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DO - 049 - s2018 - DPWH Bridge Aesthetics Guidelines
DO - 049 - s2018 - DPWH Bridge Aesthetics Guidelines
DO - 049 - s2018 - DPWH Bridge Aesthetics Guidelines
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Republic of the Philippines
DEPARTMENT OF PUBLIC WORKS AND HIGHWAYS
OFFICE OF THE SECRETARY
Manila
09 MAR 2018
It has been observed that bridges are designed without valuing the appearance and the
integration of the structure into its context. In many cases design parameters for bridges have
been on the "standard bridge"- typical bridge types that are followed in the design in different
types of setting. In order to create a bridge that not only functions as a mere utility but also
as a significant element in the environment, the following guidelines shall be observed:
• The DPWH Bridge Aesthetic Guidelines shall be incorporated in all DPWH bridge
projects .
• An additional item - Aesthetics/Architectural details and perspective shall be included
in all bridge plans. It should be composed of the following:
5.1.4 MC/BSR/ECM/LND
Departrrent of Public Works and Highways
Office of the Secretary
BRIDGE APPURTENANCES…………………………………………………………………34
4.1 SURFACE TREATMENT .......................................................................................................... 34
4.1.1 Colors ......................................................................................................................... 34
4.1.2 Textures & Ornaments ............................................................................................... 37
4.1.3 The Details.................................................................................................................. 40
Bridges have been part of the human settlement since the beginning of time. It does
more than just transportation as it functions socially, visually, and symbolically as
significant structures in the community. Today, bridge designers all over the globe are
creating refined bridges that are better, longer, larger, and spectacular than ever
before. It is with deep pity that our country is far behind these innovations. Most of the
Philippine bridges have been designed and constructed with the absence of Aesthetics
for so many years which results in monotonous, massive, discordant, and visually
unpleasant structures in the environment.
With the technology advancement, the public has become more mindful and concerned
with the appearance of the bridge and the effects it contributes to the communities.
The DPWH has prepared an instrument to address the demand for visually appealing
bridges which is the Bridge Aesthetic Guidelines that will provide practical and easy
to apply ideas aiming to improve the appearance of our bridges considering its
integration to the natural and built environment.
The guideline indicates that aesthetically pleasing structures need not be costly nor a
maintenance liability. All bridge designers and contractors both public and private will
be guided through this guidebook in incorporating the values of aesthetics to produce
attractive bridges which enhances the beauty and character of its context.
Our transportation environment deserves our best effort. Designers and builders should
rediscover the lost practice of bridge aesthetics. Thus, this publication is intended to
guide us towards making our bridges globally competitive.
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MARK A. VILLAR
Secretary
Department of Public Works and Highways
Offloe of the Secretary
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WIN8R01455
CHAPTER 1. INTRODUCTION
Bridge aesthetics is the use of applying accepted principles in the design and details of bridge
construction so that its resulting appearance compliments the surrounding environment.
Aesthetic is a matter of taste and therefore, it is not possible to codify the rules which are to be
followed in the design of bridges. However, a few basic criteria for general guidance are
mentioned to this manual.
1.1 THE PURPOSE AND INTENT OF The intent of these guidelines is to:
GUIDELINES
Raise the level of awareness
The purpose of this guideline is to assist regarding visual, architectural, and
bridge designers in the Philippines to aesthetic values that influence the
produce bridges of aesthetic value. The term appearance of bridges.
“guideline” in this document refers to the
Provide a ready reference for use
requirements, objectives, design principles,
during the design process.
and processes in the design of bridges. In
addition, this guideline will help Department Provide both general observations
of Public works and Highways (DPWH) along and specific suggestions for designing
with other transport infrastructure bridges.
consultants and construction companies Encourage bridge designers to
include aesthetics along with science
A good bridge design is a process requiring
and technology in the design of
the use of three aspects, and it is the union
of aesthetics, science and technology. Each bridges.
of these features represents a part of making
a bridge: science represents the design and Within this manual, comparative examples
function of the bridge, technology are classified as "ordinary", representing
represents construction methodology of the designs that can be improved aesthetically,
bridge, and aesthetics represents the and "better", illustrating designs that are
pleasing appearance of the bridge. Design markedly improved by the application of
excellence is achieved when these three aesthetic principles. Each section is
elements are integrated in the design. accompanied by design recommendations
and general considerations regarding the
underlying principles that may improve the
AESTHETICS visual qualities of bridges. These better
examples were selected because they are
good illustrations of an underlying principle.
TECHNOLOGY
DESIGN
SCIENCE
EXCELLENCE
The following annotated photographs set down the terminology used in this guideline.
1.3 NOMENCLATURE
Throughout these guidelines, specific letters will be used to denote physical aspect of bridge
elements are shown below.
Figure 3. – Guideline nomenclature
Nomenclature abbreviations:
Lt – Total bridge length
Ls – Span length
Hg – Vertical clearance to the ground
Yp – Vertical clearance at pavement edge
Yga – Dist. bottom of girder to bot
W – Pier width
Dt – Total superstructure depth
Dg – Girder depth
Dr – Rail/Barrier height, top rail to bot. of deck
Dp – Depth of parapet
Hp – Pier height
Bs – Spacing of columns
Bb – Pier length at base
Bc – Pier length at cap or top
Ps – Pier spacing
The bridge and its setting are considered as a whole of the framework. Indeed, we have to
understand that all design requirements and considerations should be established by
understanding its context. In the pursuit of design excellence, the designers are presented with
the following principles:
Fundamental of aesthetics design refers to Vertical and horizontal lines are considered formal &
stable elements.
the external shape or appearance of a bridge
and this broadly relates to the bridge type,
how the parts are arranged relative to one
another and the order or rhythm of elements
to create an overall visual result.
The two visual concepts used to develop, Oblique lines are considered dynamic elements.
describe, and express visual form ideas are:
visual design elements and principles of
design. The bridge designer, through a
creative design process, can integrate the
fundamentals of aesthetics with sound
structural design and function to create a Curve lines can be considered dynamic or tranquil
bridge form that is both visually attractive elements.
and compatible with its environment. Figure 4. – Dominant line themes
Line
A line is a continuous extent of length,
straight or curved. For bridges, lines are seen
in the profiles of spans, piers, abutments,
wingwalls, noisewalls and railings. Line has
different meaning and psychological
influence on the viewer.
Texture
Texture is found on the surface of all objects
and is closely related to form. Texture helps
define form through subtle surface
variations and shadings. It can be used to
soften or reduce imposing scale, add visual
interest, and introduce human scale to large
objects such as piers, abutments, and tall
retaining walls.
Bridge Aesthetics Guidelines – Chapter 2: The Bridge and Its Setting 5|Page
2.1.2 Aesthetic qualities
Bridge Aesthetics Guidelines – Chapter 2: The Bridge and Its Setting 6|Page
Figure 11. – Ideal slenderness ratio for pier and girder bridges
of 30 can result in a very slender bridge. For Captain Cook Bridge over the Georges River has a ratio of 1:18
and together with its gentle vertical curve has a very slender
common pier and girder bridges, ratios appearance.
should generally vary between 15 and 20. Figure 12. – Example of Slenderness ratio
Bridge Aesthetics Guidelines – Chapter 2: The Bridge and Its Setting 7|Page
The relationship between pier thickness Pacific Highway Bridges
and superstructure depth
Bridge Aesthetics Guidelines – Chapter 2: The Bridge and Its Setting 8|Page
With rhythm in bridge elements, yet without an order, it appears discordant bridge.
Demonstrates the principle of order and rhythm in the whole, parts and detailed elements. It
responds well to the setting of Adelong creek as a central landmark within the town.
Figure 18. – Actual sample of bridge with order and rhythm
Bridge Aesthetics Guidelines – Chapter 2: The Bridge and Its Setting 9|Page
Figure 23. – Contrast in shape, size, color, and
scale
Scale
Scale refers to the size relationship among
various features of the structure and
Pacific Highway Twin Bridges between the total structure and its
These Pacific Highway Twin Bridges at Bonville have a surroundings. Since design concerns itself
perfectly balanced composition
with things that are to be used by people, a
Figure 22. – Symmetrical composition
connection exists between the human body
Contrast and designed objects. We often refer to
One principle of contrast is the dynamic structures that respond to the size of the
relationship among parts of a design based human form as having human scale.
on complementary opposition of visual
characteristics. Contrast relieves the This would be particularly true for a
monotony of simple harmony by pedestrian bridge or any bridge with high
complementing the harmonious pedestrian usage. When a bridge becomes
characteristics of some design elements with exceptionally large, many of the component
their opposites, thus adding a heightened elements lose their human scale. Elements
awareness of each other. such as piers, pylons, or superstructure
members may take on monumental scale.
Bridge Aesthetics Guidelines – Chapter 2: The Bridge and Its Setting 10 | P a g e
Here it becomes more important that the instances, it is span length that is the most
structure be in scale with the surrounding significant factor in determining the form
environment. (and cost) of a bridge.
2.2.5 The visual presence of the The secondary aesthetic designs factors help
structure emphasize the positive qualities that have
been created with the principle aesthetic
On occasion, bridge type can be influenced design factors. The following should be
by the visibility and visual presence of a considered in defining the principle aesthetic
bridge. For example, large or high bridges design factors:
within urban areas can be designed to make
a visual statement in the city and this will • Railing details
have an effect on the choice of bridge type. • Surface colors and textures
• Lightings
2.2.6 The character of the area
2.4 THE SITE / ENVIRONMENT
The local character of the area can also have
INTEGRATION
an influence on bridge type. For example,
heritage areas can influence the form and The bridge site is the most important feature
materials adopted for a bridge. that will influence the configuration and the
aesthetic design of a bridge. Bridges
designed to work with and complement a
2.3 AESTHETIC DESIGN HIERARCHY
site, will be both functionally and
aesthetically successful.
The bridge as a whole composed of the pier,
deck, superstructure and abutment
Consider the relationship to the
establishes the important visual properties
of the bridge. In short, the general physical surrounding natural and built landscape.
characteristics create the visual personality Bridges on the one hand are part of site
of the bridge. Ornamental railings, lightings, and locale and so need to be in harmony
paint color are considered high level of with their context while, on the other,
they can make or define a place.
Bridge Aesthetics Guidelines – Chapter 2: The Bridge and Its Setting 12 | P a g e
The dimensions of the structure must a bridge located in a park or public place.
relate to human scale when pedestrians Adjacent buildings and structures might
are involved, as pedestrians are uneasy lend existing architectural features that
and uncomfortable with heavy, brutal can be echoed in the bridge.
forms. Consider the involvement of all
Bridges should make a positive concerned parties (communities, elected
contribution to the immediate officials, potential stakeholders,
environment in which they are placed. businesses, public agencies) which may
Familiarize the bridge site, visit in affect the design and configuration of a
different times of day and night. bridge.
Sometimes the appearance at night is as
important as during daytime. 2.4.1 Bridges in Rural Setting
Consider the type of traffic the bridge is considerations:
expected to carry or traverse. Bridges
that carry pedestrian traffic will require Natural vegetation should be
appurtenances scaled to people more protected and augmented.
than a bridge that carries only interstate Minimize the complexity of a bridge
highway traffic. in rural setting.
Nearby land used must be considered. A The built and natural environment
bridge in an industrial area may warrant should be made as visible as possible
a different level of aesthetic design than through the bridge.
Golden Gate Bridge. San Francisco, California, USA Tower Bridge. London
These bridges create an impression of the culture, economy and character of the place
Figure 27. – Bridges as Landmarks
The design components of a bridge comprise superstructure types and shapes including parapet,
railings, and overhangs, pier placement and span arrangements, pier/support shapes, abutment
placement and shape, and other detail components. The objective of bridge aesthetic is to
integrate all facets - environmental, structural, functional, and visual into a design solution which
all the conditions are simultaneously resolved. This chapter shows ideas and considerations to
the parts of the bridge - the superstructure, substructure and bridge curtilages.
3.1 SUPERSTRUCTURE
This section addresses the aesthetic considerations associated with superstructure design. While
the section attempts to treat the superstructure individually, the designer should remember that
all elements of a bridge must be considered in relation to the whole and the whole bridge in
relation to its site location.
Delta frames: Shenandoah River Bridge, Eastern Panhandle, West Virginia, USA
Ls/10
Better
Figure 28. – Ideal no. of haunch
Better
Figure 29. – Configuration of haunch girder Even with single spans, curving the girder
can provide an expression of elegance.
Bridge Aesthetics Guidelines – Chapter 3: The Parts of the Bridge 16 | P a g e
Limit the angle subtended by the haunch
to between 135 and 165 degrees;
otherwise the bearing point will look too
delicate to support the girder. Avoid
sharp angle between haunch and beam.
Figure 35. – Box girder in right angled connection
An angled connection will minimise this
effect.
Ordinary
Better
Figure 34. – Actual sample of haunch design A very acute angle provides a deep
shadow nearly all of the time.
Box Girders
Arch Bridges
Banao bridge
Steep arch bridges should maintain separate arch and deck elements
A series of shallow arches can be attractive at a low level, especially over water. At high levels
they become monotonous.
Ordinary
While parapets are typically solid Maximizing the shadow cast on the
concrete surfaces, their exterior face girder and superstructure will further
presents an opportunity for surface accentuate and express their form.
articulation. The use of horizontal The outer face should generally be a
rustications, textured surfaces, color or smooth single plane surface on a
other aesthetic enhancements may be continuous curve (if the bridge is not
appropriate to consider. straight) and slanted slightly outwards
They should appear as a continuous towards the bottom to better catch the
uninterrupted face, extending the full sunlight.
length of the bridge with a generous The top should angle towards the road,
overlap of the abutments. to channel rainwater onto the bridge,
A continuous neat, sharp edge will help minimizing staining of the outside face.
define them against the background. Consideration should be given to
The proportions between their depth, extending the parapet below the deck
the deck overhang and the girder depth soffit to hide drainage pipes.
should be carefully considered. Shaping
the parapet if it is too deep can assist in
visually balancing proportions.
Bridge Aesthetics Guidelines – Chapter 3: The Parts of the Bridge 21 | P a g e
Considerations in the design of railing are the following:
Overhangs
Orienting surfaces to create areas of shadow: Surfaces slanted backward is brighter than vertical
surfaces slanted toward the ground.
Figure 48. – Overhang and girder effects
The substructure provides the visual, as well as literal, base for the bridge. The visual appeal of
bridge forms is greatly influenced by the substructure units’ prominence. The placement and size
of the substructure units will inspire the viewers ‘perception of scale and proportion, along with
order and balance. The shape of the substructure units will affect the viewers' perception of line
and mass. The surface treatment of the units will impact the continuity of the structure.
Collectively, the substructure units will influence the visual appeal of the structure as much as
any other aspect of the bridge.
Pier
Ordinary A
Ordinary B
Better
Discontinuous superstructure and an even number of spans detract from the appearance of the
superstructure.
Figure 50. – Pier Span Arrangement
Better
Figure 51. – Span to Pier Height Ratio
Ordinary
Better
Pier Families
Create a family of pier designs that look good individually and as a group.
Ordinary
Better
Figure 53. – Family of piers that vary by width
The designer can use the principle of light reflection to slim down a massive column.
Use of V, X, Y shapes or any desired shapes (aside from the typical square and round column)
to achieve a desired visual effect.
The end elevations of piers should be narrow and chamfered or rounded.
Pier width should relate to superstructure depth (superstructure depth/4<pier width<
superstructure depth/2)
Short and Tall Piers Consideration for short piers should include
the following:
Short Piers are piers with lengths (Bc) that Avoid using short hammerhead piers
exceed their height because the pier cap makes the large
portion of the total pier.
Should eliminate or minimize the pier
Short Tall Pier cap and the pier cap ends.
Pier Caps
Prominence of the pier cap end surface Reducing its mass and reflective surface.
disrupts57.
Figure flow of horizontal lines
– Undesirable pier cap treatment
Beveling or tapering the surface of the
pier cap end.
Eliminating or minimizing pier caps Minimizing the height of the pier cap.
considerations:
Ordinary Better
Incorporation of the pier cap into the Figure 59. – End Pier Cap treatment
superstructure (integral pier cap)
TT pier
(w/ even no.
of stringers)
TT pier
(w/ odd no.
of stringers)
Figure 73. – Semi deep Abutment Guidelines to consider are the following:
Traditional Park
This chapter discusses the surface treatment and accessories of the bridge. Consideration of
these features is crucial since it is often said that “the devil is in the detail”; It is the small things
that can make or break a design, and this is especially important to bridges where the details are
highly visible.
4.1.1 Colors
The application of special color or texture
treatments is not necessary for the creation
of a good-looking bridge.
Earth tones and blues tend to last longer. Integrate the bridge into the surrounding
landscape.
Full-hued colors (forest green, royal blue)
tend to attract attention to the bridge, Provide for a strong bridge identity by
they are not harmonious with the visually contrasting the bridge with its
naturally occurring environment. surroundings. This may be particularly
appropriate in the case of sites with little
Bright pastels and reflective metallic vegetation where the bridge can be
colors attract attention in almost any viewed from a distance.
circumstance. Avoid colors like Dayglo
orange which go with nothing in the Identify the bridge with a geographic
environment and will attract too much region or culture through the use of
attention to the bridge. colors that will form this association.
Textures
Formliners and other types of surface
texturing can be used to create patterns, add
visual interest and introduce subtle surface
variations and shading, which in turn soften
or reduce the scale or mass of abutments,
piers and walls.
Ornamentation
When a geometric pattern or texture is
used, consider its relationship to the While attitudes regarding the
overall bridge composition. The parts appropriateness of ornamentation in bridge
must relate to the whole. design have varied over time, some best
practices have evolved.
Care should be exercised in the use of
formliners for girder fascia or parapet Avoid using false structure as ornament.
exterior faces. Inappropriate use may Aside from requiring additional costs to
disrupt the superstructure lines. construct and maintain, adding false
structure will rarely improve a design and
Texturing can also be achieved through is often viewed as extraneous clutter.
rustication grooves, form strips, varying
surface profiles, veneers, bush-hammering, Don’t use ornament as “make up” to
mechanical stamping or acid washing. disguise an inappropriate design. The
A few guidelines for execution of texturing form and composition of an
include the following:
inappropriately designed bridge can
rarely be improved by applying
• The use of textures needs to be closely
ornament.
monitored, since poor detailing or
construction can severely affect the If ornament is appropriate, use it
sparingly. Less is generally better than
appearance.
more.
• Depth of recess should be greater when
viewed from a distance with consideration of
how sunlight/shading will affect the
appearance.
The use of horizontal lines in patterns
may require special attention to avoid
Bridge Aesthetics Guidelines – Chapter 4: Bridge Appurtenances 38 | P a g e
Concrete Quality Feature Lighting
Anzac Bridge
A two rail barrier is better than a single rail The bridge screen being a peripheral
barrier in this respect: element to the true function of the
bridge should avoid obscuring the
superstructure.
Lighting Fixtures
Suspension Bridge, Northbridge
A new protective fence on suspension Bridge, Northbridge Where possible lighting on bridges should be
proved to be a challenging new addition to the historic
structure. The style and shape of the fence was carefully minimized or avoided. Where necessary it
considered so that it fitted with the bridge aesthetic and should be designed as part of the bridge with
also prevented access over the parapets. A picket type supports elegantly designed and well
fence proved to be most appropriate with a curved form to
both add interest and make it difficult to stand on the detailed.
parapet.
Figure 86. – Protective Fencing The light columns should relate to the other
bridge elements in position and form.
While attitudes regarding the appropriateness of ornamentation in bridge design have varied
over time, some best practices have evolved.
Avoid using false structure as ornament. Aside from requiring additional costs to construct
and maintain, adding false structure will rarely improve a design and is often viewed as
extraneous clutter.
Don’t use ornament as “make up” to disguise an inappropriate design. The form and
composition of an inappropriately designed bridge can rarely be improved by applying
ornament. The bridge type should be appropriate to its scale
“The relationship between two bridges, almost side by side spanning the same stretch of water, is like the
relationship between two musical instruments playing a duet. The music sounds better if the two
instruments are in harmony with each other and keep to the same rhythm and tempo. The two instruments
should produce sounds that contrast, in order to create a melody that is more interesting and colorful.”
FOSTER AND PARTNERS, IN THE ARCHITECTURE OF BRIDGE DESIGN, 1997
Horizontal separation by varying the alignment Where the existing bridge is a distinctive or
`Figure 91. – New & Existing Separation iconic local or regional asset it is appropriate
that the new bridge be as respectful as
possible. Whilst the new bridge should be
A closer spacing can be achieved by varying simple and respectful it should be at least as
the alignment of the new bridge but still at confident and representative of its era as the
an appropriate distance. old bridge.
forms of the existing bridge. In this adaptive re-use of an old bridge, the wrought iron
lattice truss bridge at Redbourneberry was duplicated and
incorporated into an adjacent cycleway. The angle span at
the far end was built as part of the duplication. Its design
however is pastiche since it attempts to imitate the
existing truss. Not only is this false and confusing but it
jars with the new bypass.
Figure 95. – Adaptive re-use of an old bridge
Heritage is part of place. Bridges of heritage Respect the old bridge through adequate
significance often define and sometimes are
physical separation.
an icon within the community. They are
often an important visible element. Where possible, keep a sense of the scale
Preservation of, modifications to, and of the old bridge, through protection of
duplication of, such bridges should respect the major elements in its curtilage and
their setting by: the view points to the bridge.
Where possible match the profile of the
Preserving the curtilage, in this instance, old bridge and keep the rhythm of the
the envelope around, below and above piers and uprights.
the bridge necessary to protect its
Use form, materials and colour that
heritage or cultural value. The bridge and
complement, but do not visually
its curtilage form a spatial and aesthetic
overpower.
entity, and may also be part of a listed
heritage precinct. Therefore, keep the Signage and interpretation signboards, in the
curtilage as intact as possible and ensure agreed common style suitable for heritage
that design changes of the bridge are bridges.
sensitive to the character of that
curtilage. Consider that the curtilage is Signage can also be used to explain changes
to other culturally important bridges.
also part of a wider setting.
5.3.3 Ramps
If ramps are needed, now or in the future, for
access and connection to surroundings the
following guidelines should be considered:
The form and fencing, colours and use of the lift shaft as a
pier are visually strong but the bulky pier support detracts
The absence of a cage creates a more open from this bridge
welcoming space.
BRIDGE ARCHITECTURE SOURCEBOOK, Practical Ideas for Short and Medium Span
TRB, 2009
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