed with
public money.
“Stark functionality is no longer enough. Americans have come to
expect more attractive designs in aspects of life: cell-phones, kitchens,
dentistry and televisions. Public demand for an aesthetically pleasing
built-environment is also growing and bridges are a part of that
environment.”
– Communication with state DOT bridge engineer
 Perception
• Designers have been taught to see bridges as
orthogonal projections. However, bridges exist in a
three dimensional world

Elevation view of pier Oblique view of same pier

 Perception
• What is the observer’s position, speed and distance?
Position (Viewpoint)

Beneath and traveling under the
bridge?

Above and traveling over the bridge
deck?

At eye level with the deck?

Speed

Pedestrian?

Bicyclist?

Motorist?

Distance

10 to 20 feet?

100 to 200 feet?

100 to 200 yards?
 Perception
• What is the source, quality, and orientation of light?

Daytime
Shadows and light
Orientation of the bridge relative to north (azimuth)?
 Time of day is the bridge being viewed?
 Humidity / haze
Distance from viewpoint

Night
 Light source location and intensity
 Type of light source
 Bridges and Buildings.
• The structure of a bridge is inseparable with its
function and provides the majority of its aesthetic
appeal
• Don’t try to make a bridge something that it is not.

Parking structure facade in urban area. Bridge functions almost always

preclude use of structural cameflogue.
 Bridges and Buildings
“There are at least two ways not to design a bridge:
• to decide what it should look like and then work out how
to make it stand up and how to build it;
• to work out the most economical structural /
constructional solution and then decide how to make it
look nice.”
“The first is the architect’s pitfall, the second the
engineer’s. In each case, by the time the decision has
been made it is almost certainly too late to get it right.
All the important issues have to be kept in mind from
the start.”
UK Highways Agency, Design Manual for Roads and Bridges

12
The Ten Determinants of Appearance
1. Horizontal and Vertical Geometry
2. Superstructure Type
3. Pier / Support Placement / Span
Arrangement
4. Abutment Placement and Height
5. Superstructure Shape
6. Pier Shape
7. Abutment Shape
8. Color
9. Texture, Ornamentation and Details
10. Lighting, Signing and Landscaping
#1 Horizontal and Vertical Geometry
• Roadway geometry influences bridge geometry. The
roadway surface is the “roof” of the structure
• Horizontal and vertical clearance requirements
beneath the deck level also influence bridge
geometry
#1 Horizontal and Vertical Geometry
• Few bridges:
– Are located on straight alignments
– Have flat horizontal deck surfaces
– Have supports oriented at right angles to the
superstructure
– Have constant cross section widths
– Are located on a flat site
Reverse horizontal Compound vertical Variable
curvature curvature deck width
Variable deck
superelevation Skewed supports
#1 Horizontal and Vertical Geometry
• Bridges close to the ground appear massive and
dark
• Think of the space beneath the bridge

Fremont Troll under the

Aurora Bridge in Seattle
Photo: raincity guide.com
#1 Horizontal and Vertical Geometry
• Wide overpass bridges and viaducts can be
perceived as barriers
• How does this influence the substructure design?
#1 Horizontal and Vertical Geometry
• Collaborate with design team members to achieve
the best possible geometry that accommodates both
functional and aesthetic objectives

Atypical pier cap is visually discordant

 #2 Superstructure Type
• Bridges frame the landscape and become windows.
The shape of the “window frames” influences our
perception

“Buildings contain space. It flows through bridges.” WJR Smythe

 #2 Superstructure Type
Early 20th century truss bridge Photo: Oklahoma DOT

• Bridge types are

representative of
their times and
evolve in parallel
with construction
and materials
technology, and
the marketplace.

Mid 20th century simple span steel girder “interstate” bridge

 #2 Superstructure Type
• At this point in time, economy dictates that the majority of
workhorse bridges are constant depth girder type
structures assembled from standard structural
components and systems
 #2 Superstructure Type
• Variable depth superstructures provide visual interest

Combination of variable depth superstructure and

massive abutments creates a community portal
 #2 Superstructure Type
• Rigid frames and slant leg frames can create
gateways and portals

http://www.hpcbridgeviews.com/images/colorado-
RichmondHill.jpg
 #2 Superstructure Type
• Combining multiple superstructure types can result in
visual discord and a lack of integrity

Combination of cast in place concrete, steel and precast

concrete superstructures on one elevated interchange
 #2 Superstructure Type
• Consistent superstructure type can visually unify a
complex arrangement of bridges

Steel box girder bridge type used in four level system interchange
 #2 Superstructure Type
• The bridge type should be appropriate to its scale

Is a through arch bridge with hangers and floorbeams required to

span less than 100 feet?
 #3 Pier and Span Arrangement
• Structure depths are proportional to spans
• Shorter spans with thin superstructures may visually
emphasize the substructure

Shallow slab bridge depth relative to height above grade

results in slender superstructure appearance
 #3 Pier and Span Arrangement
• Longer girder spans have deeper superstructures,
which become dominant visual features

Deep structure relative to height above grade

results in a massive superstructure appearance
 #4 Abutment Placement and Height
• Tall abutments visually anchor a bridge to the ground
and strongly frame the landscape backdrop

Bridge with tall

abutments serving as a
gateway into residential
development
 #4 Abutment Placement and Height
• Short abutments increase transparency
• Reduced abutment mass reduces the bridge’s visual
“frame” effect

Short abutments increase

span and provide views of
the backdrop, but result little
natural light penetrates to
areas near abutments.
#4 Abutment Placement and Height
• Mid-height abutments also provide a strong anchor
while providing more visual transparency
• Trade-off of longer spans versus shorter abutments.

Abutment locations distant from

shoulders reduce massive appearance
and increases visual transparency
relative to tall abutments.
 #5 Superstructure Shape

1920s and 1930s era

bridges

• The superstructure fascia is a major visual feature

• Deep relief, shadows, and ornamentation were historically
used on prominent bridges to provide for visual interest
#5 Superstructure Shape

Photo: Portland Cement Association

• Most contemporary bridges

have overhangs
• Wide overhangs place the
fascia in shadow and make the
bridge appear more slender
 #5 Superstructure Shape
• Contemporary bridges are often constant depth
superstructures with little ornamentation
• Reliance on horizontal layers to provide for visual
interest

Uninterrupted fascia emphasizes horizontal lines

 #5 Superstructure Shape
• Many bridges use cantilevered pier caps with
cantilevered caps.
• Recessed columns in shadow emphasize horizontal
structure lines

Gateway viaduct combines modified precast concrete fascia

girder with urban streetscape elements.
 #5 Superstructure Shape
• Flat fascia surfaces result in a more massive
appearance relative to layered surfaces

http://en.structurae.de/
 #5 Superstructure Shape
• Accentuating vertical elements and interrupting
horizontal lines is an alternative strategy

Columns projecting from fascia visually interrupt spans.

Art deco detailing also provides visual interest
 #6 Pier Shape
• “Framed” piers with multiple columns and drop pier
cap are the most common pier type
 #6 Pier Shape
• Single column hammerhead piers increase
transparency, particularly on skewed crossings

Slender pier caps emphasize superstructure and result in a

more transparent structure
 #6 Pier Shape
• Wide column spacing may make sense on urban
bridges to provide for more reflected light and an
open appearance

Post tensioned pier caps allow for longer cap beam spans. Reflected light
and unobstructed sight lines makes the under-bridge space more inviting
 #6 Pier Shape
• Proportions of framed piers need to be carefully considered

Pier cap appears to be far

too massive relative to the
columns that support it

Cantilevers appear out of

proportion to total cap width
 #6 Pier Shape
• Wall type piers offer a wide range of visual
expression
 #6 Pier Shape
• Integral pier caps result in continuity and minimize
substructure mass
 #6 Pier Shape
• Combining pier types and shapes results in visual
discord. Be consistent
 #7 Abutment Shape
• Articulated tall abutments with wrap around wing
walls visually anchor the bridge ends and define a
portal
 #7 Abutment Shape
• Front faces of abutment walls may provide
opportunities

Urban bridge with pedestrian

traffic beneath. Articulated
abutment surface and ceramic
tile on abutment face provide
visual interest

Gateway bridge
incorporates pilasters into
abutment face. Strong
shadows break up wide
abutment surface
 #7 Abutment Shape
• Consider proportions and scale of
abutments and how they relate to
the superstructure

Abutment pilasters define the ends of the

crossing and provide human scale
features for pedestrians. Scale of
pilasters is appropriate
 #8 Color
• Is relatively inexpensive
• Is subjective
• Is much more complex than most people
realize
 #8 Color
• Issues to consider
– Durability and maintenance of coatings
– Graffiti resistance
– Application over large areas /uniformity
– Appearance during different seasons
– Site Physical Context
• Vegetation and soils /rocks in rural
environments
• Building materials in urban environments
 #8 Color
• Blend with the environment

• Contrast with the environment

 #8 Color
• Color has a cultural dimension

New Mexico bridges

 #8 Color
• Color can influence our perceptions

“Purple People
Bridge”

“Big Mac”
#9 Texture, Ornamentation and Details
• Values and attitudes related to ornamented bridges
have changed over time

Photos: Wikimedia

Photo: Carnegie Library,

Wikimedia
#9 Texture, Ornamentation and Details
• During the late 20th century, the prevailing approach
was to eliminate ornament. “Form follows function”
also accommodated need for economy and rapid
construction.

Photos: infrastructurist.com
#9 Texture, Ornamentation and Details
• Avoid using structural forms as ornament

Decorative arches attached to conventional highway overpass bridges as

ornament. These arches obviously do not support these bridges
 #9 Texture, Ornamentation and Details
• Avoid using false structural
members to mimic structure

Decorative truss members attached to

conventional prestressed girder bridge
to create landmark bridge. Have long
term maintenance requirements been
considered?
#9 Texture, Ornamentation and Details
• Consider proportions and scale of ornament, and
how it relates to the bridge structure

Brick parapet and ornamental lighting overwhelms the simple concrete

bridge beneath. Is this a bridge or a wall with openings?
#9 Texture, Ornamentation and Details
• Be careful in using formliners
Formliner pattern suggests an
unstable detail in masonry
construction
Photo: Federal Highway Administration

Would a fieldstone wall span this

road?
#9 Texture, Ornamentation and Details
• Pilasters or monuments visually define the ends of
bridges or mark one’s position within the bridge
length

Photo:
Historicbridges.org
#10 Lighting, Signing and Landscaping

• Emotional Impact of Good Lighting

Before After
#10 Lighting, Signing and Landscaping
• Lighting Considerations
– Maintenance
– Lamping and Energy
– Physical Constraints
– Color Rendering
– Wildlife Concerns
– Light Pollution
#10 Lighting, Signing and Landscaping
• Terracing and landscaping visually softens the
connection between a bridge and its site
#10 Lighting, Signing and Landscaping
• An alternative approach is use landscaping to a
reinforce a strong visual “anchor” at the bridge ends
 Bridge Aesthetics Sourcebook
• “Practical Ideas for Short and Medium Span
Bridges” Draft developed by AFF10(2) on March
2009
• http://bridgeaesthetics.org/
• Endorsed by AASHTO SCOBS in 2010
• “AASHTO Bridge Aesthetics Sourcebook, First
Edition”
 How much does it cost?
cost?

• “It is unwise to pay too much. But it is worse to pay too

little. There is hardly anything in the world that can’t be
made a little worse and to sell a little cheaper” - John
Ruskin
• “At the opposite extreme, increasing project costs
does not necessarily result in a better design. A
common idea.. is that a bridge which is attractive in
appearance must be more expensive than one which is
not. There is no evidence that this is so. In fact, a
good looking bridge is likely to have had more thought
devoted to all aspects of its design; it will probably be
more fully an integrated design and could even cost
less to build.” - WJR Smyth

68
Thank You
POLL RESULTS OF NEW
JERSEY ENGINEERS
Who cares about bridge aesthetics?
Who cares about bridge aesthetics?