Structural Shaping of Bridges – A Forgotten Task of Engineers

This article is a critical review of the conventional wisdom on bridge aesthetics. If bridge design is to be recognized as a valid and distinct means of artistic expression, then bridges must reflect the truths that define the fundamental essence shared by all works of art, regardless of the medium of expression. By extension, for these truths to be embodied in bridges, their existence and importance must first be acknowledged in the conceptual frameworks used by designers to guide their decisions in the design process. A fundamental attribute of the essence of art is to challenge existing ideas, and hence to defy dogmatic notions of how to create art works that are in "good taste". The conventional wisdom on bridge aesthetics, however, is actually nothing more than such a set of dogmas. These include: (1) Form Follows Function (structural efficiency is a sufficient condition for aesthetic significance), (2) The Customer Is Always Right (art is not created by artists, but by the public), and (3) Architects Do It Better (the discipline of structural efficiency and the expressive potential of the flow of forces are irrelevant). The works of Maillart, Roebling, and other masters of bridge design show that designers need to be free from such dubiously founded restrictions to create works of artistic significance.

IABSE Reports, 2015

The importance of structural art has been gradually emphasized and thereby reflected in recent bridge design codes or guidelines through structural design principles in terms of safety, serviceability, constructability, economy, and aesthetics. This design trend has resulted in numerous variations of the basic bridge types and unprecedented types while leaving both good and bad examples. This study has focused on the typology of contemporary cable bridges focusing on bridge aesthetics. Specifically, this paper have provided the followings: (1) a typology for contemporary cable bridges so that the identification of important factors affecting visual appearance can be made on a structurally sound basis for the classified types; (2) an integrated framework for bridge aesthetics that supports a context-based design comprehensively; and (3) a way of evaluating bridge aesthetics using the integrated framework considering the triad of structural art of form·function·behaviour. The entity-b...

Throughout the history, people have been creating bridges with the ability of builders. This term, builders, means both, technical knowledge of construction engineers and architects aesthetic sensibility. Most of the large, stone or brick made, highly aesthetic bridges were invented by such a person. When in the nineteenth century came to a stark division between civil engineer-constructors and architects, it was time when it was also open a discussion on what constitutes the aesthetic value of bridge? Is it a specific, selected structural form itself that is aesthetically very valuable or it needs to be upgraded by decorative elements to get on the better aesthetic value? The paper presents the classic aesthetic criteria for massive bridges, with examples. It also points to today's practice and creation of magnificent bridges in whose design the role of the architect is very specific. The influence of architects in contemporary practice ranges from complete marginalization to a very significant participation in improving the aesthetics of the bridge. Comparative analysis is carried out on the examples of bridges in Serbia and its close region. INTRODUCTION To explore the interface between architecture and engineering is a complex topic. The responsibilities of engineers and architects often overlap. Both professions are integral to the design and construction of structures, such as bridges. Architects design the space to meet client needs, as well as the aesthetic appearance; engineers' main responsibility is to ensure the design is safe and meets all appropriate building codes. Engineers concern themselves with making bridges safe and functional conceptual design by selecting structural materials, determining the structural members of the design and building technology process. One way that engineers and architects communicate their ideas to each another could be conducted peacefully, with a complete understanding of each task. But, there is another way of communication and that is not always a nice one, it can consist of criticism from both sides.

… of the Third International Congress on …, 2009

Engineering structures are said to represent a specific aesthetics based on principles such as material efficiency and flow of forces. This paper wants take a closer look at this aesthetics. By the examples of steel and concrete bridges, it aims at tracing back its origins and by taking into account also examples from other disciplines it wants to reveal interrelations between structural engineering, architecture and art. Besides showing how profoundly these disciplines were influenced by what was and still is called the “engineer’s aesthetics”, this paper also wants to raise the question, if and in how far current proclamations of this aesthetics seem reasonable.

IABSE Symposium, Venice 2010: Large Structures and Infrastructures for Environmentally Constrained and Urbanised Areas, 2010

This paper analyses how urban bridges respond to a different set of rules from road bridges when choosing its bridge type, and developing its design. While road bridges adopt one or other bridge type only based on technical restraints, cost, function and structural efficiency, with limited resulting span scopes suitable for each bridge typology. Urban bridges and footbridges can adopt these designs out of its strict span scope, as no structural predetermination exists, responding to different new factors as: aesthetics, architectural scale, landscape integration, users’ perception, urban planning flexibility, landmark or symbol creation.Examples of urban bridges design are used, including recent arch and cable stayed bridges by Arenas & Asociados. Conclusions attempt to create some simple rules for urban bridge design, as result of local conditions and architectural restraints.

Shortly after coming into power Adolf Hitler ordered the construction of a vast motorway system for Germany. The architect Paul Bonatz was asked to act as an artistic advisor for bridge design in this process. By implementing an aesthetic approach towards the appearance of bridges that was mainly based on the idea of tectonics, Bonatz established an astonishing design standard for bridges of all kinds built for the Reichsautobahnen.

Structural design of infrastructure elements such as bridges and viaducts is shown to be strongly related to the environmental impact assessment of the related infrastructure. In particular, visual impact of these elements should be assessed prior to the design phase. The study have investigated more than 70 projects of important highways and railways; some examples are described with the aim not to criticise a single project but to give “best” and “bad” practices from which lessons could be learned. Visual Impact Analysis may be one instrument that together with architectonic and structural design may improve quality of infrastructures. From the case studies, some hits are given to designers in order to achieve a better integration between different disciplines and approaches for an overall “good” project.