Transport

for NSW

Bridge aesthetics
Design guideline to improve the appearance
of bridges in NSW

Urban Design Roads and Waterways

The curved bridge over the Woronora River with its pedestrian and bicycle foot bridge hung below the
road deck and the remodelling of its foreshores, fits in with the river, topography and sandstone and bush
landscape of Sutherland. With its ten spans, 30 metre high piers, and approaches cut into the opposing
hillsides the bridge produces a sweeping, dramatic and elegant built form.

Acknowledgments

This document has been prepared by the TfNSW Urban Design Roads and
Waterways team with input from Bridge Section, Environmental Branch, and the
Government Architects.

All photographs are sourced from Transport for NSW unless otherwise indicated.
Cover image—Yandhai Nepean Crossing.
Contents
Foreword 3 6 Finishes 90

1 Introduction 6 6.1 Colour   90

1.1 Purpose and structure of the guideline  6 6.2 Concrete quality  92

1.2 Urban design policy  8 6.3 Feature lighting  93

1.3 Aesthetics  8 7 Particular conditions  98

1.4 Perception of bridges   13 7.1 New bridges next to existing bridges  98
1.5 Responsibility of the designers   15 7.2 Modifications and additions to heritage
2 Design approach  18 bridges and bridges of cultural value  102
7.3 Pedestrian bridges   110
2.1 Design values  18
7.4 Railway bridges  118
2.2 Project management and urban design
methodology for bridges  24 7.5 Land‑bridges   118
7.6 Art and bridges  119
3 The Whole  30
8 Appendix 124
3.1 Context  30
3.2 Form  40 Appendix A: Global Perspective  124
Appendix B: Bridge Terminology  138
4 The parts  50 Appendix C: Pedestrian Bridge Design
4.1 Superstructure  50 Standard For Built Up Areas  142
4.2 Substructure  56 Appendix D: References and Further Readings  146
4.3 The bridge curtilage  68

5 The details  76
5.1 Joints and connections  76
5.2 Bridge barriers  77
5.3 Safety screens  78
5.4 Protective fencing  82
5.5 Signage and advertising  83
5.6 Lighting fixtures  84
5.7 Drainage  86
5.8 Noise walls  87

Bridge aesthetics1
The triple bridge and boardwalks over the Brunswick River were designed in collaboration with the
community. Boardwalks alongside the Brunswick River provide views of the river and good pedestrian
connections under the highway. This is a good example of integrated engineering and urban design.
2 Transport for NSW
Foreword
Bridge Aesthetics was first This document addresses as objectively as possible
the aesthetics of the whole bridge as well as the
published in 2004. It referenced a individual parts. It attempts to explain why a particular
Department of Main Roads NSW aesthetic consideration is important, for example spill
through abutments allow a more open structure in the
document produced in the 1980s landscape, simplicity is generally more important than
called ‘The Aesthetics of Bridges’ complexity so that people can intuitively and easily
understand a bridge and see how it works, arches are
but also had its origins as a guide generally considered beautiful but are also strong almost
for the Design and Construct permanent ways to hold up bridges. But most importantly
bridge requirements for Karuah this guideline advocates that good engineering and
good aesthetics are synonymous and true good looks
Bypass in 2002. aren’t achieved by adding extra elements or features
but rather by refinement. Antoine de Saint Exupery
Since then it has been updated and republished in 2012 summed it up well “It seems that perfection is attained
and now updated again to take account of completed not when there is nothing more to add, but when there is
bridges, new guidance on land‑bridges and a new nothing more to remove.”
pedestrian bridge standard being employed across
Being a part of the Beyond the Pavement Urban
the state.
Design Policy, Bridge Aesthetics goes further than
Over the years Bridge Aesthetics has had a major impact the appearance of bridges and also touches on the
on the quality of bridges in NSW. It has added a dimension contribution bridges can make to the pedestrian and
of design quality—to the usual equation of cost, time and cyclist experience, the space available for pedestrian
durability—on hundreds of projects completed over the activity, the view from the bridge and the use of undercroft
last 15 years. bridge space.
Bridges need design quality as they are major visible This document draws upon many years of experience in
artefacts in our cities and landscapes. That design designing building and maintaining bridges and should be
quality can be expressed through innovative road bridges used across all projects.
spanning waterways and gorges, smaller yet equally
iconic pedestrian and cyclist bridges, well‑mannered
Director Urban Design Roads and Waterways
suites of overbridges or creek bridges on highways and
Director Bridges and Structures
motorways, subtle and sensitive new bridges next to
heritage structures, the regular bridges erected to ensure
the safe pedestrian crossing of busy roads or even just a
well‑designed balustrade.

When bridges are designed well, responding to context

and their role they add value to a neighbourhood, region
or state and instil pride, stories and character in our
communities. The Sydney Harbour Bridge is an obvious
example, but the Gladesville Bridge has a similar, if
slightly less famous role; the Sea Cliff bridge has become
a major feature of the Illawarra area; and the recently
opened Yandhai Nepean Bridge in Penrith is already a
well‑loved addition to the city and river landscape.

Bridge aesthetics3
1
Introduction

1.1 Purpose and structure of the guideline

1.2 Urban design policy
1.3 Aesthetics
1.4 Perception of bridges
1.5 Responsibility of the designers

Bradfield Park, which forms part of the northern curtilage of the Sydney
Harbour Bridge, used to be an area that was essentially dirt with
poor drainage. This has been transformed with a lowered plaza area,
landscaping and seating.
1 Introduction
1.1 Purpose and structure of The purpose of this guideline is to help design teams
produce bridges of aesthetic value. The term ‘guideline’
the guideline in the document refers to the requirements, objectives,
design principles and processes that guide the design
of bridges.
“Bridges are among the most ancient In addition, this guideline will help transport infrastructure
and honourable members of society agencies, set down unequivocal aesthetic outcomes so
with a background rich in tradition and that designers and construction companies are made
aware of what is required and can focus on innovation in
culture. For countless generations they
achieving that.
have borne the burdens of the world and
The document is primarily intended to be applied to
many of them have been great works of
everyday practice—to the more common bridges which
art. As in most large families there are are an abundant and highly visible element of and across
numerous poor relatives. The modern NSW roads. But it is also for the iconic landmark bridges
bridge too often appears as a workman which are inspirational. Indeed, bridges are usually
iconic because of the size of their spans, the terrain
performing its task for a minimum wage,
they traverse, their role and cultural importance, their
mechanically efficient but uneducated technology and the design response that the context
and ignorant of its own ancestry. A worthy evokes. A bridge can be considered to be iconic when its
subject for serious consideration.” design stands out as something unique and is seen to be a
symbol of a community or place.
Charles S Whitney, bridges: a study in their art,
science and evolution, 1929 The aesthetics of pedestrian bridges is often given less
consideration than road bridges notwithstanding the
community role they play, their visibility and the design
possibilities they inherently have. These guidelines are
aimed at ensuring that the aesthetics of pedestrian
bridges are taken just as seriously as road bridges.

The general principles in this guideline are also applicable

to railway bridges, which affect the appearance and urban
design quality of road and rail corridors and their settings.

Over and above this, specific principles are set out

which apply to heritage bridges and the management of
existing bridges.

A number of photographs of NSW bridges have been

included. The purpose is to use the images as lessons
for future bridge design; this is not therefore a rigorous
critical evaluation of each bridge.

6 Transport for NSW

There are always exceptions to design rules and it is not
the intention to provide a formula for good design.

Rather, it is the intention to set down considerations and

principles which will serve to eliminate the worst aspects
of bridge design and encourage the best.

The guideline essentially outlines the approach to bridge

design desired by Roads and Maritime Services. It sets
down physical principles of design that should be applied
at the level of the whole, the parts and the detailed
elements. Attention is also paid to bridge finishes and to
particular conditions to which designers should respond.
An appendix to the document includes global examples of
bridge design, bridge terminology, and a list of references
and further reading.

This document is intended for use by engineers, bridge

maintenance and rehabilitation staff, project managers
and their teams, environmental staff, and consultants who
are engaged in areas such as engineering, environmental
impact assessment and urban design in both design
development and the detailed design and construction
phases of a bridge project—as well as industry who
tender for and build bridges.

As well, it can be used to inform communities about the

Government’s bridge aesthetic philosophy and principles
of design—the importance of aesthetics and how we are
trying to produce bridges of good appearance.

Falcon Street pedestrian bridge under construction. A slender, steel

box girder spans 220m over the Warringah Freeway.

Bridge aesthetics7
1.2 Urban design policy 1.3 Aesthetics
The high level urban design policy and guidelines
document Beyond the Pavement forms an overarching
framework for Bridge Aesthetics as follows: “Beauty has been thought of as extraneous
to considerations of function, practicality,
It aims to achieve desired urban design outcomes from
transport infrastructure in urban, rural and bushland economy and advancing technology. To
settings. This means that all projects should achieve: many, the word ‘aesthetics’ has meant
a sensitive fit with the built, natural and community superfluous or artificial, like cosmetics.”
environment; good connections for communities; and an
attractive and fit for purpose public domain. Paul Harbeson, Architecture in bridge design,
bridge aesthetics around the world, trb,
It identifies Bridge Aesthetics as one of a suite of detailed
washington D. C 1991
guideline compendium documents that support the policy.

It recognises the contribution that bridges of heritage

significance make to the character, history and cultural
According to the Macquarie Concise Dictionary ‘aesthetics’
environment of areas and communities and underlines the
is defined as: “Relating to the sense of the beautiful or the
need to protect them in the context of their setting.
science of aesthetics, that is, the deduction from nature
It stresses the need for professional urban design and taste of rules and principles of beauty”.
involvement on all projects—this is especially important if
The aesthetic quality of a bridge involves our sensory
bridge aesthetic outcomes are to be achieved.
perception of it—how it appears to us visually. This results,
at least, from the fundamentals of:

Î Relationship to the surrounding natural and

built landscape.
Î Its form, proportions and scale.
Î Expression of forces and technology.
Î Its strength and durability.
Î Relationship of bridge elements to one another.
Î Factors such as the use of texture and colour.

This guideline makes continuous reference to

‘making bridges elegant’. It is simply another way of
describing a bridge that is graceful and refined and is
a more descriptive term than ‘beautiful’ which can be
misinterpreted. Elegance may refer, among other things,
to a bridge’s proportions and shape, effectiveness in
expressing its structural forces without unnecessary
embellishment, its neatness in the articulation of parts or
the delicacy in the design of elements and details.

8 Transport for NSW

A related concept is that of harmony. Harmony is the Î Bridges for people
sense of visual balance, compatibility of parts and Understanding the community perspective and
elements, and fit with the environment. consulting with the community is essential since the
bridges we build serve a community function visually,
socially and culturally; they are used and viewed by the
Theory behind bridge aesthetics
community, provide connection, form part of the built
There is substantial literature on the subject of bridge environment and culture of the place, and can have
aesthetics which reveals it as an ongoing concern symbolic and political meaning.
throughout history and a pursuit of engineers and
Î Bridges by people
designers internationally. This literature has informed
There is focus on the people who design bridges for
many of the principles in this guideline. Many are
communities. Designing bridges requires a team effort
contained in the Bridge Aesthetics References and
in which engineers, architects and other disciplines
Further Readings appendix of this document. The main
adopt an integrative, holistic approach to achieve an
issues, themes and ideas are set out below; they all work
aesthetic outcome.
together and need to be understood as a whole.
Î Place
Î Integration of aesthetics with the science and
Bridges on the one hand are part of site and locale and
practice of engineering
so need to be in harmony with their context while, on
It is important to move toward a culture that brings
the other, they can make or define a place.
together practical rigour (management), logical rigour
(the science of bridge design) and aesthetics to create a Î Structurally expressive form
whole, and away from a culture of specialised thinking A fundamental and recurring theme is one of
in compartments. expressing the essential structural anatomy of the
bridge which simultaneously achieves greatest
efficiency and reveals the beauty in the form of
the bridge.

The F3 Freeway twin bridges over Mooney Mooney Creek demonstrate how good engineering design and good aesthetics are synonymous.

Bridge aesthetics9
Î Materials Î Bridge aesthetics guidelines
There is a deep realisation that beauty results from While the case is made for bridge aesthetic guidelines
understanding and expressing the materials of there is not much evidence of such guidelines in
the time, something not unrelated to structurally practice: the most important example that has served
expressive form. as a model for these guidelines is The Appearance of
Bridges and Other Highway Structures, 1996 and Advice
Î Colour
Note 41/94 put out by the UK Ministry of Transport/The
While aesthetic value is not reliant on colour it is
Highways Agency which emphasises principles rather
universally recognised that colour can enhance or
than prescriptive rules. This is quite different to the
mark a bridge, as is the case with the red lead paint
Aesthetics Bridges Users Guide, 1987 of the Maryland
(sometimes called orange vermilion) on the well
State Highway Administration, USA which is more
known Golden Gate Bridge in San Francisco, which
a process directed guideline involving conferences,
is especially dramatic when visible either in strong
competitions and a program of seminars.
sunlight or appearing through the fog.
The old Department of Main Roads asserted that their
Î Lighting
‘designed and aesthetically satisfying modern bridges’,
Over and above lighting for safety requirements, the
including the concrete arch span Gladesville Bridge
use of lighting is seen to be of value in highlighting
over the Parramatta River and the Bridge over Middle
the features of a bridge in the landscape, creating
Harbour at Roseville, represented a ‘coming of age’ of
reflectivity over water and giving the bridge and its
bridge building in New South Wales. They set out the
curtilage prominence at night.
important steps to be taken in building a bridge and
design principles to be adopted. (See: References and
Further Readings).

The simple elegance of the bridge over Middle Harbour at Roseville complements the landscape of the National Park.

10 Transport for NSW

In the light of this thinking, it is the intention of these Generally bridges seem aesthetically more pleasing
guidelines to encourage aesthetics to be considered if they are simple in form, the deck is thinner (as a
as an integral part of the design process. Every part proportion of its span), the lines of the structure are
of the bridge has a role to play, both structurally and continuous and the shapes of the structural members
aesthetically, in the whole. reflect the forces acting on them.

As such the guidelines are based around the premise Finally, it should be said that whilst personal tastes
that there are a myriad of ways to design and express differ, beauty is not simply a matter of taste alone. When
structural form and that additional or ‘add on’ treatments qualities such as proportion, order and symmetry are
are generally unnecessary in making a bridge of aesthetic applied well, people often agree that the object has
value. Good bridge engineering and good aesthetics are aesthetic value (whether they like it or not is another
synonymous and only limited by the imagination and skills matter). When applied badly there is often public outcry.
of the bridge designer.

The distinctive arch of the Gladesville bridge over Sydney Harbour.

Bridge aesthetics11
The Dean Street pedestrian bridge over the railway and inner city bypass of Albury is the focal point of a
visual axis extending from the war memorial above the town.
12 Transport for NSW
1.4 Perception of bridges

Individual bridges
Bridges are seen from many angles and the viewers see
them from a variety of conditions. They may be isolated
objects in the landscape, part of a suite of structures or
on a city street. Bridges are seen from close up, far away,
and from rivers and other roads. Viewers can be standing
still or moving to or across a bridge at varying speeds by
different modes. This guideline assumes viewing from
all angles.

An early step of the design process is to establish the

critical views for the bridge.

The presence of a bridge, in turn, can heighten our

perception of the built and natural landscape in which it
is placed, giving the bridge an extra aesthetic meaning
while in turn distinguishing the place. For example, both
the Golden Gate in San Francisco and Sydney Harbour
Bridge crown the natural glory of their respective
harbours, and the Sea Cliff Bridge provides a sense
The Anzac Bridge in Sydney is an iconic artefact in the landscape
of scale and understanding of the Pacific Ocean and which provides an interesting experience on the bridge, with views
Illawarra escarpment. from it across the waterways and city‑scape on both sides.

The Anzac Bridge in Sydney as seen in this night time view across Blackwattle Bay.

On the other hand, a bridge can help create a new place. For example the Anzac Bridge in Sydney, through its scale and
design, has changed the character of this part of Sydney.

Bridge aesthetics13
A family of bridges
The appearance and proximity of other bridges is an important contextual factor. New bridges may be designed as part
of a family of other bridges along a route, as shown by these examples along the Pacific Highway. Bridges on the Pacific
Highway upgrade display consistency with variety in their design. On individual projects there are a distinct suite of
bridges, but on the whole upgrade these suites also conform to a family resemblance with their common spill through
abutments, tapered wall type piers, continuous parapets and full length safety screens.

A family of bridges on the Pacific Highway. Top: Yelgun to Chinderah upgrade. Bottom: Bonville upgrade.

Proximity of bridges
Where a new bridge is located in close proximity to an existing bridge, special attention must be paid to their relationship
when seen from various angles and locations. The new bridge should respect the role, form and design of the
existing bridge.

The new Iron Cove Bridge on the left was designed on a simple curvature and simple refined piers and girder, so that it did not conflict with the more
complex truss forms on the old Iron Cove Bridge.

14 Transport for NSW

1.5 Responsibility of the designers

Role of designers How designers should interact

Designers are responsible for the look of bridges and Aesthetic outcomes require the effort of a
must therefore consider appearance as a major design multidisciplinary team, including engineers and architect/
imperative along with strength, safety and cost. urban designers, working as equals in a collaborative and
integrated way.
For bridges to be aesthetically successful, designers must
ensure that aesthetics are: The designers of bridges are faced with many choices.
This guideline aims to inform those choices.
Î Considered as a design issue in the first instance.

Î An integral part of design.

Î Considered both in the general form and all the details

that support it: the parts must be considered as to how
they contribute to the whole. When standard details are
used they need to be reviewed for their appropriateness
to each project and should be regularly updated.

Photomontage of new fencing for the Anzac Bridge, the design of which was developed by a collaboration between the urban designers
and the engineers.

Bridge aesthetics15
2
Design approach

2.1 Design values

2.2 Project management and urban design
methodology for bridges

The twin Pacific Highway bridges over Bonville Creek are low structures and
not that visible to the motorist, yet they have been designed attractively
and cost effectively with circular piers, matching shaped headstocks and
precast neat parapets casting a strong shadow line on the girders.
2 Design approach
2.1 Design values 2.1.1 Commitment to aesthetics
A commitment to aesthetics is needed from both the client
A design value is an ethical, behavioural or substantive and contractor. A valued bridge is not likely to be produced
quality considered to be of significance in achieving of if aesthetics is not championed and adequately weighted
bridges of aesthetic merit. in selection and assessment processes. This commitment
The following design values should run through the design must be carried through from design development into
process from inception to delivery. They relate to both the implementation process, since a well designed bridge
substance and process: can be marred by poor workmanship, design variation and
cost‑cutting during implementation.
Î Commitment to aesthetics.
Î Context sensitive design.
Î Contribution of sustainability to the aesthetic outcome.
2.1.2 Context sensitive design
Î Complementarity of cost and aesthetics. Context sensitive design of infrastructure is design that
Î Comprehensive design process. fits in sensitively with the landform and the built, natural,
Î Collaboration in the design team. ecological, cultural and community context.
Î Consultation with community. The aesthetic value of a bridge is dependent on its
design response to context—the place. A bridge
may be acceptable or beautiful in one location whilst
unacceptable or ugly in a different location.

The Sea Cliff Bridge, Lawrence Hargrave Drive, is a seamless combination of incrementally launched and balanced cantilever structures. It’s design
is simple, expresses it’s structure and provides a foil to the rugged coastal landscape.

18 Transport for NSW

The Windsor flood evacuation bridge is seen by more than just the cows. It is a notable structure and a significant artefact in the landscape for the
Windsor community.

Starting the design process by picking a bridge design 2.1.3 Contribution of sustainability to the
before understanding its context, is therefore inadvisable. aesthetic outcome
Beautiful and locally valued bridges are more likely to be
If integrated well into the design, principles of
produced if the design process starts when the natural,
sustainability can add to the aesthetic quality of a
built and community context is understood and significant
bridge. Indeed, bridges are often seen as expressions of
constraints are identified.
sustainability:
The visibility of the bridge is an additional important
Î Strength and robustness can be admired for durability.
contextual factor. A bridge which is looked on by the
community needs to be carefully considered in terms of its Î A wise use of resources can result in refinement of form
visual impact on residents and road users. and can be appear elegant.
This does not mean that aesthetics need not be considered Î A respect for heritage can add charm and character.
in its own right if ‘only the cows’ can see the bridge. For
Î A design that facilitates and caters for future land use
example the bridge may be highly photographed (eg Sea
and development and future generations lasts longer
Cliff Bridge) or the bridge may well be seen in the future.
and becomes more respected.
Bridges are built to last and the development of new roads,
footpaths, buildings and settlements within a bridge’s Î A bridge that contributes to the livability and amenity
viewshed are likely within its lifespan. of an area becomes a local asset.

Î Bridges provide connection and linkage which can

contribute to sustainable and liveable communities.

Î Resilience in coping with unforeseen challenges and

disasters contributes fundamentally to sustainability.

Î A design that caters for future maintenance and

inspection requirements enhances longevity.

Bridge aesthetics19
2.1.4 Complementarity of cost
and aesthetics

Valuing quality

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

worse to pay too little... There is hardly
anything in the world that someone
can’t make a little worse and sell a little
The piers on the new Iron Cove Bridge are relatively simple in design
cheaper and people who consider price having a taper in one direction only and without a void within the pier
alone are this man’s lawful prey.” shape. They are therefore relatively cost effective but also a good
aesthetic solution.
Ruskin

Maintenance costs
The Government is responsible for over 20,000 kilometres
Sound aesthetic principles need not be costly. For
of roads and over 5,000 bridges. The resources required
example, designing the right shape of a parapet, abutment
to maintain these assets are considerable. Therefore,
or pier might have a negligible impact on costs but a
for reasons of cost and sustainability, it is incumbent
significant improvement visually. In many cases a simple,
on designers, in all design stages, to address the
refined solution may be less expensive to build than a
maintenance burden placed on the future custodians
poorer quality design.
of the bridge. This need not frustrate the creation of a
If a bridge is designed to be as cheap as possible then it is beautiful bridge. Simple, elegant and refined bridges are
unlikely that it will be of aesthetic value. This is not to say likely to be self‑reliant also.
that the cheapest bridge is necessarily the ugliest bridge.
It does mean that cost and aesthetics as driving forces in
2.1.5 Comprehensive design process
the design process need to be balanced.
The aesthetics of a bridge should be considered at the
It is often the case that the cheapest bridge is not always
conception of a project and through every stage of
the most cost effective solution. Durability and quality are
development. Aesthetics is not something that can be
related. Lower costs and lower quality can lead to higher
added on at the end. It is the final product of the planning,
maintenance and replacement.
design and procurement process from initial route
This interrelationship between cost and aesthetics is selection, through environmental assessment, to detail
especially important when the whole life cost of a bridge design and construction.
is considered. Ideally, materials should be used wisely
with consequent economy, fitness for purpose, refinement
and elegance.

20 Transport for NSW

The decision to replicate the piers built in the 1970s on the 2008 Alfords Point Bridge
duplication could not have been made at the end of the design process. Aesthetics needs to
be considered at an early enough stage to influence the conceptual approach to a bridge.
Bridge aesthetics21
2.1.6 Collaboration in the design team 2.1.7 Consultation with community
A lack of collaboration in the design process will affect Bridge aesthetics is a strong community issue. Bridges are
the aesthetic outcome. Collaboration can only be achieved used and viewed by the surrounding residents and the
if design professions understand and value each other’s wider public. Above their functional and connective role,
role in the design process in achieving a bridge of bridges affect the visual quality and sense of place, have
aesthetic merit. historic and cultural value, give an area identity and serve
the next generation.
Likewise a balance must be achieved, from the inception
of a project, between the requirements of the road The modification or duplication of existing bridges and
engineers and the bridge engineer. Forcing a bridge to building of new ones requires consultation with the
fit a road alignment can lead to aesthetic problems. It is community and their local councils regarding community
better to allow some flexibility in the road alignment to values, local government policy, and the options and the
achieve a good fit between bridge and landscape. quality of what is designed.

A collaborative approach with communities and local

councils applies equally to designs that are outsourced
to consultants.

It is important to communicate to the community the

essence of a design early enough in the bridge design
process. The community knowledge of the area and their
point of view needs to be taken on board. Design teams
should talk with the community about the intention and
principles, before options or a concept design is produced.
They may have specific objectives, for example, relating to
functionality and the size and look of the structure.

22 Transport for NSW

The Ballina Bypass community open day was celebrated on the very bridge design
that was presented to and agreed with the community.
Bridge aesthetics23
2.2 Project management and urban design methodology for bridges
The following procedural steps and considerations should be addressed when designing a bridge.

2.2.1 Project management methodology

The processes in ProjectPack (and MinorPack for smaller projects) govern the management of both road and
bridge projects.

Table 1. Urban design Input to bridge design as part of projectpack

Phases Sub phase Key Urban Design Activities

Project initiation 1. Urban Design Roads and Waterways team contacted. Involvement
in business case and project scope.

Project development Strategic 2. Urban design and bridge design professionals engaged to
assessment develop design and to collaborate. Contextual analysis carried
out. Bridge urban design objectives developed. Consult
with community.

Concept 3. Concept design developed by urban designers and engineers

as best practice integrated engineering and urban design.
Design iteration to ensure environmental impacts are avoided
or minimised and design potentials realised. Consult with
community.

Project delivery Delivery readiness 4. Brief reviewed by the urban design and bridge design team to
specify aesthetic requirements.

5. Detailed design developed by urban design and engineering

contractors in line with concept design and urban design
guidelines.

Delivery 6. Urban designers involved with monitoring of implementation and

quality of workmanship and any presentations to community and
stakeholders on progress of works.

Project Finalisation Finalisation 7. Post‑completion review by the Urban Design Roads and
Waterways team as input to the project review.

24 Transport for NSW

2.2.2 Design methodology for Understand context
urban designers Through site and desk study develop an understanding of
The particular role and steps to be taken by specialist the natural, built and community context of a bridge that
urban designers are set out below. would influence the design. These may include:

These should be done in consultation with the community. Î Topography, water bodies and water courses.

Î Other bridges in the area and along the road corridor.

DESIGN METHODOLOGY Î Freight and traffic requirements.

ESTABLISH REQUIREMENTS Î Soils and geology.

Î Surrounding land uses.

Î Biodiversity.
UNDERSTAND CONTEXT
Î Views to and from the bridge location, and privacy of
local residents.

Î Local vernacular.
SET DESIGN OBJECTIVES AND PRINCIPLES
Î Landscape and built character.

Î Liveability requirements of the local communities.

DEVELOP DESIGN Î Local community values and objectives for their bridge.

Set design objectives and principles

IMPLEMENT DESIGN In collaboration with the bridge engineer, develop broad
objectives and principles regarding the bridge design
outcome and its value to the transport customer and
community, for example:
Establish requirements
Î Unobtrusive or landmark?
In consultation with the bridge designer, develop
an understanding and appreciation of the transport Î Integration with landscape.
and functional requirements and social and political Î Proportions: symmetrical, slender/stocky.
imperatives of the bridge.
Î Simple/refined.
Explore and understand:
Î Conform to suite of bridges along corridor.
Î The features to be bridged and the connections to
be made.

Î The level of flexibility in the vertical and horizontal

road alignment.

Î The span and load requirements and considerations of

most appropriate superstructure type.

Î Signage and lighting requirements.

Î Safety barrier criteria.

Î Traffic volumes and speeds.

Î Pedestrian, cyclist and public transport requirements.

Î Environmental requirements.

Î The design life.

Î Political issues.

Bridge aesthetics25
Develop design
In collaboration with the bridge engineer and other project team members the urban designer should develop the concept
design in accordance with the agreed urban design as well as functional and structural objectives.

Iron Cove Bridge duplication—photomontage of proposed bridge developed during the concept design (development phase).

Iron Cove Bridge duplication—completed bridge. The quality and attention to detail in the detailed design and delivery stages, has ensured a close
compliance with the agreed design. (Note, however, the later addition of signage which was not considered as part of the visual composition and
should have been).

If the concepts and design development of the bridge Î Cross sections, axonometrics and models illustrating
naturally flow from the project requirements, context and three dimensional shape and proportions of piers, pile
objectives, a rationale can be seen for the bridge design. caps, abutments, parapets and beams.

In an environmental assessment report the following Î Typical details illustrating connections between
information should be considered to illustrate the bridge: barriers, jointing, lighting, signage and landscape.

Î Plans of the bridge approaches and bridge in context. Î Artist illustrations and photomontage of the bridge
structure as seen from the highway and surrounding
Î Elevations of the bridge illustrated with
key viewpoints.
background context.
Î Landscape character and visual assessment.

26 Transport for NSW

Implement design In order to ensure design continuity there needs to be
a hand over from the responsible design development
It is imperative that the aesthetic quality of the accepted
manager to the responsible implementation manager.
bridge design is carried through into detailed design. All of
the relevant principles in this Bridge Aesthetics document As well as during concept design, detailed design is to
must be incorporated. be reviewed by the Urban Design Roads and Waterways
team who may choose to convene a Bridge Design Review
Urban design consultants employed by the construction
Panel which includes the Government Architect, the senior
contractor must be on the Register of Urban Design
bridge engineer and the head of the Urban Design Roads
Consultants and are to adhere to the accepted design,
and Waterways team. Construction of the bridge needs to
follow the principles and processes set out in Bridge
be monitored to make sure that the design is delivered in
Aesthetics and, especially, are to be an integral part of a
practice and that all maintenance requirements are met.
collaborative bridge design team.
All design variations during construction equally need to
be reviewed and agreed.

The construction of the design must be monitored so that the product agreed with the community and stakeholders at the environmental impact
assessment phase is delivered (Sea Cliff Bridge, 2005).

Bridge aesthetics27
3
The whole

3.1 Context
3.2 Form

The new Iron Cove bridge in the context of Sydney and the other harbour
crossings of the Anzac Bridge and the Sydney Harbour bridge.
3 The Whole
3.1 Context 3.1.1 Bridge type

Context sensitive design is a key design value. Indeed, all

Structural types
design requires an understanding of its context.
Various bridge types are used to overcome such obstacles
In the past, context sensitive design was something that
as river, creek, flood plain, valley and road corridors, and
would have occurred naturally. For example it would have
so play the role of elevated highways, railway viaducts,
been rare to use anything but local materials. Local labour
overpasses, pedestrian and cycle crossings, opening
would have particular ways of using those materials. Both
bridges, interchange ramp bridges, and so forth with
materials and labour would have had to be used wisely and
corresponding aesthetic characteristics.
sustainably. Major earthworks would have been difficult
to undertake, therefore bridges and highways would have The different bridge types have their own characteristic
had to respond to the constraints of the local landform to materials and components: a cable–stayed is quite
a greater extent than today. different from a truss or arch. Within these types there
may be different classes of bridge, for example, there
Also, design standards (as a global rather than local
are two major classes of cable‑stayed bridge: fan which
matter) were not so exacting. Due to rapid changes in
splays out from a central point on the tower, and harp
vehicle design, public spending and safety awareness,
which aligns cables in parallel through the length of the
design has become very sophisticated and precise.
pylon. There may be variations and innovations within
Requirements for cambers, super elevation, sight lines,
these, such as the side‑span harp with tilted pylon and
drainage, barriers and other aspects all encourage
cables on one side only, a new type used by Santiago
a centralised design approach rather than a site
Calatrava in his visually stunning Alamillo Bridge in Seville
specific one.
(See Appendix A: Global Perspective).
Design that is sensitive to context is valued by
Although pedestrian and bicycle paths can be
communities. Structures and landscapes that fit and
accommodated by all bridge types, pedestrian bridges
enhance context are good for community pride and local
can modify all of these forms in their own right.
identity. They are often more sustainable and self‑reliant.
Pedestrian bridges can be very flexible, taking on all
manner of forms—geometric, organic, symmetrical
and asymmetrical—due essentially to their light
carrying loads.

As well as contemporary bridges these guidelines include

the historic bridges which RMS protects and manages.
The different structural types, materials and components
apply to historic bridges as well. Many historic bridges
include the fundamental beam and truss bridges and
their variations (eg MacDonald truss, Allan truss) but
also extend to arch span bridges (eg the Knapsack Gully
Railway Bridge at Glenbrook at the foot of the Blue
Mountains, and the slab and concrete arched aqueduct at
Annandale).

30 Transport for NSW

3.1.2 Influence of context These dimensions are only a rule of thumb and are likely to
be challenged by new technology and lateral thinking. The
The choice of bridge structure is affected by many
design team should recognise these relationships and the
contextual factors that include the following:
consequences of working outside them.
Î Influence of span.
Î The alignment of the bridge as part of the route option.
Î Topography and geology.
Î The nature of the load to be carried.
Î The visual presence of the structure.
Î The character of the area.

Influence of span
All these factors will have a powerful influence on the
choice of bridge type, in particular the superstructure.
In most instances, it is span length that is the most
significant factor in determining the form (and cost) of
a bridge.

The accepted approximate relationship between span and

superstructure type is as follows:

Short span (up to approximately 18m): pre‑stressed

concrete plank bridges.

Short to medium span (approximately 18–40m):

pre‑stressed concrete girders or post‑tensioned concrete
voided slabs.

Medium span (approximately 40–60m): steel or

post‑tensioned concrete box girders or incrementally
launched girders.

Medium to long span (up to approximately 300m):

balanced cantilever (or on occasion, extradosed bridges
eg the Ganter Bridge in Appendix A).

Long span (up to approximately 800m): cable stay.

Very long span (longer than 800m): suspension bridges.

The span length is often the starting point in dictating the form of
a bridge. Short to medium span bridges generally use prestressed
concrete girders (Karuah Bypass, top picture), medium span
bridges generally use post tensioned box or incrementally launched
girders (Robinvale, Murray River, middle picture), and medium to
long span bridges generally use balanced cantilevered girders
(Mooney Mooney Creek, bottom picture).

Bridge aesthetics31
The alignment of the bridge as a part of The nature of the load to be carried
the route option Bridges serve a whole range of purposes and the load
To maximise innovation and minimise cost the vertical required to be supported has an influence on bridge
and horizontal alignment of the bridge, as part of a type. For example, pedestrian bridges can exploit greater
route option, should be straight or follow a constant variation in bridge type opportunities than say bridges
radius where possible. This allows for a wide range of catering for freight or rail, at the other extreme.
bridge types to be used. For example, by their nature,
incrementally launched bridges can only be used where The visual presence of the structure
the alignment is straight or has a constant radius as they
are cast and pushed out from one point. On occasion, bridge type can be influenced by the visibility
and visual presence of a bridge. For example, large or high
bridges within urban areas can be designed to make a
Topography and geology visual statement in the city and this will have an effect on
The nature of the topography and geology can dictate the choice of bridge type.
bridge type. For example, in terms of topography, certain
bridges require particular space configurations for casting The character of the area
yards or access. In terms of geology, a robust sound
bedrock can create a suitable foundation for a sprung The local character of the area can also have an influence
arch bridge. on bridge type. For example, heritage areas can influence
the form and materials adopted for a bridge.

The Albert ‘Tibby’ Cotter Walkway retains the cultural and heritage significance of Anzac Parade and Moore Park by preserving the avenues of
Moreton Bay Fig trees.

32 Transport for NSW

3.1.3 Bridges in the landscape better suited to urban situations. The third approach
is a practical, cost effective objective for overpasses
There are a number of ways to approach bridge design in
and larger bridges and can lead to good looking
rural and natural landscape settings, including:
bridge solutions.
Î Hiding the bridge in the landscape, by reducing its size
In areas of high scenic value the following principles
and screening it.
should be considered.
Î Making the bridge as distinctive as possible to contrast
and stand out in the landscape.
The built and natural environment should be
Î Making the bridge as simple and elegant as possible to made as visible as possible through the bridge
complement the natural landscape or urban setting.
Minimise the profile of a bridge to allow the landscape
The first of these approaches, while suited to smaller setting to dominate the view and be appreciated from
bridges, does not work on larger more visible ones. The all viewpoints.
second approach can be expensive and is perhaps

The bridge over Woronora River adopts the design approach of making the bridge as simple and elegant as possible to complement its setting. The
wide spans and slender appearance maximise views of the landscape through the bridge. The underslung pedestrian and cyclist path allows good
views out over the landscape.

Bridge aesthetics33
With the transparent top section of the railing, the
generous width and the balconies views across the
Nepean River can be taken advantage of while walking
across the pedestrian bridge.
34 Transport for NSW
Bridge aesthetics35
 Views from the bridge towards the
surrounding landscape or built environment
setting should be maximised
Allowing good views of the landscape from the bridge
helps establish milestones and landmarks on the route,
makes the most of the height of the bridge, improves road
user interest and helps make drivers more alert and aware
of their surroundings.

For example, a view of a river landscape can create an

impressive and natural gateway between landscape
types or political boundaries, reducing the need for a
created ‘gateway’.

The requirements of cyclists and pedestrians and

motorised road users will vary and the bridge design
should take account of the variation in time it takes to
cross the bridge for different bridge users and how the
user experience can be improved, for example room to
stop and gaze out.

On the pedestrian bridge over The Boulevard in Strathfield the

placement of the girder to the side of the piers / lift shafts allows for
good district views out from the ends of the bridge.

The sweeping form of the Sea Cliff Bridge, north of Wollongong, with two‑rail parapet provides panoramic views.

36 Transport for NSW

The complexity of a bridge should be Bridges with a horizontal form are generally
minimised in a rural setting preferable to bridges on a grade over flood plains
Complexity tends to attract the eye and compete with and significant expanses of water
views of the landscape. A simple structure frames the If this is unable to be achieved due to differing levels
landscape and provides an aesthetically pleasing contrast either side of the water body then fine‑tuning the location
with the natural textures of the backdrop. of the bridge should be considered, or adjusting the levels
Minimal facets and simple shapes provide a good along the bridge approaches.
landscape contrast. Accentuating the primary visual Water always forms a horizontal plane and a bridge
elements of a bridge (parapet and pier) and reducing road structure when skewed to this plane can appear
furniture to the barest minimum is also important. discordant:
Landscape tones are generally subdued and dark,
therefore light colours such as plain concrete (for bridge
primary elements) provide a good contrast.

This may be because it introduces another plane adding

unnecessary complexity. Consider a horizontal bridge in
the same location:

A key aspect driving the aesthetics of the twin bridges over the Karuah River was the requirement to produce a continuous flat structure with the
parapet creating an elegant horizontal line in the landscape when seen from Karuah.

Bridge aesthetics37
Natural vegetation should be protected Bridges in urban settings
and augmented The urban environment poses different contextual
The aesthetic value of a bridge will be greatly enhanced if constraints than the rural environment. It usually has more
the natural bushland around the bridge is protected and hard surfaces and vertical elements, volumes of traffic
recovered: may require a wider bridge than in a rural environment, the
bridge is usually seen at lower speeds than from country
Î By the careful siting and design of the bridge and
highways and importantly, many more people see the
approaches, so that significant stands of existing
bridge from its surrounds.
vegetation are retained.
Whatever the size and function of the bridge in an urban
Î By minimising the footprint of the bridge (eg pile caps,
setting, it needs to be considered as a piece of the built
abutments) so that the retention of local vegetation
environment as well as a bridge structure.
is maximised.
Occasionally, bridges are part of major developments and
Î By minimising the presence and extent of intermediate
so become more like buildings in their structure and form.
structures and hard surfaces between the bridge
They should nonetheless reflect their purpose and the
and landscape.
obstacle to be spanned.
Î By recovering local habitat, in the landscape around
the bridge, through careful design of earthworks and
planting and the selection of endemic species grown
from locally collected seed.

The bridge over Wallamba River on the southern approach to Nabiac

allows the riparian vegetation and ecology to carry through.

Dean Street pedestrian bridge in Albury sits in an urban area and is

a prominent piece of the town. It forms one focal point of the Dean
Street axis, the other being the memorial (seen here in the distance).
Consequently its design comprises a distinctive white tower with a
fan shaped arrangement of cables.

38 Transport for NSW

 An achievable objective when resources are limited is to
ensure the bridge complements the local vernacular and
benefits the local community.

Some design considerations which could help deliver this

objective include the following:

Î Creating a landmark structure which complements or

contrasts with its visual catchment.

Î Maximising views from the bridge of the local

urban setting.

Î Maximising views through the bridge from the

Leura landbridge on the Great‑Western Highway through the Blue urban setting.
Mountains is part of an urban setting.
Î Minimising adverse visual impacts.

Î Designing a well proportioned, neat and

pleasing structure.

Î Respecting locally valued structures and

their curtilages.

Î Complementing local styles and materials.

Î Ensuring the spaces under the bridge are not dark,

degraded and unsafe.

Î The subsequent parts of this document provide

guidance on all these principles.

The pedestrian bridge, for the Sydney Harbour Foreshore Authority,

connecting King Street with Darling Harbour over the Western
Distributor in Sydney is as much a building as a bridge. The crossing
takes the form of a large timber deck with shade structure, glazed
views south and windows to the north.

Land bridges are valuable solutions for bridges in urban areas where
it is important to re‑establish open space that otherwise would be
used for the road corridor as on the Eastern Distributor at the Art
Gallery precinct.

Bridge aesthetics39
3.2 Form 3.2.1 Proportion

Form refers to the external shape or appearance of a

bridge and this broadly relates to the bridge type, how the Proportion: the proper relationship
parts are arranged relative to one another and the order or
between things or parts. Proportion is
rhythm of elements to create an overall visual result. It is
influenced specifically by the following:
also a ratio or comparison of the relative
size of one thing to another, or a portion or
Î Proportion
part in its relation to the whole.
Î Symmetry and asymmetry
Î Order and rhythm The Macquarie Concise Dictionary
Î Simplicity
Î Unity of design
Î Consistency The designer needs to think about proportion. A random,
Î Detailing. thoughtless approach to the proportion between different
elements of a bridge is unlikely to lead to an aesthetically
valued structure.

While there are no hard and fast rules as to what is

good proportion, guidelines can be provided which help
to eliminate some of the worst ratios between bridge
elements and assist in achieving ‘proper’ proportion.
However, there are always exceptions.

The two most important governing principles are:

Î Using excessively imbalanced proportions between

significant elements should be considered carefully.

Î Repeating similar proportions or ratios throughout a

structure can lead to a harmonious structure.

Once a bridge type has been selected the most important

factors in creating a well proportioned bridge are:

Î The slenderness ratio.

Î The relationship between the bridge height and span.

Î The relationship between pier thickness

and superstructure.

Î The relationship between deck overhang and

parapet depth.

It is all of these things in relationship that influence the

aesthetic outcome.

40 Transport for NSW

The slenderness ratio It is important to differentiate between the slenderness
ratio and the visual slenderness of a bridge. A high
The proportion between depth of superstructure and
slenderness ratio does not necessarily indicate a good
bridge span is an important ratio. It is referred to as the
appearance, since the visual slenderness of a bridge can
slenderness of the bridge and defined as the span length
be affected by solid parapets and opaque noise walls
divided by the superstructure depth.
on top of the superstructure, making the bridge appear
Common ratios can vary from 5 to 35. A slenderness ratio chunkier than is necessary. The setting and scale of
of 5 refers to a situation where additional elements are the bridge can also influence whether a bridge appears
superimposed on the bridge, such as noise walls creating slender or chunky and, indeed, whether slenderness or
a very chunky bridge (shown on the image below). A ratio chunkiness is appropriate. It is for these reasons that the
of 30 can result in a very slender bridge. For common pier slenderness ratio should be understood as a guide only.
and girder bridges, ratios should generally vary between
15 and 20.

Captain Cook Bridge over the Georges River has a ratio of 1:18 and together with its gentle vertical curve has a very slender appearance.

This bridge carrying the Pacific Highway at Raymond Terrace has a visual slenderness ration of only 1:6 (taking into account the noise wall). Its
chunky appearance is contributed to by the use of headstocks. Transparent noise walls would have resulted in a more slender appearance.

Bridge aesthetics41
The relationship between the bridge height and span
The ratio between bridge height and span is also important. As a general rule the higher the bridge the wider the span.
However in bridges with a variable height, such as over valleys, it is generally not practical to vary span with height unless
two or more superstructure types are used.

The spans on the Sea Cliff Bridge vary with the height of the bridge because of the two superstructure types used. Visually speaking the wider
spans of the balanced cantilever bridge suit their height above the wave cut rock platforms. The shorter spans of the incrementally launched bridge
suit their lower height over the escarpment slope. A seamless connection between the two bridge types has been achieved which unifies the two
bridges visually.

The spans on the bridge over the Clarence River at Harwood, appear too narrow in proportion to the bridge height (approximately the same as the
older lower level bridge). This creates a visually busier superstructure particularly in more acute angle views.

42 Transport for NSW

The relationship between pier thickness The relationship between deck overhang and
and superstructure depth parapet depth
The ratio of pier width to superstructure depth should The ratio of deck overhang relative to parapet depth is also
also be considered carefully. Bridges with tall thin piers considered a significant aesthetic proportion. Guidelines
relative to superstructure depth can appear odd, as can have been developed by the Cardiff University School
the opposite. of Engineering, as depicted in the diagram below and
illustrated by the associated bridge example.

The bridge over the Hunter River at Stockton demonstrates that a

generous deck overhang is important to consider as part of the bridge
cross section.

The pier widths used on this bridge next to the old wool road on
Main Road 92 near Nerriga appear too thin and almost spindly in
comparison to the depth of the girder and parapet.

A
C>D and C>B/2
D C = 2A to 4A
D = 2A to 4A

B C

The Pacific Highway bridges over the Brunswick River at Brunswick Heads shows the application of the Cardiff University guideline.

Bridge aesthetics43
3.2.2 Symmetry and asymmetry
Another important aspect of form is symmetry. Symmetrical bridges as a general rule are often more aesthetically
pleasing than non symmetrical bridges since they appear balanced, refined and also thought about.

The outer spans of this local road bridge on the Yelgun to Chinderah upgrade of the Pacific Highway are not the same dimension and this affects
the symmetry of the bridge.

These Pacific Highway twin bridges at Bonville have a perfectly symmetrical composition.

44 Transport for NSW

The geometry constraints on the bridges at Yelgun interchange on the Pacific Highway led to asymmetrical bridges. This was understood as
a design challenge and the resulting outcome is deliberately bold and distinctive and does not need to be symmetrical. The larger abutment
at the end of the larger span compared with the smaller abutment at the end of the shorter span creates a ‘balance’ that makes the bridge
visually appealing.

Symmetry need not necessarily be the rule but should It does not mean to say that such bridges should not be
not be departed from unless for a good reason. For attempted. The rules that apply to asymmetry involve their
example, asymmetry can be perfectly justifiable due to own questions of balance proposition and the likes, but
site constraints, technological innovation making new their nature is different as is the ultimate form.
forms possible, symbolic imperatives or artistic endeavour.
All of these factors come into play in the asymmetrical
and counter‑balanced bridges of Santiago Calatrava.
This tends to be the exception rather than the rule and
applicable to bridges that are more iconic in nature (See
Appendix A: Global Perspective).

Bridge aesthetics45
3.2.3 Order and rhythm All the bridge elements can be well designed individually,
but lacking an order and rhythm together, create a
Designing a rational order and rhythm to a bridge and its
discordant appearance:
parts can improve its appearance. A designed order to
individual bridge elements can look more pleasing than
chaotic randomness.

For example, spans should match where possible, or at

least demonstrate a consistent order. The cumulative
effect of all bridge elements including lighting columns,
barrier supports and piers should be considered.
Rearranging the parts provides an ordered and
pleasing whole:

The new Herb Feint Bridge in Adelong demonstrates the principle of order and rhythm in the whole, parts and detailed elements. The bridge barrier
posts relate to the piers and the lighting is located with a consistent rhythm along the bridge symmetrically spaced around the piers. It responds
well to the setting of Adelong Creek as a central landmark within the town.

46 Transport for NSW

3.2.4 Contrast and harmony 3.2.7 Consistency
Consistency of form is an important aesthetic
consideration. This is not to say that everything must look
“Sometimes referred to as tension and the same but that in a particular context there should be
release ‘a departure from order—but with a relationship between elements in terms of materials,
artistic sensitivity—can create pleasant proportion, colour or details.

poetic tension’.” This aesthetic aspect is very important when the bridge
structure is but one element in a road corridor and a
Mies van der Rohe, in bridge aesthetics around
degree of consistency is desirable along the corridor as
the world
a whole.

For example, natural features such as vegetation, stone

or landform can create a good contrast with the order,
precision and simplicity of a concrete bridge (for example
on the Herb Feint Bridge, opposite page).

3.2.5 Simplicity
Refinement of design should generally be pursued.
Embellishments and ornamentation often do little to The Ballina Bypass bridges, at the Teven and Cumbalum Road
change the basic aesthetics of a structure. interchanges, used a tapered portal pier arrangement with a wide
integrated headstock that allowed for future bridge widening. On
Refinement of a structure, so that it better represents the shorter piers on the Cumbalum road bridge, the form couldn’t
the forces that it is designed to withstand, is generally be accommodated elegantly and a wall type pier was adopted
a feature of a bridge of aesthetic merit. This is often with consistency only achieved in the outward angle of the pier.
referred to as honesty of form and design integrity. An alternative more consistent main pier shape could have been
a tapered wall type pier with an internal void (a trapezoid). For
Nonetheless, it is unwise to insist that a bridge is perfect consistency across the project this pier would have needed to be used
on both the Teven Road and the Cumbalum Road interchanges.
only if nothing can be omitted; there may be good reasons
for avoiding total refinement based upon local context.
3.2.8 Detail
3.2.6 Unity of design Attention to detail is essential to good bridge design. Lack
A bridge is a whole, not an assemblage of parts. of attention to detail can spoil an otherwise beautiful
Neglecting the whole or the parts will result in an bridge. Careful consideration of the interrelationship
unsuccessful bridge in aesthetic terms. Consequently, of each element and their relationship with the whole is
consider the parts as to how they contribute to the whole necessary at all stages of the design process.
of a bridge.

The approaches to the bridge are an integral element of

the whole bridge design and must be considered in the
design process.

The landscape design, the approach road design, and all

the associated signage contribute to the bridge design as
a whole.

The detailed consideration of the vertical pier to separate the

varying deck depths, the recessed girders to catch the shadows, and
the continuous parapet all well resolve a difficult junction on the
Stockton Bridge.

Bridge aesthetics47
4
The parts

4.1 Superstructure
4.2 Substructure
4.3 The bridge curtilage

This road bridge over the Pacific Highway on the southern approach to
Nabiac has an elegant haunch, a good relationship of span to superstructure
depth, well resolved abutments and carefully considered placement and
detailing of elements. It forms a milestone on the route and marks Nabiac as
a place to stop.
4 The parts
4.1 Superstructure Î Maximising the shadow cast on the girder and
superstructure will further accentuate and express
their form.
4.1.1 Parapet Î The outer face should generally be a smooth single
The outer face of the parapet can be one of the most plane surface on a continuous curve (if the bridge is
important aesthetic elements of a bridge. For most not straight) and slanted slightly outwards towards the
bridges it is the highest element and often the most bottom to better catch the sunlight.
dominant in long distance views. It can also be the longest Î The top should angle towards the road, to channel
piece of the bridge and as such an opportunity to express rainwater onto the bridge, minimising staining of the
the span and horizontal nature of the structure. outside face.
The following principles should be considered in the Î Consideration should be given to extending the parapet
design of the parapet. below the deck soffit to hide drainage pipes.
Î They should appear as a continuous uninterrupted face,
Angled to drain
extending the full length of the bridge with a generous rainwater
overlap of the abutments.
Angled to catch sunlight
Î A continuous neat, sharp edge will help define them
against the background.

Î The proportions between their depth, the deck Sufficient distance to cover
any services but not too
overhang and the girder depth should be carefully deep to effect slenderness
considered (see 3.2). Shaping the parapet if it is too
deep can assist in visually balancing proportions.

The Pacific Highway bridge over the Brunswick River has a parapet that satisfies the above requirements.

50 Transport for NSW

The line of the parapet on the bridge over Woronora River at Sutherland is an important bridge element. It is sharp, smooth, catches the light, helps
provide shadow and unifies the structure.

In some circumstances where the parapet is proportionally too deep, a crease line or kink can help visually break down the apparent depth as on
this Pacific Highway bridge at Banora Point. The parapet is on a continuous curve to avoid the faceted appearance of the Super T girders.

The lack of a well designed parapet creates a visually confusing superstructure as in this bridge over the M2 Motorway at Beecroft. This is an
example of a poor aesthetic outcome.

Bridge aesthetics51
4.1.2 Girder The following principles should be considered in the
design of haunched girders.
The girder seen in elevation and its cross sectional shape
are important considerations discussed below. The Three or five span haunches are generally aesthetically
horizontal alignment of the girders is also important very elegant, balanced structures.
especially on curved bridges. In general it is preferable
to avoid a large scale faceted appearance created
when using a series of straight girders by using shorter
facets or curved girders, however ensuring a curved
parapet mitigates the jagged appearance of straight
Î Long haunches smoothly tapering out are much more
girders underneath.
graceful and responsive than short abrupt haunches.

Girder elevation
Haunched girders are expressive and responsive to the
forces in the bridge. They can often be more distinctive
and elegant than single depth beams.

Î Avoid a sharp angle between haunch and beam.

SINGLE DEPTH

Î Even with single spans, curving the girder can provide

an expression of elegance.
HAUNCHED

However, only certain bridge types can accommodate a

haunch; these include segmental box construction and
balanced cantilevers.

52 Transport for NSW

The haunched girders on the twin bridges over Mooney Mooney Creek on the F3, demonstrate the principles of span, taper and curvature.

On the girder on the bridge over the F3 Freeway at Blackhill Road near Newcastle, the haunching is made less elegant by the angle of transition
between haunched section and horizontal beam. (Also note how the solid parapet affects bridge slenderness).

On this bridge over Taren Point Road it is unfortunate that the planting design is not integrated with the bridge design, as it obscures the fact that
the bridge is an elegant single arched span.

Bridge aesthetics53
Girder cross section Î A very acute angle provides a deep shadow nearly all of
the time.
Different girder cross sections can have different
aesthetic effects. The cross sectional shape of the girder
should be considered with attention to the following
principles:

Î A right angled connection can catch the light and a

double line may be visible; maximising the overhang
will increase the duration of shadow.

Î A curved soffit will provide a gradation of tone and

minimise a sharp line at the base of the beam.

Î An angled connection will minimise this effect.

Bridge over the Hunter River at Stockton shows the effect of a right angled girder shape in afternoon sunlight.

54 Transport for NSW

An angled girder can maximise shadow time on the girder and
accentuate the parapet edge.

Deep overhang and acute angle of deck on this bridge on Victoria

Road at Huntley’s Point.

A curved soffit with a rounded edge can make even deep girders
appear very slender because the curved section only catches the light
in a thin line at any time of day. These girders can create very elegant
and attractive bridges, such as this bridge over the great Western
Highway at Shell Corner.

On the Yelgun interchange bridge on the Pacific Highway the curved

girder matches the parapet producing an attractive outcome. A right
angled connection can catch the light and the eye.

Bridge aesthetics55
4.2 Substructure

4.2.1 Headstocks
Headstocks transfer the load from multiple girders to the
pier column. They are the equivalent of the post and lintel
construction in architecture. They should be integrated
with the pier rather than designed as a separate, visually
unrelated element to avoid additional visual complexity.

If possible headstocks should not extend up and across

the outer face of the girder. This introduces unnecessary
complexity and appears in elevation as if the headstock is This is also not a good aesthetic outcome. The headstock design on
providing support to the deck. this bridge over the F3 does not match the pier and covers the gap
between girders. It was required to accommodate mining subsidence,
Where possible the headstock should be the same width but its presence lacks elegance, particularly on short piers.
and shape as the pier column.

Wall type piers without headstocks are often an elegant option on

highly visible highway overbridges and have been used extensively on
recent Pacific Highway and Hume Highway upgrades.

The headstocks on the Warri Bridge on the Kings Highway are formed as part of the pier, with the same width, colour and shape. This creates a
simple refined outcome.

56 Transport for NSW

4.2.2 Piers

Longitudinal pier spacing

Pier spacing is the result of a number of factors including:

Î The nature of the space being bridged (eg a deep

valley or ecologically sensitive environment will require
wide spans).

Î The height of the bridge.

Î The balance between superstructure cost and pier cost.

In general too many piers can appear cluttered, while too

few piers can result in an overly dominating deep beam.

In general long spans on low bridges can look odd, as can

short spans on high bridges.

A balance is required which should respond to the best

structural form and the wisest use of resources.

Many piers on the bridge over the inlet to Lake Illawarra creates an
overall complex, wharf‑like visual effect which does not create a Wider piers on the Windsor flood evacuation route create a
graceful appearance. graceful effect.

Bridge aesthetics57
Multiple piers The selection of multiple or single piers should be a
consequence of the context and the requirements of
Where multiple piers are used, consideration should be
the bridge.
given to allowing them to be read as separate elements.
When placed too closely multiple piers can appear
complex or wall like:

Single pier units are more simple, reduce the number

of elements in the view and allow the superstructure to
become the dominant visual element.

Multiple piers on the other hand can provide a sense of

strength and durability and if well designed can provide
interest and character.

The F3 Freeway twin bridges over Mooney Mooney Creek show that
multiple piers can be a significant feature and, if well designed, can
provide character and great visual strength.

The multiple piers on the arch bridge over Tarban Creek in Sydney, are visually distinctive and help create a strong sculptural effect.

58 Transport for NSW

Pier cross section Rounding off the corners of rectangular piers provides a
softer form, which may be preferable in certain contexts,
Pier shapes with only two lines of symmetry (eg
for example, where the presence of the pier needs to be
rectangles or ellipses) and transverse to the centreline of
down played so that superstructure is dominant, eg in a
the deck are generally preferable to squares and circles
rural setting.
as they present the thinnest edge to the side view (short
elevation). However, where bridges are used in multiples A sharper edge may be preferable where the pier is to be
as at large interchanges or when they are highly skewed a accentuated because it is the dominant element, such as
circular column can be an aesthetically effective solution. in an urban context or where piers are particularly high.

Elliptical shapes have the additional feature of providing a

softer graduated reflection of light when seen in elevation:

Sharp crisp lines and well defined edges are a feature of the bridge
over the Hunter River at Stockton.

Clean, well designed rounded ends on the piers on this bridge over the
Hume Highway complement the bridge and rural setting.

Where complex shapes are used, such as a rectangle

with semi circular ends, care must be taken to ensure a
consistent smooth finish. Joints in shuttering and different
colour and finish between concrete pours can cause
visual problems.

Bridge aesthetics59
Pier end elevation
Where it is important to accentuate the horizontal linear
form of a bridge, pier shapes which have a slight taper can
add elegance and interest.

They appear refined and have a light connection with the

superstructure or pile cap. They also respond in design
terms to the forces acting upon them, demonstrating
refinement of form and economy of material.

A pier tapering to a narrow top appears stable with a firm

anchor to the ground. It creates a slender effect which is
suitable for tall piers.

A pier tapering to a wide top creates a quite different

impression indicating a strong connection between
superstructure and pier and a light connection to the
ground rather like a table leg. The appearance suggests a
strong resistance to forces along the bridge and because
the pier and girder have such a solid visual connection the
effect of a horizontal ‘floating superstructure’ is not as
apparent. This taper also has the advantage of being used
to provide a wide support where two girders meet.

It is important to consider that the angle of taper will vary

with pier height if the top and bottom width of the pier
remain constant (which could appear inconsistent in a
suite of bridges).

The combined effect of tapering on both short and long

elevations of the pier should be considered bearing in
mind simplicity of form and cost of formwork.

The piers of the bridge over the Woronora River have a slight taper
of 1:100 in both the end elevation and the longitudinal elevation. This
minor taper is sufficient to provide refinement and elegance.

60 Transport for NSW

The piers on the new Iron Cove Bridge, seen here at sunset, are parallel in the short elevation and tapered in the long elevation. This taper also
follows the direction of angle of the girder edge which helps unify the bridge elements.


When designing a suite of bridges for a project, for example on the Bonville Upgrade on the Pacific Highway, tapering the piers on the family of
overbridges will create different shaped piers if the bridges have different heights. This is because the top and bottom dimensions of the piers are
constant. This is not a significant visual problem if the bridge heights are similar. Care should be taken on inverted shaped piers to avoid the effect
of a spindly base appearing to support a large load.

The circular piers and mushroom‑type capitols form pivots that accommodate the multi‑directional ramps on the M7 Motorway.

Bridge aesthetics61
Pier longitudinal elevation
The shape of the pier long elevation (ie perpendicular
to the road alignment) is also an important aesthetic
consideration. It can have a profound influence on the
appearance of the bridge.

Wall type piers can appear simple and remove the need
for a headstock, as discussed previously. However on wide
bridges such as duplicated highway river crossings, they
can use a significant amount of concrete and can appear
heavy, increasing shade and darkness. As an alternative,
a frame type pier can allow more light to penetrate the
underside of the bridge and can also eliminate the need
for a headstock.

A concrete frame creates a simple attractive pier as used on the

Herb Feint Bridge in Adelong and the Five Islands upgrade at
Lake Macquarie.

The piers on the concrete bridge over the Georges River at Tom Ugly’s are reminiscent of the bow of a ship. They are well proportioned and suitably
simple considering the proximity of the adjacent truss bridge. (The taper on the piers is 1 in 8).

62 Transport for NSW

The long elevation of the pier can also be tapered. An open voided pier type is also an option. They can
reduce bulkiness, appear refined and allow views, but care
Again a taper can appear elegant and better represents
should be taken not to introduce further complexity than
the structural forces acting upon the pier.
is necessary.
A strong rigid connection between pier and superstructure
They can be effective visually as they give a light
may be desirable with a light contact on the ground.
connection to the girder.
Alternatively, a wide splay on the ground visually
supporting large side forces may be desirable:

The bridges over the Georges River at Alfords Point utilise piers
with a taper and triangular void. This ‘Y’ shaped pier is a refined and
attractive way to support the two box girders.

Tapered piers on the Falcon Street pedestrian bridge, which are wider
at the base, give an impression of a strong connection to the ground.

Bridge aesthetics63
4.2.3 Pile caps In a tidal watercourse the view of the piles below the cap
should be avoided. To do this, the pile cap may require
As piles are needed to support piers in soft ground,
a skirt.
pile caps are often a feature of bridges crossing water
courses. They perform an additional function in navigable
waterways in that they help protect the pier. For safety
reasons, they need to be visible to boats and shipping.

They present an aesthetic challenge in that they form the

footing to the pier. High tide
Skirt Low tide

In general, pile caps should be placed underground and

not be exposed on land. This is particularly the case with
short piers.

Where pile caps are visible there are some guiding

principles:

Î Pile caps should mimic the shape of the pier as far

as possible.

Î The proportion of pier size to pile cap size should be

considered. Imbalanced proportions should be avoided.

Piers and pile caps on the bridge over the Woronora River are in
proportion with each other. The cap provides a solid and appropriate
footing for the slightly tapering pier.

64 Transport for NSW

On land, as in this example on the Pacific Highway at Ballina, it is generally visually preferable to bury the pile caps below ground level. Note the
curved parapet over the straight facet of the Super T girder.

The pile caps on the Gladesville Bridge are also in keeping with the
large piers and provide a suitable structural termination in the park.
An alternative approach, generally preferable, would have been to
bury the pile cap, but in this example the outcome is well considered.

Bridge aesthetics65
4.2.4 Abutments
In an open landscape setting, spill through abutments are
generally preferable, as walled abutment structures can
block views.

In some circumstances walled abutments can be

appropriate and help provide a good fit with surrounding
built form. They can also heighten the visual effect
when used to mark change points in the character of the
landscape, such as at the edge of a forest or at the high
point of the road.

Walled abutments can reduce the slender appearance of

the bridge, block the flow of the landscape and confine
views:

The presence of large walled abutments on overbridges can

have a considerable aesthetic impact and their design needs to
Reducing the abutments can create a more refined and be carefully considered as in this example on Pacific Highway at
better looking bridge. It does however increase the span Yelgun (above). Generally in a rural setting spill through abutments
are preferable as they have a lightness of form, allow views and
and therefore depth of beam:
emphasise the continuous slender form of the bridge as in this
bridge at Nabiac (below).

Continuing the superstructure or the parapet above the

abutment allows the shadow line to reduce the dominance
of the abutment, and makes the bridge appear longer and
more elegant:

66 Transport for NSW

The slight angle of the abutment, around 5% outwards at the top, makes a more aesthetically pleasing outcome, which in this case at Bonville also
reflects the pier taper.

The inward angled abutments on this M7 bridge are an attractive detail which visually emphasises the span. On this bridge the central pier is
encased in an architectural wing wall feature as part of the corridor aesthetic. In general it is preferable to express the structure honestly and
integrate aesthetics and engineering as this document espouses.

Angling the abutments provides a more open sleek look Walled abutments, where used, should be simple
and helps visually anchor the span: and unobtrusive.

Î The deck and parapet should extend beyond the

abutment wall.

Î Consideration should be given to extending the wall up

and around the girder to remove the notch.
Spill through abutments allow open views to the
Î A slight angle can make the wall appear less
landscape and better visibility to the road beyond:
dominating especially if next to a footpath:

Bridge aesthetics67
4.3 The bridge curtilage 4.3.1 The space around the bridge
The space around the bridge, as an interface between the
The curtilage of a bridge is the space around and
bridge and its context, serves several aesthetic functions.
under the bridge. It is integral to the visual success of
a structure, just as a garden is integral to a house. It is Î It is the setting in views to the bridge.
distinct from the context of the bridge in that it should be Î It is the foreground in views from the bridge.
considered as part of the project, rather than the existing
environment. The design of the bridge curtilage is integral Î It provides an opportunity to frame and contrast
to the success of the bridge as a whole. the bridge.

The curtilage can be addressed in terms of the space Generally there should be continuity between the
around the bridge and the space under the bridge. existing landscape and the space around the bridge.
Where possible the space should be designed so that it
complements the adjacent landscape character.

The bridge curtilage is an important part of the whole aesthetic Interchange on the Pacific Highway at Ballina. The bridge design and
outcome. The design of the new Iron Cove Bridge considered the local the setting were a single composition.
setting. A bridge curtilage was created that respects King Georges
Park in Rozelle and the Bay Run.

68 Transport for NSW

The curtilage of the bridge over the Woronora River provides a significant public domain, sense of place and immediate setting for the bridge
through the improvements of the foreshore, creation of local park (see below), retention of the old bridge and landscape treatment. This was all part
of the scope of works of the bridge project and is important to the whole aesthetic outcome.

4.3.2 The space under the bridge

The space under a bridge must be considered in the
concept design phase of the bridge and integrated into
the design of the whole structure.

If these spaces are not considered then bridge aesthetics

will be impaired by the presence of dead or dying plants
and ‘eroded rubbish strewn’ surfaces. Also valuable space
will be lost.

There are a range of strategies in dealing with this space

which includes the following:

Î Consider the surface treatment of the space. These

spaces tend to be very dry and if in deep shade plants
are unlikely to survive. Where plants are used they
should be located to the outside of the space and
irrigation may be required. Generally only the most
shade and water tolerant plants should be used which
Footways, canopies, seating, interpretation signs and landscaping in tend to be Australian and NSW natives. Combining
the local park next to the bridge over the Woronora River. planting with a hard paved or gravel surface is
often appropriate.

Bridge aesthetics69
Î Consider the function of the space. Soffit design
– Footpath and cycleway networks can benefit from Where the underside of the bridge is visible, consideration
the additional connectivity the space under a should be given to the design of the soffit. Clean
bridge provides. uncluttered surfaces, neat connections and simple layout
– With high urban bridges the potential use of this of girders will help to give a suitable appearance.
space for future development should be considered.
It may be that the bridge aesthetics would benefit
from undercroft development.
– The creation of a varied habitat from light to a dry
and shady rocky habitat, connecting and benefiting
local biodiversity may be worth considering.

The sensitive use of sandstone paving and bollards, at the heritage abutments under the new Iron Cove Bridge in Rozelle, has created a place
to view the evolution of harbour crossings at this point—from early ferries to timber truss to Art Deco steel truss to concrete incrementally
launched girder.

70 Transport for NSW

Where there is room, the space under the bridge can be used to create fauna corridors and help reconnect habitats. Bonville Bypass included many
fauna connections, such as this example along the Bonville creek.

The underside view of the bridge is visually an important part of the The space under the triple bridge over Brunswick River has a unique
space under the bridge. In this example in Canberra the slabbed girder character. The public timber boardwalk traverses an area of relocated
creates a smooth lightly textured surface. LED lighting enhances the mangroves, preserved sea grasses and rocky outcrops with framed
effect and also identifies the bridge. (Photo courtesy of Johnson Pilton views towards the ocean and surrounding mountains. Watery
Walker). reflections on the immense haunched girders overhead provide a
fitting ceiling to the space.

Bridge aesthetics71
Sydney Harbour Bridge viaducts were converted into buildings
after the bridge opened in 1932. In 2016 they opened as offices for
the transport authority.
72 Transport for NSW
Bridge aesthetics73
5
The details

5.1 Joints and connections

5.2 Bridge barriers
5.3 Safety screens
5.4 Protective fencing
5.5 Signage and advertising
5.6 Lighting fixtures
5.7 Drainage
5.8 Noise walls

The M7 Light Horse Interchange with its main carriageways, sweeping ramps
and shared bicycle and pedestrian path has an integrated system of details
including bridge barriers and rails, joints and connections, safety screens
and protective fencing, and lighting fixtures—all robustly designed.
5 The details
It is often said in relation to design that ‘the devil is in the
detail’. What is meant is that it is often the small things
that can make or break a design, and this is especially
important with bridges where the details are highly visible.

There are four important aesthetic considerations in the

detailing of a bridge:

Î The aesthetics of the bridge details must be considered

as part of the whole bridge design.

Î The design of the details should minimise the potential

for staining.

Î The bridge detail should not impair the view from

the bridge.

Î Good access for inspections and maintenance should

be considered early in the design phase.

5.1 Joints and connections There is a neat, simple and tight joint between two girders on the
bridge over Bonville Creek. The potential for staining is minimised and
the bearings can be clearly seen for inspection. The relationship with
The joints in bridge structures at the ends of the span or the parapets has also been considered and the girder joint neatly lines
along the superstructure are an opportunity to enhance up with the joint between the precast parapets.
the bridge design and provide another level of detailed
aesthetic interest.

Differentiate between bearings and other connections and

recognise these in the design.

The details of this bridge over Victoria Road in Gladesville are an

intrinsic part of the aesthetics of the bridge as a whole. The graceful
narrowing of the deck edge over the pier typifies this important
relationship between ‘the whole’ and ‘the parts’.

The design of the bridge abutment should incorporate, in a sensitive

attractive manner, access provision for bridge inspections such
as these bridges at the Hume Highway (top) and Kempsey Bypass
(bottom).

76 Transport for NSW

5.2 Bridge barriers Consideration should be given to the transition between
the bridge barrier and the road safety barrier. A neat
The design of the bridge barrier can influence views simple connection should be designed.
from the bridge, influence the apparent depth of the
The post for bridge barriers should generally be
superstructure and reduce the slenderness ratio. If views
perpendicular to the bridge, however on a greater than
and slenderness are to be maximised the bridge barrier
4 percent gradient it generally looks better if the posts
should be as transparent as possible which means using
are vertical.
bridge rail rather than a full height parapet.

A two rail barrier is better than a single rail barrier in

this respect:

Tapering the barrier and parapet is a neat way of ending the

bridge barrier.

Neat tapered terminations to the bridge barriers on the Pacific Highway at Bonville

Bridge aesthetics77
 5.3 Safety screens
The safety screen is designed to prevent objects being
thrown from the bridge and damaging vehicles or injuring
people below.

These screens should be an integral part of the

bridge design.

There are several aesthetic considerations:

Î The bridge screen being a peripheral element to the

true function of the bridge should avoid obscuring
the superstructure.

Î Screen posts should align with the safety barrier posts

and be perpendicular to the bridge, not vertical (below
4 percent gradient).

Î The screens should extend to the ends of the

bridge span.

Î There should be a neat, elegant transition to the bridge

barrier safety screens; a simple taper or stepped drop
in height can help with this, but is not always necessary.

Î The screens should maximise views out from the bridge

ensuring a good level of transparency. A rectangular
shape for the mesh apertures and the use of a
tensioned mesh can assist in this.

In this example on the Yelgun to Chinderah section of the Pacific

Highway, the two elements are separate yet are related in design and
material. A slight misalignment in supports would have affected the
design outcome. A more sustainable solution would be an integrated
The safety screens on the pedestrian bridge over the Warringah
barrier and screen. However this is not a good maintenance outcome
freeway are an integral part of the bridge design.
and the screen also obscures the parapet.

78 Transport for NSW

On this bridge over the Pacific Highway at Nabiac the bridge barrier piers and safety screen posts are aligned and integrated. The bridge parapet is
expressed and not obscured. The shaped form of the barrier is considered as part of the whole structural design of the bridge to create a beautiful
aesthetic outcome.

These screens on the M7 have been designed as a feature of the bridge; the flaring of the screens matches the flaring of the piers.

Bridge aesthetics79
The tensioned mesh safety screens on the Albert ‘Tibby’ Cotter
Walkway are sheer and transparent in appearance, allowing views to
the surrounding landscape.
80 Transport for NSW
Bridge aesthetics81
5.4 Protective fencing and consideration where and how it is retrofitted on an
existing bridge. It is a detail like any other and needs
Occasionally, special fencing is needed to protect to be approached by designers so that the aesthetics
pedestrians, secure the bridge and make it difficult for of the existing bridge are not affected and the fence is
people to jump from the bridge. This can be a complex integrated with the whole design.
matter, requiring detailed consideration on a new bridge

A new protective fence on Suspension Bridge, Northbridge proved to be a challenging new addition to the historic structure. The style and shape
of the fence was carefully considered so that it fitted with the bridge aesthetic and also prevented access over the parapets. A picket type fence
proved to be most appropriate with a curved form to both add interest and make it difficult to stand on the parapet.

82 Transport for NSW

5.5 Signage and advertising
With the exception of name plates and navigation signs,
signage should be kept off bridges if at all possible. They
add clutter and complexity and detract from the structure.
They also obstruct views from the bridge.

If a bridge and its location is deemed suitable as an

outdoor advertising site then the advertising structure
needs to be designed as an integrated bridge element
with consideration of its visual effect. As a minimum, the
soffit of the bridge should not be obscured and the sign
should not block views of the key structural elements such
as cables, arches and bearings or views from the bridge.

Where advertising is used to fund bridges, the best approach is to

integrate the advertising structure into the bridge design as in this
example on Cowpasture Road in Western Sydney.

Bridge aesthetics83
5.6 Lighting fixtures
Where possible lighting on bridges should be minimised
or avoided.

Where necessary it should be designed as part of the

bridge with supports elegantly designed and well detailed.

The light columns should relate to the other bridge

elements in position and form.

Lighting has been used on the Herb Feint Bridge over Adelong Creek to provide a design feature as well as provide lighting for the road. A closer
spaced light fixture is used which introduces a regular rhythm. Its height can be lower and therefore relates to the bridge better than a taller fixture.
A special detail was included in the parapet as a structural and decorative element (see above image).

84 Transport for NSW

LED lighting in the handrail combined with overhead lighting on the road crossing creates an interesting low maintenance effect on the pedestrian
bridge at Billinudgel.

A closer spaced lower height lighting column has been used on the new Iron Cove Bridge to emphasise the curve of the bridge and provide a more
rational, neater effect at night.

Bridge aesthetics85
 5.7 Drainage
Generally bridge drainage is dealt with on or within the
bridge structure and is more of a water quality issue than
an aesthetic one. However where the drainage system is
exposed, aesthetics must be considered and the design
of the drainage feature must be considered as part of
the whole.

When they cannot be hidden, pipes should be neatly

aligned to follow the form and lines of girders and piers.

The cross‑sectional shape, materials and colour of the

pipe system must be considered as these aspects can jarr
with the overall bridge design.

If a longitudinal drainage pipe cannot be avoided as in this example on

the new Iron Cove Bridge, then the pipe needs to be of a similar colour
as the concrete and hidden behind the parapet skirt.

Drainage of the Windsor Flood evacuation route was managed

by piping into the girder, behind the parapet skirt, and then down
within the piers. This avoids a longitudinal pipe along the bridge
which on very long bridges can become a visual problem due to the
gradients needed.

86 Transport for NSW

5.8 Noise walls In general, transparent panels should be used so that
the apparent slenderness of the superstructure is not
Where possible avoid the need for noise walls on bridges. affected and views or solar access maintained. Glass
should be avoided due to potential vandalism and
If necessary, noise walls must be considered at the outset
maintenance problems.
of the bridge design process and become an integrated
part of the whole bridge design. Further considerations include privacy to surrounding
residents and glare caused by reflections.

Noise wall design is the subject of a further detailed

guidance document titled the Noise Wall Design Guideline.

The principle applied to the M7 motorway was to use transparent noise walls on bridges, to allow views of the landscape for motorists and improve
views of the bridge from its surroundings. The design of these walls is part of a consistent motorway architecture.

Transparent noise walls on the M7 overbridge above the North West Bus Transitway and Old Windsor Road are attractive and help retain the
slenderness of the structure. However they are glass and have been smashed on many occasions.

Bridge aesthetics87
6
Finishes

6.1 Colour
6.2 Concrete quality
6.3 Feature lighting

The graceful segmental box‑girder bridges and ramps set on circular

columns have high quality off‑form concrete finishes and help to distinguish
the M7 Light Horse Interchange.
6 Finishes
6.1 Colour
The choice of colour can cause the bridge to relate to its
setting or contrast with it. It can relate to the land colours
or sky colours. The effects of colours will not always be
dramatic, for example, when seen in silhouette or gloomy
conditions. The use of bright primary colours, whilst
initially striking, tend to date (the exception is when they
are culturally appropriate such as traditional Chinese
bridges or unique icon bridges such as the Golden Gate).

A neutral palette of black, grays and white tend to give a

clear definition of the bridge as an object in the landscape.
Old ‘RTA’ bridge grey is often a wise choice. The use of
white on old and modified timber bridges has become
favoured as a distinguishing characteristic of such bridges
and marks them well in the landscapes in which they sit
(see Sections 7.2.3 and 7.2.4).

The urban context may give better opportunities for the

use of colour, but as bridges tend to be highly visible
elements in the townscape the use of colour should be
carefully considered.

Each of the retro‑fitted safety screens on the Eastern Distributor

pedestrian bridges has a different distinguishing colour, but they
all form part of an integrated approach and colour composition for
the corridor.

The application of the Pedestrian Bridge Standard at Starkey St

utilises the colour of surrounding buildings to fit into its context.

The colours on the rail bridge over the Pacific Highway at Coffs
Harbour pick out the different elements of the bridge.

90 Transport for NSW

The girder colour on this pedestrian bridge over the Warringah Freeway is standard RTA bridge grey, while the privacy screens use a burgundy
coloured perspex sheet in order to create a distinctive opaque visual effect.

A white painted finish can help emphasise the main features of a bridge. On the Albury bypass, selecting the white colour matches the white war
memorial at the opposite end of the Dean Street visual axis but also marks the position of the bridge in the corridor.

There is also the opportunity to introduce colour in the lighting of the bridge. This can be cost effective and, in the case of
LED lights, able to be changed. (See bottom left figure p71).

Bridge aesthetics91
6.2 Concrete quality
Bridge aesthetics can be affected by the quality of the
concrete finish. A poor finish with staining or voids can
mar an otherwise fine structure. This is particularly
important if the bridge structure is visible and accessible.

It is preferable to use steel shuttering and pre‑cast

factory made elements for highly visible bridge parts such
as piers, girders and parapets to ensure a controlled, high
quality finish.

Retardants and sealants should be tested to ensure

that they do not result in staining when the shuttering
is removed.

Concrete surfaces close to traffic and accessible to the

public should have a class one finish.

If the bridge is only visible from a distance then in

aesthetic terms the finish is not so critical, although it
Even using high quality concrete and steel shuttering, concrete
should be noted that variation in concrete colouration due quality can be affected by admixtures from oil and curing compounds,
to staining can be noticed from a wide area. as in this example of staining on the girder of the new Iron
Cove Bridge.

Lighting at the Yandhai River Crossing highlights the structural elements of the bridge. Lighting fixtures follow the diagonal path of the
truss structure.

92 Transport for NSW

6.3 Feature lighting Lighting should be energy efficient, avoid light spill and
be easy to maintain. It should also respect the structural
There is an opportunity to light the bridge as a whole qualities of the bridge—accentuating the materials
depending on context, cost, safety and environment and main structural elements such as piers, arches and
constraints. Where appropriate feature lighting of bridges girders. That is not to say the feature lighting should not
can extend the aesthetic benefits of a bridge throughout be dynamic and creative. LED lighting systems can be
a day and make them a positive presence in the night. designed to provide both subdued and imaginative effects
Lighting can also enhance the safety and passive at different times of the day or calendar.
surveillance around a bridge.

Lighting is used in various ways on the M7 Motorway and M4 Interchange to highlight the columns, ramps and mark the interchange as a whole.
This is an entire composition in lighting which makes the interchange visible, safe and beautiful.

The rail bridge at Coffs Harbour over the Pacific Highway serves as a marker through Coffs Harbour and provides a feature for the town. Its
illumination highlights the arched form of the bridge and its critical structural elements to make a night time composition. This is all further
enhanced by the strong use of colour on the bridge (see Section 6.1).

Bridge aesthetics93
Anzac Bridge is lit at night but for defined periods of time to avoid light impacts on surrounding properties.

Feature lighting highlights the arched form of the road overbridge on the North Kiama Bypass.

Lighting is used at select locations on the M7 to highlight features such as wing walls, noise walls and overbridges.

94 Transport for NSW

Night lighting on the Sydney Harbour Bridge showing the dramatic effects of the pylons and arch lit up.

Bridge aesthetics95
7
Particular
conditions

7.1 New bridges next to existing bridges

7.2 Modifications and additions to heritage
bridges and bridges of cultural value
7.3 Pedestrian bridges
7.4 Railway bridges
7.5 Land‑bridges
7.6 Art and bridges

The ‘lizard tree’ bridge on the Hume Highway near Wagga Wagga is
aesthetically pleasing with a slender voided slab and simple wall type
piers. The inclusion of the fallen tree motifs on the pier make the bridge an
interchange that is distinctive and more memorable for the general public
and serves as a marker on the route.
7 Particular conditions
7.1 New bridges next to Designing a new bridge next to an existing bridge can be
a significant challenge. Competition between structural
existing bridges forms can create clutter and neither bridge can be
presented well, irrespective of individual aesthetic value.
Alternatively where structural forms are complementary,
“The relationship between two bridges, a memorable landmark can be created where the
experience of crossing a bridge is enhanced by the view of
almost side by side spanning the same
an adjacent bridge.
stretch of water, is like the relationship
If possible, the new bridge should be located so that
between two musical instruments playing
the two bridges are seen as separate elements in the
a duet. The music sounds better if the landscape and can be designed as separate entities, for
two instruments are in harmony with example, the different bridges over Sydney Harbour.
each other and keep to the same rhythm This can only be achieved through an appropriate
and tempo. The two instruments should horizontal separation.
produce sounds that contrast, in order to
create a melody that is more interesting
and colourful.”
Foster and Partners, in the architecture of
bridge design , 1997

PLAN VIEW

The two bridges over the river at Tom Ugly’s Point work well together as one does not attempt to replicate the other in structural form and detail.
They are far enough apart so that they don’t have to be parallel.

98 Transport for NSW

A closer spacing can be achieved by varying the alignment 7.1.1 A new design
of the new bridge but still at an appropriate distance:
If accurate duplication is not possible an entirely different
bridge design should be produced but very importantly,
the designs should not compete but be complementary.

Î The bridges should either be parallel in vertical and

horizontal alignment or curved in symmetry with the
existing bridge (the new Iron Cove Bridge in Sydney
works well precisely because its alignment is different.
PLAN VIEW Î Consideration should be given to matching the
following elements: bridge height, pier spacing and
However in most cases adequate separation can not be
pier alignment.
achieved and the new bridge and the existing bridge must
be considered as related in aesthetic terms. The following
two strategies should then be considered:

Î A new design.
Î Duplication of the existing design.

Bridge aesthetics99
Where the existing bridge is a distinctive or iconic local or regional asset it is appropriate that the new bridge be as
respectful as possible. Whilst the new bridge should be simple and respectful it should be at least as confident and
representative of its era as the old bridge.

The Iron Cove Bridge duplication is respectful of the old bridge in its simple appearance and its spans and piers aligning, but also confident and
bold in its own right. Its separation from the existing bridge has significantly helped to achieve a good outcome.

The proximity of the bridges over the Hawkesbury River at Brooklyn results in an interplay between the designs. The two bridges are not separate
but seen as one visual entity. The old bridge could not be replicated but the new bridge is respectful in terms of matching spans and height.

100 Transport for NSW

7.1.2 Duplication of the existing design
This approach tends to be more applicable to modern
bridges than older bridges, where technology and safety
standards have changed and old design and construction
skills lost or expensive to re‑learn. The approach is
basically to replicate the existing bridge design. It does
not need to be exact but at least the following should be
addressed:

Î Where possible the bridges should be parallel in

vertical and horizontal alignment.

Î Spans and pier alignments should match.

Î Key aspects of the existing bridge such as pier

dimensions, girder shapes, abutment locations, and
lighting fixtures should be replicated.

Î In some cases details can be copied but this is

not essential.

If there are any concerns that the bridge cannot be

closely duplicated then the new design approach should
be considered.

The duplication of the Hume Highway Sheahans Bridge at Gundagai

(left) adopted the existing haunch shape and pier spacings. The
materials and details are however different styles but there is a
design unity.

On the Alfords Point Bridge, the duplication (right) adopted the bridge form in its entirety.

Bridge aesthetics101
7.2 Modifications and additions Burra Charter
to heritage bridges and bridges A good objective to be added is that set down in the Burra

of cultural value Charter. This internationally recognised benchmark is

Australia’s guide to best practice for heritage places.
Article 3 of the Charter applies to altering a heritage
bridge to maintain it in current use and increase its service
“It’s not good because it’s old—it’s old life. The principle is to change as much as necessary but
because it’s good.” as little as possible.

Anon
Process
In carrying out design and construction work on heritage
bridges the project team must liaise with:
Engineers Australia, Practice Note on Engineering
and Industrial Heritage, April 2010 says “the present Î The Urban Design Roads and Waterways team on
generation of engineers owe a duty of care in dealing with application of urban design principles.
significant engineering heritage works.”
Î Environment teams on heritage issues (in the case of a
Bridges of historic value come under several categories: listed structure or one likely to be listed).
listed heritage bridges, bridges that may become
Î Communication and Community Engagement teams on
listed and bridges that have heritage or cultural value
community consultation and interpretation issues.
irrespective of listing. The principles following apply to all.

Principles
7.2.1 Framework
There are three objectives to be adopted:

Asset management strategy Î Unless faithfully restoring elements, distinguish new

work from the old.
Bridges of State and local heritage significance are
listed on the Authority Section 170 (S170) Heritage and Î Respect the setting.
Conservation Register. Under asset management strategy
Î Respect the character of the heritage or culturally
such bridges are selectively protected and rehabilitated
important bridge.
on the basis of their use and possible re‑use as well as
structural, maintenance, cost and budget constraints. This
is consistent with Engineers Australia’s Practice Note
which encourages the adaptive re‑use or recycling of
heritage works in preference to radical or unsympathetic
modification, demolition or replacement.

Urban design policy

A key principle in Beyond the Pavement urban design
policy is to incorporate heritage and cultural context in
infrastructure planning and design and, in particular,
to protect bridges of heritage significance not only in
themselves but also in relation to their physical and
community context.

102 Transport for NSW

 Suspension Bridge, Northbridge: Inside and outside views of the
retrofitted safety screen. This is a new expressive form which
The original lamps of the Sydney Harbour Bridge have been rebuilt complements the character of the old bridge.
using bronze and glass, as well as new LED technology.

7.2.2 Distinguish new work from old

Unless faithfully restoring elements of the old bridge, new
work must be distinguishable from the old bridge. There
are several means to achieve this:

Î By date stamping the new work so that it is identifiable,

particularly where materials and form are carefully
duplicated, such as new timber trusses.

Î By using new modern materials and forms to fit in

sensitively, but differentiate from the old elements and
forms of the existing bridge.

Hinton Bridge over the Paterson River near Maitland is one of the
oldest Allan truss bridges in Australia built in 1901 with a lift span.
Due to the deterioration of the bridge’s trusses and lift span and
the need to increase load carrying capacity, rehabilitation and
strengthening works were undertaken in 2005. The bridge is an
example of carrying out repair sensitively by using timber, steel and
concrete composites so as to preserve its heritage character.

Bridge aesthetics103
Î By keeping a clear physical distance and sense of 7.2.3 Respect the setting
separation with the old bridge when building a bridge
Heritage is part of place. Bridges of heritage significance
duplication. (See also 7.1)
often define and sometimes are an icon within the
Î By avoiding pastiche (false imitation or mixture community. They are often an important visible element.
of styles) when designing a bridge duplication or Preservation of, modifications to, and duplication of, such
connection to an old bridge: any new elements or bridges should respect their setting by:
bridge duplication should be true to the materials and
Preserving the curtilage, in this instance, the envelope
technology of the time of modification and minimal
around, below and above the bridge necessary to protect
in extent.
its heritage or cultural value. The bridge and its curtilage
form a spatial and aesthetic entity, and may also be part
of a listed heritage precinct, such as the Sydney Harbour
Bridge. Therefore, keep the curtilage as intact as possible
and ensure that design changes of the bridge are sensitive
to the character of that curtilage. Consider that the
curtilage is also part of a wider setting. (Refer to Heritage
Curtilages publication—companion to NSW Heritage
Manual).

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.

Î It is essential that the principle of distinguishing new

from old is not abused by making the new work visually
obtrusive and at odds with the character of the old.
Stonequarry Creek Bridge at Picton, which spans a ‘gorge’ near the
Î By providing signage and interpretation town, dramatises the setting.
where appropriate.

Reconstruction of the State Heritage Register listed timber truss bridge and approaches over the Hunter River at Morpeth was achieved. The
eastern approach fits well with the scale and character of the associated heritage precinct defined by the courthouse.

104 Transport for NSW

7.2.4 Respect the character of the heritage
or culturally important bridge
The character of the old bridge should always be
respected—whether duplicating, retrofitting or modifying
a bridge of heritage significance. This can be achieved
in different ways, depending on the scale of work to be
carried out:

Duplicating a bridge of heritage significance

Î Respect the old bridge through adequate
physical separation.

Î Where possible, keep a sense of the scale of the old

Adding major new elements such as
bridge, through protection of the major elements in its
curtilage and the view points to the bridge. pedestrian walkways

Î Where possible match the profile of the old bridge and Î If external to the structure, it may be best to add new
keep the rhythm of the piers and uprights. elements on the opposite side of the most historic and
locally valued vistas to the bridge.
Î Use form, materials and colour that complement, but do
not visually overpower, the character of the old bridge. Î Respect and match, where possible, spacing, rhythms
and proportions of the old bridge.
Signage and interpretation signboards, in the agreed
common style suitable for heritage bridges, should be Î Use similar materials or materials that complement
used to support the heritage bridge program of work and the old.
carefully placed to mark the bridge or at rest areas.

Signage can also be used to explain changes to other

culturally important bridges.

The Tarban Creek Bridge required strengthening of the arches. An

innovative solution was required to take the weight of the end spans
beyond the arches. A refined portal frame pier, protruding from the
bridge envelope, created a separate structure distinguishable from
the original bridge.
Junction Bridge signage is a good example.

Bridge aesthetics105
The gently curved and raked form of the steel picket fence on the Suspension Bridge, Northbridge, is a bold new introduction. It however respects
the architectural periods of the Federation Gothic 1890’s sandstone towers, the 1930’s concrete arch and the Inter-War Romanesque style of
detailing. (A visual analysis was carried out and a full scale demonstration model built prior to the final design option being selected).
106 Transport for NSW
Minor modifications Repainting
Î Consider the relationship of modifications to the Î Keep painting up to date to prevent prolonged attack
scale and character of the bridge, other elements and on the raw material, protect the bridge and its elements
materials, the rhythm of existing uprights, and colour. in the long term and maintain the aesthetic quality of
the bridge.
Î Carry out a visual analysis to ensure that the bridge
modification fits into its built, natural and community Î Truss bridges are best repainted in white which was the
context and provides a well designed solution original colour used. This gives them visual identity as a
which minimises adverse visual impacts from all type and consistency as a family of bridges across the
critical viewpoints. State. Such a strategy would be cost effective.

The Wee Jasper Bridge, refurbished in 2006, has a two‑tone (black and white) colour scheme which is widely used in the ACT.

Bridge aesthetics107
Lift access to the Sydney Harbour Bridge has been provided using modern materials, a simple refined design, and with minimal changes to the
Sydney Harbour Bridge. The parapet removed for the southern lift has been used in the design of the access plaza.

108 Transport for NSW

The SHB north lift, adjacent to the stairs, provides step free access to the bridge walkway from the north.

Bridge aesthetics109
7.3 Pedestrian bridges Views
Pedestrians and cyclists spend more time on a pedestrian
and shared path bridge than a traffic bridge: therefore
7.3.1 Opportunities and constraints
the view from the bridge takes on added significance and
There are a number of important differences between detail and materials are more closely appreciated.
pedestrian and vehicular bridges that influence design:

Ramps
Design flexibility
Pedestrian bridges have ramps. Ramp design can be
Pedestrian bridges carry lighter loads than vehicular innovative but should not dominate views or detract from
bridges: this allows the designer to exploit greater the expression of the essential element of the bridge—its
flexibility in the shape and proportion of the bridge, within span. This is especially the case when ramps are folded or
a reasonable budget, which can lead to great variety coiled at the ends of the structure.
and character.

Safety screens
Pedestrian bridges invariably require safety screens. In
the design of these it is important to avoid a caged feeling
when bridges are narrow.

Lifts and stairs

Where the site is very constricted, or ramps would be
excessively long, lifts could be provided. It is important to
locate lifts carefully and design them as part of the whole
The ramp and bridge connection on this pedestrian bridge is seamless. structure. The same applies to the use of stairs to access a
Note the attention to detail of the narrowing of the edge of the deck
pedestrian bridge.
as it passes over the thicker section of girder above the pier.
The pedestrian bridge standard was created for
constrained locations where ramps are not feasible. The
pedestrian bridge standard is a consistent, cost‑effective
design outcome that can be re‑used depending on context.

110 Transport for NSW

7.3.2 Design Flexibility and Innovation
Consider how a bridge can reflect local character, provide
a milestone on a journey, form a gateway to an area, create
a focal point or celebrate something.

Depending on context, the rules normally applicable

to road bridges may be stretched when using cable
stay, truss, arch and suspension which are suitable for
light loads.

In the design of the Dean Street bridge in Albury a decision was Structurally expressive form using modern materials is evident in this
made to use seven cables each side of the pylon rather than the three space‑frame bridge over the M7 motorway.
required structurally to create an attractive fan effect.
Î Consider the use of lighting to both emphasise the
form of the bridge and distinguish it by night—within
the constraints of cost, surrounding properties and
adjacent light fixtures.

The bridge over the Pacific Highway at Billinudgel uses the safety screen as a design feature, wrapping the whole girder and creating a
distinctive tube effect.

Bridge aesthetics111
The cable balustrade and viewing platforms (see front cover image) allow
views of the river landscape on the Yandhai Nepean Bridge in Penrith
112 Transport for NSW
7.3.3 Views Î It is important to note that although views from the
bridge are desired, these views must not infringe on
Î Provide adequate space on the bridge to allow
the privacy of surrounding properties. Views should be
stopping and viewing without significantly interrupting
assessed in the process of design to avoid unwanted
pedestrian and cycle movement.
retrofitting of screens or barriers.
Î Avoid hidden or secluded spaces which, if present, will
make it more difficult to monitor personal safety.
7.3.4 Ramps
Î Advertising and signage on or near a bridge is not
If ramps are needed, now or in the future, for access and
desirable but, where it is considered appropriate
connection to surroundings, the following guidelines
it should not obscure the form of the bridge, the
should be considered:
surveillance of pedestrians or views from the bridge
(see SEPP 64 guidance). Î Attempt to locate the bridge where the ramp can be its
shortest possible length.
Î On girder bridges with lift shafts consider an open end
to the bridge rather than terminating it at the lift shaft. Î Minimise the extent of the ramp by using natural or new
This will allow views out from the bridge and reduce the landform, for example, crossing a road in cutting avoids
sense of enclosure. ramps entirely.

Î Consider the use of lift shafts with at least one glass

wall to add a feeling of surveillance and provide views
as the bridge is ascended.

Î Pedestrian bridges provide an opportunity for people to

appreciate the landscape setting. This not only applies Î Where a road is at a grade the approach ramps on the
to pedestrian bridges but also pedestrian footpaths on uphill side can be relatively short.
road bridges.

The application of the Pedestrian Bridge Standard at Pennant Hills Rd has eliminated the need for long ramps which would not have been feasible
in the narrow verge area.

Bridge aesthetics113
Î If an elevated constructed ramp is required the
design must be carefully considered due to its visual
prominence. The design of ramp and bridge should be
integrated and unified in appearance.

Î Use planting to integrate ramps with their surroundings

and reduce their visual impacts.

Î Connections between ramp and superstructure must be

as simple and seamless as possible.

Î Ramp design and geometry should be simple and The simple spiral connection of the ramp adds to the value of the
thoughtfully done, for example, compact spirals are bridge. However, adequate space is required for this solution. Also the
sometimes preferable to long switchbacks. presence of landings needs to be considered.

Î Consider the aesthetic impact of standards relating

to ramp slope and frequency of landings (required for
disabled and cyclist use) which may increase ramp
length and interrupt the desired smooth lines of the
structure. It may be necessary to obscure the landings
by a higher than necessary parapet wall.

Î Where possible and earth works allow, consider visually

separating the ramp and span, by integrating the ramp
into the adjacent land form.

Where space is limited, stairs should be simple and compact as on

this bridge over the Pacific Highway on Sydney’s North Shore. Note
the neat detail of the connection between superstructure and ramp
marred only by staining.

Earthworks have been utilised to cost effectively create the landscaped ramp to the bridge at Faulconbridge over the Great Western Highway.

114 Transport for NSW

The ramps on this truss bridge over Sunnyholt Road have been designed to match the materials and form of the truss. Planting has been used to
help fit the ramps into the landscape (compare pictures taken three years apart) and a neat two post pier with cantilevered brackets simplifies
the structure. The access to the bridge passes through a non‑structural extension to the truss form which provides a neat, substantial, connection
between truss and ramp/ stairs. The use of closed hollow sections would have been better than open steel sections from a maintenance point of
view as open sections collect debris and dirt leading to premature breakdown of protective coating systems.

Bridge aesthetics115
7.3.5 Safety screens
In terms of comfort in using the bridge the following
should be considered:

Î When required it is preferable to have safety screens as

simple fences rather than a cage.

Î The need for the cage, and a caged effect, should be

avoided. It provides a platform for vandal access and
creates an oppressive feeling of enclosure.

Î If a closed system cannot be avoided then the

design and shape of the cage should ensure that the
experience of crossing the bridge is not oppressive.

Î Feature lighting should be considered to make the

crossing attractive and well lit.

The absence of a cage creates a more open welcoming space as in this

example on the Beatrice Bush Bridge, Rozelle.

The bridge over the Pacific Highway at Billinudgel has an open feel even through it is caged. It is suited to the bridge and is well designed.

116 Transport for NSW

7.3.6 Lifts and stairs
Î Where space is limited or lifts stairs are required their
design should be simple and compact and appear as
light and slender as possible.

Î Lifts should, where possible, be part of the supports

of the girder. Combining lift shaft and pier creates a
simpler, more refined, structure and can reduce costs
but maintenance needs to be considered.

Î The use of at least one transparent glass wall should

be considered. This reduces the visual bulk of the lift,
provides views and gives a feeling of good passive
surveillance to and from the surroundings.

The form and fencing, colours and use of the lift shaft as a pier are
visually strong but the bulky pier support detracts from this bridge
over Silverwater Road.

Transparent lift shafts can be attractive and feel safer due to the
The Auburn pedestrian bridge, Parramatta Road, is not a good passive surveillance they allow. They can be fully ‘glassed’ as on the
aesthetic outcome. The ramps and bridge connection are too dominant, Cahill Expressway (above) or partially ‘glassed’ as on the bridge over
jarring and cluttered. This bridge lacks aesthetic refinement. The Boulevard at Strathfield (below).

Bridge aesthetics117
7.4 Railway bridges
In addition to the general principles in this document,
there are a number of aesthetic principles applicable to
rail bridges:

Î A railway bridge should express its purpose and be

easily recognised as such.

Î Railway bridges, in accommodating the heavy weight of

trains, should generally appear strong and substantial.

Î Railway bridges need to be stiffer than road bridges for

stability in terms of deck vibration and shock loading
The South East rail link bridge over Camden Valley Way in south east
which generally rules out suspended structures. Sydney demonstrates the aesthetic principles applied to railway
bridges. The deeper girder and parapet has been shaped to reduce
Î Constraints on the vertical and horizontal alignment
its visual dominance. Wall type piers have been used to simplify the
of the railway, create flatter straighter structures than appearance by avoiding headstocks. The abutment walls are set
road bridges. back in the landscape to minimise the impact on the footway and
road corridor.
Î Railway bridges necessarily have a heavier appearance
in their design with deeper girders, bulkier columns,
and shorter spans. Consequently close attention needs
to be given to their proportion and refinement.

7.5 Land‑bridges
Occasionally there is a call to provide land‑bridges. These
can be for ecological reasons providing fauna and flora
connectivity or for open space reasons providing new
parks or connections between parks.
A neighbourhood park is retained on the land‑bridge over the Pacific
Land‑bridges support landscape. Therefore the aesthetics Highway at Banora Point.
of the land‑bridge needs to take this into account. They
generally need to be strong, supporting heavy loads and
visually have a strong grounding and connection to the
landscape. In most contexts this means slender forms and
cable or suspension type super structures are not suitable
nor aesthetically appropriate.

Arched forms and gabions give an impression of strength and an

ecological/landscape purpose on the fauna overpass over the Pacific
Highway at Bonville.

118 Transport for NSW

7.6 Art and bridges
Well designed bridges and the more iconic structures are
often seen as sculptural artefacts in the landscape with
artistic qualities in their own right.

On occasion designers integrate art as an element into the

design of bridges.

For example piers can be designed with a texture or motif

embedded into the structure. Painting can be used to
provide an artistic image or colour a bridge element in a
striking way. Safety screens can be designed with motifs
and patterns layered into the mesh. Lighting can be used
with the bridge to create an artistic effect.

The pedestrian bridge over the City West Link in Sydney was
conceived as a sculptural piece along a corridor. Such an approach
should be used circumspecifically and not be the norm.

Occasionally the detailed concrete work on older bridges leaves an opportunity for paintings. These RMS bridge abutments in The Rocks in Sydney
have been painted in historic photographic images which have received a heritage award from the National Trust. Courtesy of Sydney Harbour
Foreshore Authority.

Bridge aesthetics119
The Aspire sculpture in Ultimo brightens up a dark, unattractive under bridge space. Art can
improve poor spaces but it would be better if the bridge design and land use planning avoided the
need for such spaces in the first place. Photo by Richard Glover, courtesy of Warren Langley.
120 Transport for NSW
The integrated fallen tree motif on the pier of the Lizard tree bridge on the Hume Highway near Wagga Wagga helps turn an elegant bridge into a
memorable one.

The bridge designer Robert Maillart regarded structurally expressive bridges as pieces of art in their own right. This could be said of the Anzac
Bridge in Sydney.

Bridge aesthetics121
8
Appendix

A Global Perspective
B Bridge terminology
C Pedestrian Bridge Standard
D References and further readings

The Volantin footbridge in Bilbao by Calatrava is a stunning modern example

of a cable-stayed asymmetrical footbridge in an urban setting.
Appendix A: Global Perspective
Selected examples of bridges and This appendix is structured historically in order to
demonstrate how bridge aesthetics is a continuous
their designers from antiquity to struggle and pursuit and a response to technological
the present day innovation. It starts with selected bridges of the Romans,
Italians, French and Persians that still prevail. Brief
pieces then follow on eighteenth and nineteenth century
bridges and their designers in the UK and USA, and
Introduction early twentieth century suspension and arch bridges
and their designers. The wonderful period of exploration
in concrete is dealt with, especially the designs and
“…great designers, from the Romans to contribution of Maillart, Freysinnet and Menn in the first
part of the twentieth century. They influenced each other
the present day have combined technical
and, later, Calatrava who is arguably the leading innovator
mastery, consciously and unconsciously, of our time in structures, most importantly, bridges; the
with an artistic sensibility, to create not theory and practice of this unique architect/engineer
just structure to be crossed as quickly is given special attention. Beyond this, the appendix
as possible, but masterpieces by any highlights various bridges and designers of today in
different countries.
standard.”
David J Brown, Bridges: Three Thousand Years of
Defying Nature, MBI Publishing, 2001

There is nothing new about bridge aesthetics. For

thousands of years bridge builders have considered
the visual quality of their structures together with their
structural quality. In order to provide a perspective on
this, the following list and description of bridges and
their designers is intended to be a potential source
of inspiration. It is by no means comprehensive. The
examples are a very selective choice from the substantial
literature and publication of bridges of aesthetic value
internationally. Further examples can be investigated in
the References and Further Readings.

124 Transport for NSW

Bridges of antiquity to the 16th The Pont Du Gard, France
century This Roman 30-mile aqueduct near Avignon in
France, completed around 90 BC, is characterised
Traditionally, aesthetics was inseparable from bridge by its semicircular arches built out of dressed stone
design. Bridge design was both an art and a science. without mortar on the bottom two tiers. It is regarded
We see this, dating from the timber and timeless stone by many as the most beautiful of all surviving Roman
bridges of the Ancient World onwards across England, engineering works.
Europe, the East and Middle East. Some early beautiful
bridges that remain timeless are:

The Roman Puente De Alcantara, Spain

The Pont D’Avignon, France

D’Avignon has been described as the most beautiful
and perfectly preserved of all French medieval fortified
This lofty, arched bridge with its towering granite piers bridges, and a symbol of Divine charity.
and a parapeted roadway, crosses the narrow valley of
the Tagus River close to the border with Portugal. It has
been described, variously, as awe-inspiring, a symbol
of Roman imperial power and the greatest of all Roman
stone bridges.

Bridge aesthetics125
The Ponte Vecchio, Italy

This 14th-15th century landmark structure is not only a unique arched bridge due to the extremely shallow arch profile
but, with its architectural conception of houses and shops across the Arno River in Florence, is one of the few remaining
medieval examples of the use of the bridge space for urban activity. The bridge also forms a passageway that connects the
Uffizi and Pitti palaces.

The Ilahverdi Khan Bridge, Persia

This 15th-16th century 33-pointed arch bridge in Persian Isfahan has a simple and elegant, albeit monumental, form. It was
conceived as an important element of one of the most beautiful cities in the world.

The Ilahverdi Khan Bridge.

126 Transport for NSW

The British and American eighteenth Thomas Pritchard’s Iron Bridge in
and nineteenth century legacy Coalbrookdale across the River Severn,
England, 1779
The British legacy, which includes rail and road bridges, Iron Bridge is the first cast iron arch span. The arch has
is sizeable as well as noteworthy for its innovation a single, high, semicircular shape designed to traverse
and quality. It reflects different stages of advanced the narrow, steep gorge. It forms a complete circle when
technology emanating from the industrial revolution. reflected in the water. The bridge is also characterised by
In both the UK and USA the aesthetic quality of their its slender ribs and connections and detailed lattice work.
great bridges is not due only to their prominence and It is, today, the centre piece of a national museum.
technology. It results from the scale of their height and
spans, their proportions, how they fit into or otherwise
dramatise their respective settings, the limitations and
use of materials, the fine quality of their details and, not
least, how their form expresses their function. In some
cases bridges are distinguished by architectural features
as well as the basic architecture of the bridge.

Iron Bridge in Coalbrookdale.

Bridge aesthetics127
The rail bridge over the River Forth estuary, Edinburgh.

Sir Benjamin Baker and Sir John Fowler’s John and Washington Roebling’s
railway bridge over the firth of the River Forth Brooklyn Bridge over the New York East
estuary, Scotland, 1890 River, USA, 1870’s
This steel truss, 3148 metre long bridge with its height,
towers, cantilevers, suspended spans and lattice truss
structure, is perhaps the mightiest achievement of
Victorian engineering. For the likes of William Morris, the
internationally influential English textile designer, artist
and writer, the bridge at the time must have appeared
complicated and overdesigned: Morris referred to
it as “the supreme specimen of all ugliness”. David J.
Brown, in analysing the plans and elevations, concluded
otherwise—that the bridge has a grace which emanates
from the clarity of its structural form and the balance of
scale between the main towers and suspended elements.
The principles of its design have since been applied
As a feat of engineering the Brooklyn Bridge, with its
on many modern cable-stayed bridges and much more
486 metre span, has been well documented in terms
modest bridges around the world. It is a balanced bridge
of its technical features at the time—the use of steel
constructed by building out two rigid arms from both
cables, a web of radiating stays, masonry anchorages,
sides of two piers, that is, in two balanced directions,
deep stiffening trusses, the caisson construction and the
while diagonal steel tubes, projecting from the top and
piers. The bridge, by John Roebling and his son, is also
bottom of each pier, hold the arms in place. Structure and
important as an urban artefact. This can be defined by the
materials are expressed without unnecessary decoration.
way the road, railroad and the upper, central, pedestrian
To quote Brown, it is now regarded as a “sublime piece of
promenade are integrated into the design, the overall
public art”.
composition of the bridge and its approaches in the
context of New York, and the architectural design of the
towers. John Roebling specifically intended the granite
block towers to serve as landmarks to the adjoining
cities of Brooklyn and Manhattan, and as a symbol of the
East Coast. The bridge was declared a National Historic
Landmark in 1964.

128 Transport for NSW

Suspension and arch bridges of the The Joseph Strauss/ Charles Ellis Golden Gate
early 20th century Bridge, San Francisco, USA,1937

Othmar Amman’s George Washington Bridge

across the Hudson River, New York, USA, 1931

The bridge is a landmark of the city and symbol of the

West Coast by virtue of its scale, elegance, features,
approaches and dramatic impact in its setting. Its
suspended span of 1,280 metres between San Francisco
Brown describes this bridge by the Swiss engineer and the Marin Peninsula and 227 metre high towers
Amman as probably the greatest leap forward in 20th exceed those of the George Washington. The deck is
Century bridge design, redefining the state of the art of however much narrower and consequently needed
suspension bridge construction. Its central suspended a stiffening truss, albeit shallow. As in the George
span of 1067 metres was almost double any such previous Washington Bridge, the two pairs of towers express their
span. It was the largest cable-spinning commission structure but, rather than a truss system, the towers
(won by the Roebling company for the four suspension of the Golden Gate are formed as riveted assemblies
cables), used a 3 metre thick plate-girder stiffening deck of hollow steel cells. Each tower is stepped back three
(the length of the bridge and its mass allowed Amman times and linked at these points as well as at the top by
to dispense with a stiffening truss) and was designed deep horizontal beams, thereby creating elegant pairs of
to accommodate two decks comprising eight lanes of vertical shafts. The red-lead colour and unique detailing
roadway above, and an urban rapid transit line below. The of the bridge were developed by the architect Irving
second deck was added beneath the first in 1962. Amman Morrow which, as Brown describes it, makes the bridge
designed the 183 metre high towers as steel frameworks, the world’s largest art deco sculpture. All of this occurred
each a complex truss structure, which he intended to clad against a background of severe constraints—the need
with granite to give the bridge a monumental masonry for an unprecedented deck height for shipping clearance,
effect, like the Brooklyn Bridge. The cladding was overcoming the gale-whipped ocean currents, and the
abandoned, for two reasons, enthusiastic support for the difficult anchorage on the San Francisco side requiring
unadorned steel skeleton, and the need for the New York a special construction. The unforeseen rippling effect on
Port Authority to slash costs because of the Wall Street the deck caused by winds required the later addition of
crash. This raw expression of structure gives the bridge its lateral bracing beneath the deck for its entire length.
unique appearance.

Bridge aesthetics129
 John Bradfield’s Sydney Harbour Bridge,
Australia, 1932

This icon of Sydney and Australia was the result of an

international tender won by the British company Dorman
Long and their consultant designer Ralph Freeman. A
cantilevered bridge over the harbour was at the core of
the bold planning scheme for Sydney envisioned by John
Bradfield, the Chief Engineer in the New South Wales
Department of Public Works, who oversighted the tender,
design and building process. While inspired by New York’s
Hells Gate Bridge there are distinct differences, being the
world’s longest arch bridge with the widest ever span at
49 metres, accommodating two rail tracks and six traffic
lanes, and characterised by the art deco pylons which
are formed as towers separated into pairs at each end.
These pylons are not structural but form a powerful visual
termination to the bases of the arch, thereby contributing
to the strength of the architecture of the bridge. The
bridge is further dramatised by the splendour of the
Sydney Harbour setting and subsequent sail forms of the
Sydney Opera House.

Sydney Harbour Bridge

130 Transport for NSW

The thinking, work and influences of Subsequent to Salginatobel, Maillart perfected structural
approaches to design for skewed sections, oblique
Maillart, Freysinnet and Menn crossings and decks curved in plan. In some of his last
bridges he flattened the arches to such an extent that
Maillart, Freysinnet and Menn were the three great
the curve was barely perceptible. All this was achieved
innovators in concrete structures. The focus of this section
in spite of the constraints to creativity presented by
is on Maillart and Menn, but the contribution of Freysinnet
the authorities, engineering tradition and the tenets of
should be noted. While Freyssinet did not invent the idea
business management at the time. Maillart in this respect
of pre-stressing, he developed and applied it to a number
was regarded as a radical designer, notwithstanding that
of bridges.
his bridges were usually cheaper than those of his rivals.

Robert Maillart: The Salginatobel Bridge, 1930

The Frenchman Robert Maillart, who practiced in
Switzerland, regarded structures not simply as works of
utility, but also as works of art. He is considered to have
made the greatest aesthetic impact in the 1930s when
reinforced concrete began to open new possibilities
in bridge design. Maillart broke down the boundaries
between the applied science view and the design view
of engineering and created a new world of form and
beauty through the development of three innovations in
concrete—the concrete hollow box, the concrete flat-slab
floor and the concrete deck-stiffened arch—which he
applied imaginatively to the different conditions of site.
His innovations are best articulated by David J. Billington:
Rather than creating arrow-like cut-outs into rock faces,
he removed the spandrel walls of bridges entirely. These
he replaced with slender vertical links between arch and
deck, either using rows of pencil like columns or thin
planes of concrete. He sometimes emphasized the line of
a roadway with a solid parapet, or otherwise lightened it
with open railings, thereby throwing the visual emphasis
onto the supporting structure.

Maillart’s defining work, is the slender 133 metre arch,

reinforced-concrete Salginatobel Bridge which spans
a precipitous gorge in the Swiss Alps. This bridge,
which is breathtakingly beautiful, was designated as
an International Historic Civil Engineering Landmark
in 1991. It is described by Cruickshank as a bridge of
sheer abstract artistic beauty, derived from its “absolute
fitness for purpose achieved by the most elegant and
minimal means.”

The Salginatobel Bridge fits unobtrusively in the Swiss Alps. ’The

bridge defines the valley’ Mario Botta.

Bridge aesthetics131
Christian Menn: The Ganter Bridge, 1980 The depth of the valley required one of the piers to be
150 metres high. By using massive, hollow, vertical boxes
The Ganter Bridge, built on the new Simplon Pass road
Menn was able to correspondingly drastically reduce the
above the town of Brig near the Swiss-Italian border, is
depth of the deck. For extra rigidity, he incorporated cable
one of the most striking bridges of the last century. It was
stays. Because the cables supporting the curved side
designed by the Swiss engineer Christian Menn, whose
spans had to follow the curved plan, Menn encased them.
father had been a close associate of Maillart. Menn
Second, he fixed them to curved concrete walls on either
used prestressing and also the method of progressively
side of the roadway. Third, he matched the effect visually
cantilevering construction to produce a dramatic
over the central span, to create a balanced composition.
structured form in the setting of the Swiss Alps. The
The unique profile of the bridge is considered to provide a
roadway of the Ganter is steep and its alignment is in a
quite different visual and aesthetic experience from that
shallow S-curve consisting of a straight main span of 175
of any comparable work.
metres flanked by oppositely sharply curved 127 metre
side spans that abut the valley wall. According to Eyre, “it contains all the ingredients:
concrete, a combination of tensile and compressive
elements, curvature, visual movement, elegance and
proportion, economy and efficiency, all in a spectacular
mountain setting.”

132 Transport for NSW

Theory and practice of Santiago Calatrava

Alamillo Bridge, Seville

Theory
Calatrava is probably the best example of engineering Calatrava attempts in his designs to solve problems
and architectural skills being embodied in the same through optimisation—the optimal state being how far
person. He is an architect and engineer, theorist and you can go at a technical level to achieve a powerful
practitioner, who operates an integrated studio. A pupil aesthetic. He combines materials, organic forms and
of Christian Menn, he continued the tradition of fusing movement. Many of his structures are inspired by the
style and structure and has become the most innovative human athletic form and structure of living beings such as
and prolific bridge designer of today. This is over and fish and animals.
above his many other types of structures including railway
The following is a written synopsis of other Calatrava
stations, airports, stadiums and buildings. His doctoral
works for the information of the reader.
dissertation on The Foldability of Space Frames is an
exploration of how to generate a limitless family of curves
and figurations.

Bridge aesthetics133
Examples Other notable arched and cable-stayed bridges of his
include: the Alamillo, commissioned for the Seville World
The Volantin footbridge in Bilbao, with its large inclined
Fair (one function of this bridge was to be a symbol of
steel parabola, great sweep, fish-shaped deck, bone-like
Seville); bridges in Ondarroa and Valencia in Spain; a set
structural pattern and glass walkway, is one of Calatrava’s
of three cable-stayed bridges across the River Hoofsvaart
most memorable bridges (refer to photograph on p121).
in Holland; an ensemble of three bridges for Reggio Nell
The 129 metre length, 46 metre span Puente Bach de Roda, l’Emilia in Italy; and the Puente de la Mujer footbridge in
which links the main streets of Bach de Roda and Felipe II, Buenos Aires.
was commissioned for the 1984 Barcelona Olympics. It has
The C-shaped Chords Bridge in Jerusalem was designed
two pairs of steel bowstring arches that carry a car deck
by Calatrava as part of the light rail mass transit system. It
and pedestrian paths on either side, each having a lighted
is extraordinarily beautiful and described by Cruickshank
lookout. These arches sweep obliquely over railway tracks
as “the quintessence of cable-stayed bridges”. The cables
either side of the roadway, that itself arches upward.
radiate from a 118 metre tall pylon, and the associated
The outermost of each pair inclines inwards sharply to
cantilever span on a curvature is 160 metres. This bridge,
join the others at the apex, allowing the creation of the
while controversial for many in the context of the urban
pedestrian paths, which are in turn flanked with rows of
fabric of Jerusalem, is equally appreciated for its symbolic
suspension rods that have the effect of slender, leaning
character being associated with David’s Harp.
steel colonnades.

134 Transport for NSW

Other recent bridges and their Ponte 25 De Abril (The Tagus),
designers and builders Lisbon, 1966–99

The Millau Viaduct, France, 2005

This astonishing piece of engineering is a perfect example
of the engineer and architect working in harmony. It is
the result of a competition in 1993 in which the British
architect Lord Norman Foster (Foster and Partners)
worked with Michelle Virlogeux and engineers EEG,
Sogelerg and Serf. The bridge is part of the route from
Paris to Barcelona by crossing the River Tarn Gorge. Built
to incredible precision, the bridge has no slung cables
between the towers, such as the Golden Gate, but straight
cables from the tower to the deck in a fan fashion. The
pylons sit above the deck on separately erected columns
below. The cable-stayed, mast-supported structure,
although mighty in scale and classed as a contemporary
mega-structure, is delicate and transparent with an
optimum span of 342 metres between columns which
range in height from 75 to 245 metres. The main masts
rise a further 87 metres above the superbly slender road
deck. Each column splits into two thinner more flexible
columns below the roadway, forming an A-frame above
deck level. Their tapered form expresses their structural
loads but also minimises their profile. The Millau, in spite
of its scale, has a delicate silhouette in the landscape.

An excellent design example in the retrofitting of an

existing bridge is the Ponte 25 de Abril, also over
Lisbon’s Tagus River. The original bridge, designed to
carry cars and trains, resulted from a design competition
that was won by American Bridge Company/Steinman
Boynton and Gronquist (London and New York). At the
time of its building it became a landmark of the city.

Bridge aesthetics135
Firstly, it was the longest bridge in Europe being 3200 was reconfigured to carry six lanes of traffic. Together
metres long with a span of 1013 metres and had the with careful rehabilitation work on the existing bridge, the
world’s longest continuous truss, the deepest pillars ever design integrity and image of the bridge was affected
built and the highest towers in the world. Secondly, it is as little as possible. The form and proportions of the
a very distinguished bridge, with a simple, unified design completed bridge as a whole are an expression of all the
and colouration that associates it with the iconic Golden forces intrinsic to a bridge of this nature.
Gate San Francisco Bridge. The metal structured de Abril
was later expanded in 1999 by Steinman; Parsons; DSD
The Kylesku Bridge, Scotland
Dillinger Stahlbau GmbH to accommodate additional
traffic generated from new surrounding land development. This narrow, curved pre-stressed box-girder bridge, by
Especially interesting is the fact that the expansion was Ove Arup and Partners, in the north-west of Scotland,
done within the existing structure. The solution was complements its spectacular site. It is cantilevered from
to reconfigure the bridge by installing additional main the pairs of V-shaped sloping piers which hold the slender
cables and suspenders so that a new lower deck could deck like the finger and thumb of two hands, thereby
be constructed inside the trusses beneath the existing giving the structure a lightness of form. The bridge is
deck. The existing structure was then transferred to the further dramatised by the curved road alignment of the
new, lower deck, following which the original upper deck bridge and its approaches.

Kylesku Bridge, Scotland

136 Transport for NSW

The Gateshead Millenium Bridge, The Puente La Barqueta,
Newcastle, UK, 2001 Seville, 1989

Photo by Hill Thallis

This bridge, by Juan Jose Arenas architecture, Marcos
The ‘winking eye’ tilt design is the result of a competition Panteleon engineers and Auxidesa, is a 170 metre long
won by Wilkinson Eyre Architects and engineers Gifford to traffic and pedestrian metal bridge that crosses the
create a direct link for pedestrians and cyclists across the Guadalquivir River. La Barqueta is of interest as an
River Tyne between a new arts centre at Gateshead and integrated piece of architecture and engineering that
the quayside on Newcastle’s city centre. Its chief architect links the historic city centre with the island of La Cartuja.
was in fact Santiago Calatrava and it was over seen by Its solidity as an urban artefact is offset by its simple lines
his brother Miguel Hernandes Calatrava. Over and above and transparency that results from the use of a group
functionality it was intended to provide a visual symbol of supporting cables that run from a single arch. The
of the city’s regeneration—to give Gateshead an iconic bridge cables are distinguished by their red colouration.
structure for the new millennium. The design achieves It has a simple, conventional parapet rail. Where the arch
both objectives with extraordinary skill and imagination meets the ground, it divides into two, to form a pair of
and has been described by James Dyson, the industrial pillars. These pillars, as well as being structural, frame the
designer, as ‘perfect’ and ‘beautiful’ because ‘you can approach to the bridge. The embankments on either side
see exactly how it works’ (Cruikshank, pg185). As well as are beautifully landscaped with paving and planting.
‘epitomising perfect structure’ the design provides a new
sense of place and identity through its form, relationship
to the river pedestrian connections, use of contemporary
technology and materials, colour and lighting. The
curvilinear bridge is shaped by a pair of parabolic steel
arches spanning 105 metres between concrete islands
from which the cable stays are hung. It can be rotated
vertically around its longitudinal axis up to 40 degrees
to allow shipping to pass. Six hydraulic rams rotate
the bridge back on large bearings. Wilkinson Eyre, in
partnership with Flint Neil Engineers, are also responsible
for a very different but equally imaginative concept for
the proposed three-way single-structure Ribble Way
Footbridge in Lancaster that will cross two rivers.

Bridge aesthetics137
Appendix B: Bridge Terminology
A problem that can hamper meaningful debate between designers is consistency of terminology. The following annotated
photographs set down the terminology used throughout these guidelines and should be understood by all involved in the
bridge design process.

Superstructure—that part of the Transition pier—pier  offit—undersurface

S
structure which supports traffic and separating different of the bridge
includes deck, slab and girders. superstructure types. superstructure.

Substructure—that part of the structure, Pile cap—a concrete member that

ie piers and abutments, which supports the connects the base of the pier column to
superstructure. the top of the piles.

Pile—a slender member driven into or formed

in the ground to resist loads.

Deck—bridge floor directly carrying

traffic loads.

Traffic barrier

Î Parapet—low protective concrete wall at edge

of the bridge deck.

Î Railing—on top of the parapet to restrict

lateral movement of traffic.

138 Transport for NSW

 Pier—a part of the substructure Safety / throw screen—
which supports the superstructure protective fence to deter the
at the end of the span and which launching of objects from the
transfers loads on the superstructure bridge onto the highway below.
to the foundations.

Main span
End span between piers End span

Span—the distance between points of Abutment—the part of the structure which

support (eg piers, abutment). supports the superstructure at its extremities.

Spill through abutment—an abutment which allows

fill to form a slope into the end span rather than
retaining it with a face wall.

Plank bridges—bridges which

utilise a prestressed concrete plank
deck system.

Planks—structural bridging units.

Bridge aesthetics139
 Haunch—an increase in depth of the
superstructure adjacent to the piers
to withstand the increased bending
moments on the beam.

Parapet—(outer face). Bearing—a connection that controls the interaction of loads and
movements between parts of the structure, usually the superstructure
and the substructure.

Pedestrian barrier—a railing placed Safety screen—a fence to Beam / girder—load bearing
on the edges of a bridge structure for protect road users below member which supports
pedestrian safety. the bridge. the deck.

Pier cap / headstock—a component which transfers loads from the superstructure to the piers. It is the
wide top part of the pier that supports the bearings and the bridge superstructure.

140 Transport for NSW

Steel lattice work, hanging rods and maintenance gantries make for a
beautiful composition when viewed from the multimodal Sydney Harbour
Bridge deck. There has been a craftsman-like strengthening of the arch
cables delicately threaded through the existing supports. In this picture
the strengthening project is under construction.
Bridge aesthetics141
Appendix C: Pedestrian Bridge Design
Standard For Built Up Areas
Introduction Description
Pedestrian bridges are often required over busy arterial The standard pedestrian bridge design is a tied arch
roads to provide safe connectivity for pedestrians and superstructure supported by lift shafts which have a
cyclists and to improve traffic efficiency by avoiding glazed front for security. The tied arch has been selected
the need for traffic lights. These bridges are often as it reduces the height of the lifts and the stairs
in built up areas such as town centres, where space compared to a traditional girder design. It also has a
is limited for large ramps and the appearance of the proven aesthetic acceptability for communities being a
bridge is an important customer consideration. In simple, elegant and distinctive form. The absence of long
these built up situations there is considerable value in ramps reduces the bridge footprint, its capital cost and
utilising a standardised bridge design so that there is its physical and visual impact. In addition to these main
surety in quality for the community; confidence in costs; elements the design incorporates the following features
and agreement on features such as lift provision and and characteristics:
advertising accommodation.
Î The bridge can accommodate new digital advertising
This bridge standard is intended for built up areas where within the arch.
space is limited, such as town centres. Where space is
Î The lift has been sized so that it can accommodate up
more available, or in rural situations, or in locations where
to 16 passengers as well as scooters and bicycles.
a long span is needed, such as motorways and rivers,
pedestrian bridges are likely to require a more context Î The open ends of the bridge deck allow district views
specific design approach. and provide a more pleasant user experience.

Î A roof over the bridge span protects users from

the elements.

Î The bridge can be customised to help create a unique

identity through the finishes and colours of the lift
shafts, the arch and roof structure as well as in the
landscape design. Feature lighting can be used to
create a distinctive night time effect.

142 Transport for NSW

 6 7 9 3 4 1

12 11 10 5
5

9 4 3

5 10

10 12

11

LEGEND
1 8 4 5 6
1
LIFT TOWER WITH SELECT PATTERN & COLOUR FINISH
2 GLAZED FACADE (PREFERABLY FACING EAST OR SOUTH, CONSIDER TINTING)
3 TIED STEEL ARCH
4 WEATHER PROOF CANOPY WITH LIGHTING
5 STAIR
6 STAIR BALUSTRADE
7 SECURITY SCREEN
8 BRIDGE & LIFT LANDING
9 ADVERTISING SIGN
10 FOOTPATH
11 CARRIAGEWAY
12 MEDIAN

Bridge aesthetics143
Implementation
Expert bridge design and urban design input is need in the siting of the bridge, its visual impact assessment, the
landscape design to help fit the bridge into its setting and the customisation and tailoring of the bridge structure to fit its
location. The Urban Design Roads and Waterways team must be contacted in the use of the bridge standard and urban
designers on the Registration Scheme for Construction Industry Contractors must be used in the design team.

144 Transport for NSW

One of the few ocean bridges in the world, the Sea Cliff Bridge
north of Wollongong is a seamless combination of incrementally
launched and balanced cantilever structures that follows the
curvature of the coastline to dramatic effect.
Bridge aesthetics145
Appendix D: References and
Further Readings
Guidelines Background to bridge aesthetics
Aesthetic Bridges Users Guide Aesthetics and economy in bridge design
Maryland State Highway Administration, 1987 C. Menn
Proceedings of 11th Congress on Prestressed Concrete
Beyond the Pavement: RTA urban design policy,
Deutsche Beton Verein, Hamburg, 1990
procedures and design principles
PN204, Roads and Traffic Authority, NSW Aesthetics and Philosophy in Bridge Design in Japan
August 2019 Ewa M. Kido
Journal of Architectural Engineering
Design Manual for Roads and Bridges
March 1997
Vol 1 Section 3 Part 11
The Design and Appearance of Bridges Highway Aesthetics in the Design of Precast Prestressed Bridges
Agency, 1994 Manuel Buron Maestro, David Fernandez, Ordonez
Hernandez and Candido Overjero Sanchez
Developing guidelines for bridge aesthetics
Concrete International v.17 n.8
around the world
Transportation Research Board, Washington DC Aesthetic considerations for Urban Pedestrian
Bridge Design
The Aesthetics of Bridges: A reference Manual for
Yang and Huang
Bridge Designers
Journal of Architectural Engineering
Department of Main Roads, NSW, 1987
Vol. 3, Issue 1.1997
Towards a more sustainable RTA: RTA’s Environmental
An eye score: the right bridge lighting wins points with
Sustainability Strategy
the public and the environment
Roads and Traffic Authority, NSW
Abrahams and Lutkevich
June 2010
Roads and Bridges
Brief Dutch Design Manual for Bicycle and February 2004
Pedestrian Bridges
Aesthetically Notorious Bridges
IPV Delft
M. P. Burke
2015
Civil Engineering, 1998

Architecture or Engineering?
Jim Eyre
Wilkinson Eyre Architects, UK, 2010

Bridges: aesthetics and design

Fritz Leonardt
MIT, 1984

Bridges: a study in their art, science and evolution

Charles S. Whitney
W.E Rudge, New York, 1929

Bridge Aesthetics: World View

Martin P. Burke Jnr.
Journal of Structural Engineering
August 1995

146 Transport for NSW

Bridges: the science and art of the world’s most Objectivity and the Aesthetic Design Process
inspiring structures Ernst H. Petzoid III and Brian E. Carlson
David Blockley
Relativity and optimization of aesthetic rules
Oxford University Press 2010
for structures
Bridgescape—the Art of Designing bridges T. P. Tassios
Frederick Gottemoeller 11th Congress of IABSE
John Wiley & Sons, Inc. 1998 Zurich, 1980

Bridge meets aesthetic and structural criteria Santiago Calatrava: The Poetics of Movement
American City and County Alexander Tzonis
Vol. 115, Issue 14, October 2000 Thames and Hudson, 2001

British Methods for Improving Sensitivity of Bridge Skye Crossing—a Design Build Finance and
Designers to Good Bridge Appearance Operate Project
Jon Wallsgrove Civil Engineering 120
Transport Research Record 1549 May 1997

Context Sensitive Design—An Approach to The aesthetic appearance of bridges

Bridge Aesthetics Fritz Leonardt
Office of Bridges and Structures 11th Congress of IABSE
Minnesota Department of Transportation Zurich 1980

Contextual and Urban Design Considerations in Design The Appearance of Bridges and Other
of Major Bridges Highway Structures
Miguel Rosales and Frederick Gottemoeller The Highway Agency
Transport Research Record, Paper No.5 B0023, 1969 HMSO 1996

Form and Forces: Designing efficient, The golden proportion and its use in the aesthetic
expressive structures design of bridges
Edward Allen, Waclaw Zalewski, Boston Structures Group R. Yee
John Wiley & Sons, Inc. 2010 Civil Engineering International
February 1998
Golden Rules of Bridge Design
Holger Svensson Who Cares About Elegance?
Leonhardt Andra and Partner Bruce J. MacLennan
1997
Innovation and Aesthetics
Frederick Gottemoeller and Alicia Buchwaiter
International Bridge Engineering Conference
August 1995

Bridge aesthetics147
Selected publications on bridges
Achievement in road design Recent pedestrian oriented bridges in Auckland:
Roads and Traffic Authority Connection and reconnection
April 2009 J. Wells
Austroads 8th Bridge Conference: Sustainable Bridges,
All About Bridges
The Thread of Society Proceedings Vol.1, p445-464,
Department of Main Roads, NSW, undated
November 2012
Bridge Aesthetics Around the World
Restoration of the Historic Tharwa Bridge
Subcommittee on Bridge Aesthetics,
J. Hilton, M. Prelog, S. Millie
Transportation Research Board
Austroads 8th Bridge Conference: Sustainable Bridges,
National Research Council, Washington D.C. 1991
The Thread of Society Proceedings Vol.1, p477-493,
Bridge Aesthetics: Design guidelines to improve the November 2012
appearance of bridges in New South Wales
Robert Maillart: Builder, Designer, and Artist
Gareth Collins, Raeburn Chapman
David P. Billington
Austroads 8th Bridge Conference: Sustainable Bridges,
Cambridge University Press, 1997
The Thread of Society Proceedings Vol.1, p185-201,
November 2012 Spanning Two Centuries, Historic Bridges of Australia
Colin O’Connor
Bridge Architecture and Design
1985
Chris van Uffelen
Braun, 2010 The Architect and the Bridge
Cathy Murphy
Bridges
Structural Engineer, October 2000
David Miller
Chartwell, 2006 The Architecture of Bridge Design
David Bennett
Bridges
T. Telford 1997
Martha Torres Arcila
Atrium 2002 30 Bridges
Matthew Wells
Bridges: Three Thousand Years of Defying Nature
Laurence King Publishing Ltd
David J. Brown
2002
MBI Publishing, 2001
Visual Engineering
Bridging Sydney
Sutherland Lyall
Caroline Mackaness
World Highways
Historic Houses Trust of New South Wales
March 1994
2006

Brucken/Bridges
Fritz Leonhardt
MIT, 1984

Calatrava: Complete Works 1979–2007

Philip Jodido
Taschen

148 Transport for NSW

Falcon Street Pedestrian Bridge
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