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Foreword

The Ohio Department of Transportation (ODOT), believing that transportation


projects can be attractive as well as safe and efficient, offers these Aesthetic Design
Guidelines for use by the professionals who plan, design and construct Ohios
transportation facilities.
Ohio s mature transportation system offers opportunities for incremental change.
Just the use of patterns, colors, textures or relief can create a more attractive
project.
The guidelines provide direction, education and support for all who contribute to
the transportation system. They describe a process that integrates various
viewpoints to produce a safe, sensible and cost-effective system.
Ultimately, these guidelines are for the people of Ohio and the traveling public who
deserve facilities that are not only useful, but also visually pleasing. The result will
be a transportation system that is a thoughtful blend of technical expertise, and
attention to how things look, fit and feel.

Gordon Proctor
Director, Ohio Department of Transportation

Acknowledgments

The Ohio Department of Transportation in cooperation with the Federal Highway


Administration, the Ohio Arts Council, the Ohio Historic Preservation Office, Burgess
and Niple, Limited and Rosales Gottemoeller and Associates developed these
guidelines. The following aesthetic programs were referenced for ideas, direction
and examples of best practices:

Arizona Department of Transportation


Maryland Department of Transportation
Minnesota Department of Transportation

Table of Contents
Foreword
Acknowledgments
Introduction

The Basics

Aesthetic Design Process


Corridor Types
Gateway Corridor
Urban High Density Corridor
Urban Low Density Corridor
Suburban Corridor
Rural Corridor
Scenic Corridor

Corridor Vision
Establish the Vision
Potential Design Strategies

Community Participation
Principles
Community Participation Plan
Community Participation Techniques
Results
Checklist

Building Blocks
Pattern, Color, Texture, Relief
Landscape
Retaining and Noise Walls
Bridges
Lighting
Signing

Aesthetic Principles
Visual Design Elements
Aesthetic Design Qualities
Aesthetic Corridor Design Objectives
Aesthetic Perception on the Highway
Aesthetic Design Hierarchy

Summary
References

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Introduction
ODOTs Aesthetic Design Initiative, was created to improve the aesthetic appearance of
transportation projects. ODOT believes that the citizens of Ohio deserve an aesthetically pleasing
interstate system, as well as one that is safe and cost effective. Considering safety, cost, and
aesthetics on every project will become the way ODOT does business.
Transportation projects often stir debate among the public and major policy makers. Ohios
mature transportation system allows for incremental changes as we update our system. The use
of patterns, colors, textures or relief can make a projects appearance more attractive and
compatible with local surroundings at little or no additional cost.
The overall goals of these Aesthetic Design Guidelines are to promote:

A cohesive, uncluttered appearance;

The consideration of patterns, colors, textures or relief; and

The consideration of aesthetics as inherent in the development of transportation projects.

The following guidelines are intended to provide direction, education and support to all who
contribute to Ohios transportation system. These contributors include ODOT employees,
consultants, contractors and the general public. They include concepts for the design of physical
features and for community involvement.
The guidelines stem from two principles:
The basic unit of design is the corridor:
Travelers see the corridor, the highway in its setting, before they see the parts (bridges, lights,
and landscape features). This experience is a visual success when all the parts fit and are
compatible with their surroundings.
A unified design for a corridor requires a corridor vision. The vision integrates the visual and
functional goals of the project. It inspires and unifies design decisions.
Successful projects use interdisciplinary teams:
Any successful project encompasses the efforts of a number of disciplines, each area of expertise
contributing to the overall quality and character of the finished project.
The guidelines provide techniques and building blocks that will assist project managers and all
members of the design team in creating more attractive highways.
Improved safety is and will continue to be a critical goal of the departments program. These
guidelines are not intended to compromise the safety of travelers or neighbors.

Aesthetic Design Guidelines


Ohio Department of Transportation

Introduction
Page 7

The Basics

Existing. Ohio Highway. I-71, Columbus.

Rendering of proposed aesthetic treatments.

Aesthetic Design Process


Many ODOT projects provide opportunities for
incremental aesthetic changes. The appropriate use
of patterns, colors, texture, relief and pleasing
proportions make a road, bridge or landscape
attractive. These elements can be integrated into the
existing transportation system in Ohio by following
these basic techniques:
Evaluate the Projects Needs
The projects in ODOTs annual program cover a wide
range, from culvert and bridge deck replacements to
major reconstructions and widening. All have varying
degrees of potential to change the appearance of
Ohios highways and the opportunity for aesthetic
improvement. That opportunity depends on the scope
of the project, the nature of its surroundings, and the
interests of nearby communities. The first step is to
use the following checklist to evaluate the project. It
is not all-inclusive but intended as a guide. Other
questions will suggest themselves depending on the
project and its location.

Is the facility visible to the traveler? Is it a


significant part of the visual scene?

Are there neighbors with significant views of the


facilities? How many?

Are there other non-highway activities (changes)


in the locality which would affect the visibility or
visual prominence of the project?

Aesthetic Design Guidelines


Ohio Department of Transportation

Has a corridor vision already been established?

Are there local or regional standards that should


be applied to the project?

Is the project the initial phase of something bigger?


Is this the time to create a vision for the corridor
that would support this and future projects?

It is important that this evaluation and the development


of an aesthetic strategy be done early in the planning
stages. The shapes and sizes of the largest elements
dominate the appearance of a project: the pavement
and structures, side slopes and vegetation. The
desired aesthetic appearance can be achieved
through the use of pattern, color, texture or relief.

Illustration depicting the largest project elements: pavement ribbon, side


slopes, vegetation and bridge structures. I-270 Columbus.

The Basics
Page 9

A Gateway Corridor into downtown Cleveland.

Identify the Corridor Type


The basic unit of design is the corridor. The goal of
the design is to create a unified look within the corridor.
To apply the Guidelines, the project manager must
identify the corridor type.

Share the vision for the project with the community.

Secure All Needed Skills

Develop a Vision for the Project

The evaluation of the project will indicate the skills


that are needed for the interdisciplinary team. The
team will integrate the skills and viewpoints of
engineers, as well as those of landscape architects,
architects, and artists needed to achieve improved
visual quality. The teams activities will depend on the
scope and needs of the project.

The work of the interdisciplinary team and the


community participation process yields a vision that
integrates the visual and functional goals of the project.
It may reference abstract concepts such as community
connections or pride or a concept specific to the
heritage or culture of the locality.

The goal of the interdisciplinary team is to ensure that


varied points of view and expertise are successfully
incorporated into the project. An integrated solution
is possible when all of these individuals have the
opportunity to offer their expertise and distinct
viewpoints. They will work together to establish project
direction and make significant decisions. Developing
team consensus is important when identifying
aesthetic opportunities and selecting the final concept.

The documented vision will be used as a guide for


the remainder of the project.

Get the Community Involved


The people who live and work there best recognize
the values and constraints of their community. On
highly visible projects the members of the community
will be partners in the development process. They
will identify, with the designers, the communitys
important features and introduce their culture and
heritage into the process.
The Basics
Page 10

The concept vision will inspire everything that follows. Proposal for the
I-70/I-75 interchange. Dayton.

Aesthetic Design Guidelines


Ohio Department of Transportation

Corridor Types
To simplify the development of design concepts, these
guidelines identify six corridor types; Gateway, Urban
High Density, Urban Low Density, Suburban, Rural,
and Scenic. Each corridor has distinctive
characteristics. The corridor definitions, design

objectives, and sample building blocks are


summarized in the sections that follow. Refer to
reference section in the L&D Manual Volume One, for
guidance on landscaping.

Gateway Corridor

Suburban Corridor

Urban High Density Corridor

Rural Corridor

Urban Low Density Corridor

Scenic Corridor

Aesthetic Design Guidelines


Ohio Department of Transportation

The Basics
Page 11

Gateway Corridor

View of downtown Columbus from I-70 East

Characteristics

Sample Building Blocks

A corridor leading into a city from its airport, a corridor


which forms a gateway to a downtown, a major
interstate crossing that serves as the entrance to a
region or a section of highway at a state border
crossing are all examples of a gateway corridor.

Highway elements in Gateway Corridors deserve a


high level of aesthetic treatment. These objectives
can be achieved with attention to bridges, walls,
signing and lighting features. The goal is to create a
clean, memorable and unified look that is consistent
throughout the corridor.

Objectives

Create a unified, memorable look to symbolize


the travelers arrival in a specific place.

Ensure views of skyline, scenic elements, or other


features.

Design bridges, landscaping, and other elements


to recall the heritage of the area.

The Basics
Page 12

Use textures and patterns that are memorable,


repeatable, and support the vision. Unity can be
maintained through the repetition of similar shapes,
materials and colors. In a Gateway Corridor using
colors for specific limited elements can be an effective
way to create memorable accents specific to the
corridor.
Make signing and lighting uncluttered and consistent.
Update signing that has deteriorated so that it is clear
and easy to read. Incorporate the concept of sign
spreading to help achieve this goal.
Aesthetic Design Guidelines
Ohio Department of Transportation

Urban
Urban High
High Density
Density Corridor
Corridor

I-71 Cleveland.

Characteristics
Urban high density corridors have closely spaced
interchanges and ramps (one-half mile or less) with
frequent overpass/underpass structures and retaining
walls. The right-of-way is closely lined by buildings and
adjacent streets.
Objectives

Simplify the drivers view.

Create clues for driver decision-making.

Screen distracting views.

Sample Building Blocks


There are many signs, lights, walls, bridges and
landscape elements in the drivers view. The goal is
to reduce the number of elements, then to simplify
and coordinate the design of those that remain.
Since several bridges will be seen at the same time,
coordinate their design. Keep the shapes of retaining
and noise walls as simple as possible.
Aesthetic Design Guidelines
Ohio Department of Transportation

Visually unify the pattern, color and texture of the


various elements. For example, all concrete surfaces,
whether bridge parapet, abutment, noise wall or
retaining wall, can utilize the same low-key color.
Another color could be used on all metal surfaces as
an accent. A horizontal band of texture could be
repeated across retaining walls, noise walls and
abutments to tie them all together. Use patterns and
textures that are geometric and repeat in ways that
simplify rather than complicate the scene.
From the neighborhoods side, use trees and shrubs
with the fencing to screen views of the highway and
establish an edge for adjoining properties. Use
plantings, fences and walls to complement the cityscape. Noise walls can be colored and textured to
recognize local heritage.
Make signing and lighting uncluttered and consistent.
Update signing that has deteriorated so that it is clear
and easy to read. Incorporate the concept of sign
spreading to help achieve this goal.
The Basics
Page 13

Urban Low Density Corridor

The rhythm created by the cobra light fixtures clutters this urban low
density corridor. The mismatched abutments create disunity and give the
bridge an unbalanced look.

Characteristics
Urban low density corridors have wider-spaced
interchanges and ramps (one mile or more) and
occasional overpass/underpass structures and
retaining walls. Adjoining development includes a
significant amount of open space around freestanding
buildings.
Objectives

Simplify the drivers view.

Create clues for driver decision-making by


opening views to adjoining development.

Screen distracting views.

The Basics
Page 14

With a few incremental changes this corridor now has an uncluttered and
unified look.

Sample Building Blocks


This corridor type allows for more variety than the
urban high-density corridor. To maintain the overall
unity of the corridor, coordinate the colors, textures
and patterns of the highway elements.
Use plantings to screen views of the roadway from
the neighborhoods or open up and frame views to
adjoining features, such as a college campus, that
would give travelers a sense of place.
Make signing and lighting uncluttered and consistent.
Update signing that has deteriorated so that it is clear
and easy to read. Incorporate the concept of sign
spreading to help achieve this goal.
Aesthetic Design Guidelines
Ohio Department of Transportation

Suburban Corridor

I-71 North of Cincinnati.

Characteristics

Sample Building Blocks

A suburban corridor has widely spaced interchanges


(two miles or more) and few overpass/underpass
structures or walls. The right-of-way is lined by office
and industrial parks or by residential backyards.

The spacing of elements allows for more variety in


design. Planting design can be free-flowing. Contoured
landforms can be used where space allows and earth
is available. Maintain unity through the repetition of
similar patterns, shapes, colors and textures in ways
that complement the surrounding area. These can help
establish the sense of place.

Objectives

Open views of attractive areas for travelers.

Screen unattractive views.

Maintain overall unity.

Aesthetic Design Guidelines


Ohio Department of Transportation

Make signing and lighting uncluttered and consistent.


Update signing that has deteriorated so that it is clear
and easy to read. Incorporate the concept of sign
spreading to help achieve this goal.
The Basics
Page 15

Rural Corridor
Color
Highway elements should be cohesive and painted
using the standard ODOT palette.
All concrete surfaces in conjunction with epoxy
urethane concrete sealers:
Federal Color No. 17778 Light Neutral

I-71 South of Jeffersonville.

Superstructure: All steel, metallic surfaces, girders and


beams.
Federal Color No. 10324 Dark Neutral
Federal Color No. 14277 Green
Federal Color No. 15526 Blue.
For noise walls use these colors:
Federal Color No. 17778 Light Neutral
Federal Color No. 10324 Dark Neutral
Federal Color No. 16515 Grey.

Characteristics
Rural corridors are characterized by widely spaced
interchanges, with the overpass/underpass
structures mostly at interchanges and infrequent
retaining walls. The view is established by
neighboring fields, woods, and farmsteads.

For maximum aesthetic impact, ensure that coverage


of the surface is uniform and complete. For example,
if a bridge structure is to receive an epoxy sealer, then
treat all exposed surfaces piers, abutments, wing
walls, and parapets.
Do not leave areas in a condition that gives an
incomplete or inconsistent appearance.

Objectives

Create points of interest by opening views.

Reinforce existing landscape features.

Maintain overall unity.

Sample Building Blocks


In rural areas use these standard elements
Landscaping
Trees and shrubs can be utilized to blend with
existing vegetation. Contoured landforms can be
used where space is available in interchange areas.
Signing
Make signing and lighting uncluttered and
consistent. Update signing that has deteriorated
so that it is clear and easy to read. Incorporate the
concept of sign spreading to help achieve this goal.
The Basics
Page 16

I-71

Aesthetic Design Guidelines


Ohio Department of Transportation

Rural Corridor
Texture
Use texture to create patterns and to reduce the mass
of abutments, piers and noise walls. Texture can also
be used to add visual interest by providing subtle
surface variations and shading.

textures. Always use a given material, color or texture


the same way within a structure.
Below are three examples of design unity using bridge
elements for a rural corridor.

The following textures are recommended for use in


rural corridors.

Rustic Ashlar

Vertical Ribbed (fin)


variety based on spacing, relief, finish

Bridge design using standard elements.

Concrete with Exposed Aggregate Finish.


A roughened surface finish.

Bridge design using geometric elements.

Bridge Elements
The primary bridge elements are the piers, parapets
and abutments. When putting together these elements
the primary objective is to create the appearance of
unity. Unity is created through the similarity of forms,
shapes, colors, and textures used in a design.
Choose shapes from the same family. Faceted piers
should be used with faceted parapet design; rounded
piers designs should be used with rounded parapets.
Minimize the number of different materials, colors, and
Aesthetic Design Guidelines
Ohio Department of Transportation

Bridge design using rounded elements.

The Basics
Page 17

Scenic Corridor

SR-78 in Morgan County.

Characteristics
Scenic corridors are those that have received state or
national scenic byway designation will include intrinsic
qualities of varied significance. The aesthetic vision
for a scenic byway can enhance the intrinsic qualities
that have been identified in the corridor management
plan.
Objectives

Enhance the intrinsic qualities that make the


area scenic.

Ensure views of scenery.

Design landscaping and features to recall the


history or qualities for which the area is known.

The Basics
Page 18

Sample Building Blocks


Keep colors, textures and patterns consistent with the
scenic features of the area. Maintain unity through
the repetition of similar shapes and materials.
Plantings can be used to open up and frame views to
adjoining features, such as a historic site or a river,
that would give travelers a sense of place.
Make signing and lighting uncluttered and consistent.
Update signing that has deteriorated so that it is clear
and easy to read. Incorporate the concept of sign
spreading to help achieve this goal.
Aesthetic Design Guidelines
Ohio Department of Transportation

Corridor Vision

The View from the roadway to the community, Cleveland.

A vision for a transportation project refers to the mental


image used to inspire and unify the design of the
project. The vision integrates the visual and functional
goals of the project. The development of a corridor
vision results in a cohesive, unified design for the
entire length of a corridor.
A community analysis takes two basic factors into
account:

The view from the roadway to the community

The view of the roadway by the community

Understanding how different views influence the


community and its environment is critical in
determining the appropriate corridor vision.

All the elements in this roadway environment reinforce the drivers sense
that he has arrived in a rural corridor.

Aesthetic Design Guidelines


Ohio Department of Transportation

The View of the roadway by the community, Cleveland

The evaluation of the project may indicate that a


corridor vision already exists. If so, extend the vision
into the project.
Every community is unique. Each has a combination
of natural and developed landscapes, history, and
culture. The interdisciplinary team can help the
designer understand and incorporate a communitys
sense of place into the project.
Corridors in urban areas could include an emphasis
on the views toward landmarks and skylines to
reinforce the sense of place. In rural areas, natural
and agrarian environments can be emphasized to
provide a seamless integration of the landscape and
rural roadway. The transition between rural and urban
areas is enhanced by heightening the motorists sense
of arrival into a different environment.

The design of highway elements can enhance the motorists sense of


arrival into an urban corridor.

Corridor Vision
Page 19

The existing cloverleaf interchange. I-70/I-75. Dayton.

Proposed interchange to address capacity issues.

Establish the Vision


The corridor analysis will provide clues to important
concerns, features and aspirations of the community
that could form the basis for a corridor vision. The
public can be enlisted to help formulate it.
The result will be a vision for design strategies that
meet community and ODOT goals.

The design of a specific corridor can reflect the sense


of place of the adjacent community and environment.

Coordinate the design of lighting and signage to


improve the appearance of the highway.

Indigenous plant materials suited to the harsh


roadside environment will create lasting, lowmaintenance planting designs.

Landforms and plantings can be used to highlight


landmarks and vistas which emphasize views to
and from the roadway.

The design of highway elements can enhance the


motorists sense of arrival into a corridor.

Any attempt to replicate specific aesthetic design


solutions in other regions will result in a contrived
appearance. If a theme will work anywhere, it is
probably inappropriate everywhere.

Potential Design Strategies


The interdisciplinary team, using community input and
site analysis, will develop a corridor vision.
Engineering, architecture, landscape architecture can
be blended to create an environment of pleasing visual
experiences that will reflect the vision.

Pattern, color, texture, relief, lighting and plant


materials can create an attractive corridor.
Incorporate pleasing views from the roadway into
adjacent land uses to avoid visual monotony.

An attempt to create this for Ohio highways would look contrived.

Corridor Vision
Page 20

A color scheme that is appropriate for Texas, may be inappropriate for


Ohio.

Aesthetic Design Guidelines


Ohio Department of Transportation

Community Participation
A successful community participation effort builds a
sense of trust between stakeholders and the project
team.

Community Participation Plan


A community participation plan will clearly describe a
structured decision-making process. The community
participation plan may include the following:

The agreed-upon aesthetic vision for the project which illustrates its
eventual appearance should be documented to guide project
development. Single Point Urban Interchange, I-270 at Sawmill Road.
Columbus.

Principles
The goal of community participation is to include all
affected and interested parties. The project team will
learn about the communitys history, interests and
needs, and the communitys stakeholders will learn
about transportation design issues and feasible
approaches to solutions.
In larger projects, especially ones with a high visual
impact where the scope involves major changes to
transportation function, or a high level of public interest

Identify the team member who will serve as the


principal liaison with the community.

List stakeholders.

List community concerns.

List community participation techniques planned


for use in the project.

Define the roles of stakeholders, the opportunities


for input, and how considerations of aesthetic
vision
will be addressed, including methods to
achieve
consensus on an aesthetic vision for
projects where
appropriate.

Confirm or establish the aesthetic vision for the


project with the help of community stakeholders.

Maintain open, timely, and coordinated


communications with stakeholders.

Document input from stakeholders and document


the consensus reached among the project team
and stakeholders regarding the vision.

Involve stakeholders to evaluate the projects


features in terms of achieving the desired
vision.

Community Participation Techniques


Community participation activities provide opportunities for dialogue
benefiting both the project team and community stakeholders.

exists, community participation will increase. In these


cases, the project team will not only seek information
about the project area from stakeholders, but also
involve them in developing the aesthetic vision for
the project.
Aesthetic Design Guidelines
Ohio Department of Transportation

There are many techniques that can be used to gain


public input for a transportation project. A
comprehensive guide is the Federal Highway
Administrations Public Involvement Techniques for
Transportation Decision-making, published in
September, 1996 (Publication No. FHWA-PD-96-031
HEP-30/9-96/(4M) QE). Some recommended
techniques:
Community Participation
Page 21

Computer visualization techniques are a valuable tool to communicate


design concepts to community stakeholders. Dayton Ohio.

Identify and Interview Stakeholders


Talk with local government officials, churches and
synagogues, chambers of commerce, local citizens
associations or representatives of local institutions in
the project area.

distributed. Meeting times can be extended to allow


attendance by interested individuals during standard
work and non-work hours.
Charrettes

Ask questions about other organizations or


individuals that are likely to have an interest in
the
project.

A charrette is a workshop to explore issues, achieve


consensus and make decisions within a specified time.
If the group is large, a portion of the meetings agenda
can be accomplished through smaller breakout groups.
Design the agenda to encourage everyone to freely
share ideas and opinions, as well as to listen to others.

Ask for information about the project area,


community resources and community values.

Results

Solicit Ideas for effective community involvement


techniques.

Identify spokespersons for segments of the


community.

Advisory Committees

The input generated by community participation will


help the team design a project that fits well within the
community context. In cases where community
representatives participate in developing the
consensus on the corridor vision, the project team
can make design decisions with the confidence that
the community will approve of their efforts.

An Advisory Committee can be used to gain input,


discuss project options, and disseminate information.
A manageable size is 15 to 25 individuals. This type
of committee can be used to seek consensus on an
aesthetic vision. It may meet several times during
the course of project development.
Open House Meetings
This type of meeting provides the opportunity for
individuals from the community to talk with team
members, pose questions, and provide feedback.
Stations are provided and staffed with project team
members who have a wide range of skills and
expertise. Photographs, maps and videos may be
Community Participation
Page 22

Charrette meetings provide the public with the opportunity to share ideas.

Aesthetic Design Guidelines


Ohio Department of Transportation

Checklist for Aesthetic Strategy:

This checklist assists in developing an appropriate level of attention to aesthetics.

Is the facility visible to the traveler? Is it a significant part of the visual scene?
What is the adjacent land use? Residential, commercial, recreational?
Is there any planned development?
Is the project the initial phase of something bigger?
Is this the time to create a vision for the corridor that would support this and future projects?
Has a corridor vision already been established?
Are there local and/or regional standards that should be applied to the project?
Who would be beneficial on an interdisciplinary design team?
Has someone talked with interested stakeholders?
Have you developed a community participation plan?
Is landscaping a part of the scope?
Have you considered pattern, color, texture and relief when developing the project?

Aesthetic Design Guidelines


Ohio Department of Transportation

Community Participation
Page 23

Building Blocks
Pattern, Color, Texture and Relief

Color

Our aesthetic response to a scene is a product of all


of the patterns, colors, textures, and relief seen
together. The first step is to understand the
background elements, natural or man made, that the
designer can not control.

The designer may choose colors to blend or contrast


with the surroundings. Either approach is legitimate
if it is consistent with the corridor vision.

It is also important to understand the proportion of


the total scene occupied by the different elements,
and how large a portion of the scene the highway
occupies. A highway seen against a hillside will seem
like a minor element in the scene, and the colors and
textures of the hillside will dominate. A wide urban
highway, on the other hand, may visually dominate
the scene. This type of analysis will give the designers
cues on how to respond to the surroundings.

Elements seen against the sky will seem to blend into


the sky if blue, light gray or aluminum colors are used.
Elements seen against woodlands will blend in best
with greens, dark grays and browns.
Within the highway environment it is generally best if
light, neutral colors (beige, tan, very light gray) are
used for the larger surfaces such as walls, abutments,
and parapets. Colors can be used on smaller areas
like girders, railings, poles and sign structures in order
to create accents. The coordination of colors seen
together needs to be considered, as well as the color
of separate elements seen in quick succession.
Generally colors work best in these conditions if they
are from the same color family.
Generally, a successful color concept is to use light
neutrals for the large concrete surfaces, and pick a
contrasting color for the smaller metal surfaces.
In rural corridors, follow the ODOT color standard. In
urban areas color choices can be influenced by local
traditions, culture or buildings, and can be one of the
outcomes of the community participation process.
A knowledge of color theory is helpful when selecting
colors. Project managers can look to the landscape
architects and artists on the interdisciplinary team to
help with color selection.

It is important to understand the proportion of the total scene and the


different elements

Aesthetic Design Guidelines


Ohio Department of Transportation

This successful concept uses the ODOT color standards for rural areas,
light neutrals for the concrete surfaces, and a contrasting color for the
metal surfaces. US 23 South.

Building Blocks
Page 25

Coordinate the use of colors and textures seen together, as well as the
colors of separate elements seen in quick succession.

Pattern, Texture, and Relief


Concrete is a material used frequently because of its
durability, strength and relatively low cost. Texture or
patterns add visual interest and provide surface
variations and shading which reduce the scale of an
object. Patterns can be geometric, random or
figurative. The choice depends on the design vision
for the project and on the characteristics of other
nearby elements. In general, random and natural
patterns work best when seen against wooded or other
natural backgrounds; geometric and figurative
backgrounds work best when seen against man-made
backgrounds. Textural elements need to be large
enough to create defined shadows that can be read
at highway speeds.

Colors are used to unify the bridge elements in this busy high density
urban corridor. I-75/US 35, Dayton.

Mechanically stabilized earth walls are faced with


repetitive precast concrete units that give the wall a
geometric pattern. Left alone this can become
monotonous. However, options exist for improving
the appearance. One is to vary the thickness of the
elements or create projections on the elements which
create shadow lines and give the wall a unique
appearance. Another is to use form liners to texture
the concrete in ways that either emphasize or hide
the element joints. Either approach is legitimate as
long as it is applied consistently and fits the corridor
vision.

Create projections on the elements which create shadow lines and give
the wall a unique appearance.

Textural elements need to be large enough to create defined shadows that


can be read at highway speeds.

Concrete offers many possibilities for using various


patterns through form liners, form work, panels and
other devices. Form liners can be economically
created for specific projects, but spare forms may need
to be preserved for future maintenance needs. It is
critical to plan construction joints and expansion joints
to fit into the chosen wall surface.
Building Blocks
Page 26

FPO

Use form liners to texture the concrete in ways that either emphasize
or hide the element joints.

Aesthetic Design Guidelines


Ohio Department of Transportation

Deciduous trees and grass enhance this rural corridor.

categories:

Ornamental Trees Use in large masses between


tall trees and roadway edge behind required
setback distances, in layered arrangement with
massedshrubs or groundcovers, to screen and
soften bridge and drainage structures.

Gateway Trees A different variety can be


specified for each community. Gateway trees can
be used along ramps behind required setback
distances in more formal arrangements. They may
also be used as an accent along the roadside to
identify community sections.

The landscaping within this highway satisfies both aesthetic and


maintenance criteria.

Landscape
Landscape elements can improve the appearance of
a transportation project. Appropriate landscaping
within the highway right-of-way can satisfy safety,
aesthetic and maintenance criteria. The landscape
architect on the interdisciplinary design team can
provide expert guidance. The requirements for safety,
planting setbacks, and sight distances can be found
in The ODOT Landscape Guidelines in the Location
and Design Manual, Volume One.

US 33. Bellefontaine.

Evergreen Trees Use behind required setback


distances when year-round screening or snow
fence is desired.

Large Shrubs Use behind required setback


distances for screening along right-of-way fencing,
sound walls, drainage channels.

Medium Shrubs Use in large masses beneath


trees, to back up deciduous plantings, to fill
foreground, or in breaks between groups of trees.
Use on flatter slopes.

Plant Material Categories


Plant materials must be pollution, drought and salt
tolerant. An approved list of tree and shrub species
is available in the Ohio section of the Roadside Use
of Native Plants, FHWA ep-99-014 or the Ohio State
University Extension Offices The Native Plants of
Ohio (Bulletin 865, 1998) and on the web at
www.ag.ohio-state.edu/~ohioline/b865.
Plant materials are divided into the following
Aesthetic Design Guidelines
Ohio Department of Transportation

Building Blocks
Page 27

Low Shrubs Use where plant heights of 18


inches or less are required.

Groundcovers Use in tighter spaces, or where


low, mat-like vegetation is desired.

Accent Plants Singular specimens or small


groups used for color or form, to accent large plant
masses and decision points.

Perennials Flowering perennials planted in drifts


for accent, to signify decision points and gateways
into communities.

Wildflowers Use in large open spaces along


roadsides and medians to provide seasonal color.

Landforms intended to be naturalistic should undulate, stop and start,


and vary in elevation along highway corridors.

Provide access for maintenance purposes.

Punctuate large masses of trees, shrubs, or


groundcovers with appropriate accent plants.

Avoid staccato, monotonous repetition in plant


spacing; vary the number of plants in adjoining
groups; vary the distance between accents.

Incorporate trees and shrubs into a continuous


bed to create a bold, visual statement.

Coordinate the use of color to benefit other colors


used throughout the corridor.

Provide erosion control by establishing root


systems that penetrate and anchor soils.

Evergreens may be planted as a living snow fence


with staggered multiple rows. A general rule of
thumb is that snow can be deposited on the
leeward side of a snow fence over a distance
approximately equal to the height of the snow
fence. Care can be taken to ensure that the snow
fence is planted far enough from the edge of the
pavement to prevent snow from being deposited
onto the roadway.

Landforms can be used to screen undesirable views.

Plant materials in the highway medians add visual interest and assist in
the reduction of headlight glare.

Location Guide
General planting guidelines are:
Planting setbacks and roadside grading must
comply with the Landscape Guidelines in the
ODOT Location and Design Manual, Volume One.

Graduate heights of plant material with distance


away from the primary viewer to open up the
roadway space.

Reserve small groups and more detailed plantings


for use where ramps join arterials or other areas
of lower traffic speeds.

Building Blocks
Page 28

Points of visual interest can be accentuated with variations along the


mainline edge.

Aesthetic Design Guidelines


Ohio Department of Transportation

Plant materials along highway edges reduce the amount of light


spill- over for the corridor residents.

Drive monotony can be lessened by creating views. The combination of


plant materials and landforms help screen undesirable views through
existing roadside vegetation.

Outside Edge
The following guidelines are applicable to planting
areas along the outside edge of the main roadway
and ramps:

Desirable views can be framed or left unobstructed


by using large shrubs in lieu of tall trees to screen
the roadway.

Use of groundcover can be minimal in roadside


areas. Use massed shrubs where low plants are
desired.

Planting designs can be in clusters.

Each continuous mass of trees or shrubs can


contain a single species.

Accent groups can contain from 5 to 15 plants, or


as space allows.

Triangular spacing of massed plants can create a


cohesive drift of plant materials.

Use evergreen plants for visual screening.

Slopes along roadways can be planted with drifts


or masses of ornamental trees and shrubs.

Aesthetic Design Guidelines


Ohio Department of Transportation

Openings created in existing roadside vegetation provide visual interest


for the motorist.

Encourage areas to be left unmowed.

Building Blocks
Page 29

Typical Highway structure.

Proposed. Plant materials can tie the highway structures into the
landscape.

Infield planting may respond differently depending on


whether the main line passes under or is elevated
over the arterial street. All infields at a single
interchange can receive similar or related treatments.
Where the main line passes under the arterial, the
infield is sloped in the direction of motorists moving
at posted speeds. Planting on this slope can be viewed
primarily by highway users and can respond to their
rates of movement.
Building Blocks for interchange planting are:

Strive to integrate bridges with the landscape


through the use of medium or large-scale shrubs
massed near the abutments.

Reserve tall trees for use as gateway statements.


Infield planting can consist of ornamental trees
massed between and above lower plants.

Aim for a simple, uncluttered design statement


that reads well at posted speeds.

Provide tall trees as vertical accents on infield


slopes near the bridge abutments.

Wildflowers can be a positive feature in


interchanges.

Plant materials can be used to acknowledge an important intersection.

Interchanges
Interchange areas serve as focal points and provide
a gateway for motorists entering and exiting the
highway. Where there is excess fill material and
adequate right-of-way, landform design for aesthetic
purposes is encouraged.
Building Blocks
Page 30

Aesthetic Design Guidelines


Ohio Department of Transportation

Standard

Planting can soften the impact of noise walls on the highway


environment.
Plant materials can extend the lines of built elements into the landscape.

Building Blocks for infield grading are:

Building Blocks for planting along walls are:

Consider balance of earthwork in final landform


design.

Plant to minimize wall heights. Shrubs 6 feet tall


at the base of a 10-foot wall will leave only 4 feet
of wall exposed.

Ensure that grading is compatible with surface


drainage concepts.

Ensure that landforms do not conflict with roadway


grading and safety requirements.

Avoid use of plants with pale green or grey foliage


against the face of walls, unless flowers or leaf
texture provides interest.

Use landforms to enhance proposed planting


concepts.

Solid planting is not required; plant materials can


soften visual impact of walls, not necessarily
obscure them.

Consider the relationship of planting on both sides


if taller plants will be visible above the wall at
maturity.

Utilize plants with attractive forms or branching


habits when planting in front of taller walls.

Use vines for accent only, or in very tight spaces


that preclude the use of other plants.

Building Blocks for an elevated main line are:

Plant to minimize visual impacts of the elevated


main line on the surrounding community.

Choose gateway trees to minimize the scale of


an elevated roadway and associated structures.

Walls
Planting along noise or combination walls may be
different on the highway side as opposed to the
community side. Where facing the highway, wall-side
planting can be an integral part of the roadsidelandscaping concept.
Retaining walls may occur through segments of belowgrade highway. Planting may be done in front of these
walls to reduce apparent heights, or behind them for
a cascading effect.
Aesthetic Design Guidelines
Ohio Department of Transportation

Plant materials can tie different elements together to create a unified


appearance.

Building Blocks
Page 31

Good. Noise wall is even and capped.

Good. This terraced wall maintains its cap as it weaves in and out along
the contour of the highway

Retaining Walls and Noise Walls


Retaining Walls and noise walls are major features in
the highway scene. Their appearance deserves
attention because of the impact they have on the
traveler. The goal for noise walls is to attain a
continuous, even, or curvilinear finished top line along
its entire length, avoiding abrupt, right angle steps up
and down. A finished coping or sill treatment along
the top edge of the wall is preferred.
Conscious adjustments in height and profile can make
improvements in appearance without adding
significant cost.
For high retaining walls, steps or terraces between
several lower walls can be considered.

Both the noise wall and the retaining wall use the same stone form liner.

Building Blocks
Page 32

Terraced walls may be considered if the overall cost is reasonable.

Aesthetic Design Guidelines


Ohio Department of Transportation

Noise wall, retaining wall and bridge abutment all come together
seamlessly because the wall maintains a one foot maximum drop in its
terracing.

Concrete noise wall with an exposed aggregate pattern.

Design walls that adjoin bridge abutments as if they


are a continuation of the abutments. The wall should
blend into the abutment without abrupt changes in
pattern or configuration.
For bridges near or adjacent to the wall and parapet,
railing and fencing details should be coordinated.
These elements can have a major impact on the
appearance of the project and the corridor.
Wall Surfaces and Details
Pattern, color, texture, and relief can be used to
relieve the monotony of large concrete surfaces and
to minimize irregularities due to construction and
weathering. Information on their uses can be found
at the beginning of this section.
Good example of plant covering on a wall with an even cap.

Concrete walls with a stone pattern can make a


positive impression. Random ashlar stone pattern is
particularly effective in natural settings. The most
convincing result is obtained when form liners are
designed to camouflage the boundaries between
panels and the pattern repeat.

Concrete wall pattern design based on flight theme.

Aesthetic Design Guidelines


Ohio Department of Transportation

The wall will look better if the top edge is defined by a


continuous cap. This can be accomplished by a
continuous projection which creates a shadow line or
by a strip at the top with a different color and/or texture.
This is particularly important for walls made of
rectangular precast panels because the cap visually
reinforces the smooth line of the walls top edge.
Building Blocks
Page 33

Plant materials can help blend noise walls into the landscape

Proposed noise wall designs for Canton.

Although the top of this noise wall is uncapped the tops are even so it
works well in its suburban corridor, I-75 .

This noise could be improved with even tops, matched surfaces, and
better landscaping. I-71 Cleveland.

A good, clean, evenly capped wall is preferred

Building Blocks
Page 34

FPO

Avoid staggered uncapped walls wherever possible.

FPO

Aesthetic Design Guidelines


Ohio Department of Transportation

Excerpts from the Minnesota Department of


Transportation Aesthetic Guidelines for Bridge Design.

Bridges

Visually analyze the bridge by reviewing


components to determine their visual
characteristics. Then explore opportunities for a
successful design solution.

Integrate all facets of the design, environmental,


structural, functional, and visual, into a solution.

Orchestrate the superstructure and substructure,


major details, and the immediate site environment
so that the bridge is well coordinated and its
composition is visually successful.

Consider all elements of a bridge in relation to the


whole. Also consider the whole bridge in relation
to its location and its contribution to the corridor.

Introduction
Within limitations, the designer can adapt the structure
layout to accommodate aesthetic and other
considerations. Options available to the designer to
modify the layout include adding or eliminating a pier,
moving the abutments, changing the number of beam
lines, using different materials, and modifying the
depth of the structure. Bridge designers deliberately
control the structure layout for visual appeal and other
design aspects.
Aesthetic considerations require all members of the
project team to:

Nomenclature

Guideline Element Abbreviations


Throughout this section and the balance of these
guidelines, specific letters will be used to denote
physical aspects of bridge elements. These aspects
and their representative letters are shown below.
a - dist. bottom girder to toe of slope
B - pier length at cap or top
c - vertical clearance at pavement edge
D - total superstructure depth
h - vertical clearance to the ground
L - total bridge length
p - rail ht., top rail/bot. of deck
t - pier height
b - pier length at base
d - girder depth
l - span length
s - spacing of columns
w- pier width
Aesthetic Design Guidelines
Ohio Department of Transportation

Building Blocks
Page 35

Structure Layout
The number of spans, the orientation of the
substructure units to the superstructure, the location
of the abutments, and the span lengths are all
decisions the designer makes early in the design
process that will have far-reaching effects on the
overall appearance of the bridge. The structure layout
is influenced by geology, hydraulics and hydrology,
economy, right-of-way, roadway geometry and features
crossed. For optimum appearance the designer will
also consider functional clarity, scale, proportion, order
and balance of the bridge as seen from the
predominant vantage points. Harmony of proportions
depends upon the relation of the structural mass to
the size and shape of the openings.

A single span structure is the basic bridge. Give


careful consideration to the proportions of the
structure.

Two span structures lend themselves to a freeway


environment, but cause a split-composition when
crossing a stream or ravine.

Multiple span structures with an odd number of


spans will appear visually balanced with an open
space at the center of the bridge.

The designer also considers the impact of the


layout on other bridge components, e.g., the
abutment heights, the vertical and horizontal
geometry, the location of the piers. When the
structure is on a grade placing one end of the
bridge higher than the other, it will look best if the
abutment heights are proportional to the
clearances at the roadway edge.

Substructure should be proportional to vertical clearance

Prestressed concrete beams.

Horizontally curved alignments call for curved


superstructures (curved steel girder or box girder)
because they allow the structure to reflect the lines of
motion and reinforce the structures function. Use of
curved girders on curved superstructures eliminates
the scalloped shadows on straight girders created by
the curved parapet overhang.
Viaduct and Ramp Structures
Developing the structure layout for long bridges or
viaducts and ramps requires consideration of the
vertical geometry, the height of the bridge, and the
general outline of the topography. Because
pronounced valleys are rare in Ohio, the
superstructure will tend to parallel the ground line
beneath the bridge, thus creating a series of
rectangular shapes.
Building Blocks
Page 36

Steel girders reflect lines of horizontally curved alignment

Aesthetic Design Guidelines


Ohio Department of Transportation

Consider placing slender piers at uniform spacing


for the majority of the bridge.

Near the ends of the bridge the span lengths can


be shortened to mediate the transition to the
abutments.

Strive for span lengths that exceed pier heights.


This will dramatize the vertical relief of the
structure.

Because of the many piers, use of slender piers


will minimize visual obstructions when viewed from
an oblique angle.

If poor foundation material is present, economics may


dictate longer span lengths with fewer footings.

Consider more substantial piers with an odd


number of aggressive span lengths. The
pronounced dimension in this plan arrangement
is the horizontal direction. Again, the span
lengths can be decreased near the ends of the
structure to mediate the transition to the
abutments.

Spans proportional to height.

Skewed Structures
Skewed bridges can create visual obstacles as well
as structural difficulties.
These structures often present design challenges to
deal with: side piers, elongated pier caps, super
elevation effects on piers and abutments, difficult wingwall configurations, and skewed vantage points of the
structure.

Consider the possible effects of piers stacking up


against one another visually. It is important to
minimize the number of piers and keep the pier
shape simple.

Pier width considerations skewed bridges

Once the span to vertical clearance is established (S/h) for the main
span. It should be held constant, when possible, so that the spans
decrease proportionally as the height decreases.

In those instances where the topography slopes or


where a ramp structure descends to a lower elevation,
the superstructure, ground line, and piers will form a
polygon shape of sorts. Under these circumstances,
harmony is achieved when the span lengths decrease
as the structure height decreases. The span lengths
can be modified in such a way that the diagonals
through the openings maintain the same angle of
inclination (repetition of equal proportions). Varying
the span lengths in this fashion produces similar
proportions of each opening (ratio of height to span
length).
Aesthetic Design Guidelines
Ohio Department of Transportation

Column spacing to span length ratio. Two column piers. For multiple
column piers, the total width of the column group (S) should be 1/2 the
span length (I) or less.

Maximize the deck overhang to minimize the width


of the substructure units.

Maintain piers parallel to each other or radial to a


curved superstructure.

Keep the pier shapes as simple as possible.

Consider abutment relocation to eliminate piers.

Consider 1/3 of the pier spacing to be the


maximum width (b) for multiple column piers.
Building Blocks
Page 37

Structure Depth and Proportions


In girder bridges the primary aesthetic goal is to
achieve a slender superstructure while maintaining
continuity and proportions. The structure can appear
as a thin horizontal ribbon running from abutment to
abutment, resting lightly on intermediate piers.
The slenderness of the structure depth may be defined
as the ratio of the girder depth (d) to the span length
(l). It may be expressed either as a fraction or a whole
number, i.e., d:l = 1:20 or l:d = 20. The slenderness
can range from l:d = 10, to l:d = 40, depending on
structural and economic considerations.
One can consider aesthetics in establishing the depth
of girder bridges. Slenderness is desirable up to the
point at which the structure appears fragile and the
superstructure proportions are not commensurate with
the structural task at hand.

Continuous girders will provide a more slender


structure than simple spans.
Steel girders will provide a more slender structure
than precast concrete I-beams.

Concrete slab bridges often look very light


because
of their minimal structure depth.
Pay special attention to proportions when the
depth
of a girder (d) is less than the rail or
parapet height
(p).
Simple span slenderness ratios often fall below l:d =
25, while continuous span slenderness ratios can often
exceed l:d = 25.

Need for proportion (deeper structure depth) controls over need for
slenderness on short spans.

constraints and economy will determine the general


location of the abutments.
The slenderness ratio for single span structures may
vary between l:d = 5 to 30. Depending on the
slenderness and proportions, the structure may appear
heavy and clumsy. Consider the relations among the
opening beneath the bridge, the mass of the
abutments, and the slenderness of the structure depth.

At one end of the spectrum is a bridge with deep


abutments and a short span length. The opening
beneath the bridge will approximate a square, i.e.,
the total bridge length (L) approximately equals
the vertical clearance (c). In this instance, the
abutments provide a large mass, and the
proportions play a more important role than does
slenderness. A lower slenderness ratio, of
perhaps 10, is appropriate for this idealized
situation.

At the other end of the spectrum is a bridge with


shallow abutments and a long span length. The
opening beneath this bridge will form a flat
rectangle. As the span length begins to exceed
the height, the slenderness begins to play a more
important role. Abutment depths can be
proportional to girder depth with shallower
abutments used for shallower depth girders. In
this instance, a slenderness ratio of 20 is more
appropriate for harmonious proportions.

Single Span Structures


The appearance of single span bridges is sensitive to
the appropriate proportions between bridge elements.
Horizontal clearance requirements, structural

Need for slenderness controls over need for proportion on longer spans

Building Blocks
Page 38

Aesthetic Design Guidelines


Ohio Department of Transportation

Two Span Structures


For a two span bridge with shallow abutments, the
designer can strive for a slender superstructure,
perhaps l:d = 24 to 30. For a two span structure with
deep abutments the proportion of the structure depth
to the mass at each end of the bridge becomes
increasingly important. In this latter instance, the
designer can consider a lower slenderness ratio, for
instance l:d = 18 to 22.
Two span bridges have the potential to create an
unresolved duality. The observer has difficulty finding
the central focal point of the structure form. To assist
in the determination of a central focal point:

Maintain a constant depth of structure throughout


the length of the bridge.

Adjust the height of the abutments to keep the


end spans visually balanced.

Slender structure on proportionate piers provides a better appearance


than a deep structure on slight piers.

Increase the mass of the central pier to organize


the composition around this element.
Superstructure Presentation

OR

Increase the visual prominence of the abutments


and superstructure while decreasing the visual
importance of the pier. This latter option
diminishes the duality by returning attention to the
whole structure form. The appearance of the
bridge is reminiscent of a single span structure
with this approach. This approach is
recommended for most structures.

Prominence of abutments and super-structure focuses visual attention of


entire composition

For grade separation bridges, the pier location is


generally determined by the geometry of the roadway
beneath the structure. The pier can support the
superstructure as unobtrusively as possible, allowing
the horizontal lines of the girder and railing to dominate
the view.
Three and Four Span Structures
The design can emphasize the superstructure, which
holds the bridge together by providing a visual link
from abutment to abutment. The harmony and
balance of a three span bridge form is enhanced when
the center span is discernibly longer than the end
spans. Other measures can be used to promote a
graceful structure:
Aesthetic Design Guidelines
Ohio Department of Transportation

The appearance of a bridge is greatly influenced by


continuous horizontal lines that span between the
substructure units. These horizontal lines are
commonly composed of a collection of elements: the
railing, deck fascia, shadow line created by deck
overhang, and fascia girder. Each of these elements
can affect the appearance of the bridge as a whole
and the appearance of the other elements. But
collectively, they define the most prominent visual
aspect of the bridge, the superstructure presentation.
The superstructure presentation determines the visual
slenderness of the superstructure, which is a distinct
determinant of appearance.
A primary aesthetic design objective can be to
minimize the slenderness of the superstructure
presentation. This can be accomplished by minimizing
the structural depth and height of the railing. However,
the designer often has little, if any, control over the
railing height, and the structural place limits on the
structural depth. Other visual techniques can be used
to reduce the apparent slenderness of the
superstructure presentation. These techniques include
use of color to attract or detract attention, emphasizing
horizontal lines, and contrasting the intensity of light
on bridge elements.
The shadow cast on the fascia girder by the deck
overhang diminishes the prominence of the fascia
girder by visually concealing it. When the visually
diminished fascia girder is contrasted with the
highlighted surfaces of the railing and deck fascia,
the railing and deck fascia stand out by comparison.
This effectively reduces the apparent slenderness by
focusing the visual attention on a relatively slender
element, the rail and deck fascia.
Building Blocks
Page 39

Emphasize the horizontal lines of the fascia girder,


railing, and deck fascia to further enhance the
apparent slenderness of the superstructure
presentation.

Use darker colors on the fascia girder than on the


railing.

Avoid the use of vertical stiffeners on the outside


of fascia steel girders except at bearing points
where the stiffener confirms the viewers sense
of an appropriate structural supporting point.
Vertical stiffeners on the outside of the fascia
girder tends to disrupt the flow of the lines between
substructure units, making the girder appear
heavier than it is.

Deck overhang creates strong shadow on fascia beam, fascia beam


colored darker than abutments and rail

The distance the deck overhangs the fascia girder


will directly affect the amount of light reaching the
fascia girder. From an aesthetic standpoint, the deck
overhang can be about 2/3 the girder depth. Overhang
of 2/3 of the girder depth will produce a strong shadow
or completely shade the fascia girder.

Surface inclination effects perceived depth.

Haunched beam contrasts with straight rail, resting on visually


prominent abutments

Considerations for controlling light include the


following:

Provide a substantial deck overhang to maximize


the shadow cast on the fascia girder.

Vary the brightness of the surface by changing


the inclination to catch more, less or no light at
all.

Overhangs proportional to fascia depth creates a strong shadow line.

Building Blocks
Page 40

Use horizontal rustication of fascia surfaces to


promote the horizontal lines. (Horizontal
rustication must de carefully detailed to avoid or
mask vertical drip stains.)

Use a darker color on the fascia girder than on


the railing. The darker color will tend to make the
fascia girder less dominant than its brighter
counterpart.

Add horizontal offsets, bevels, or grooves in


unequal proportions to make the railing appear
longer and lower.

Space vertical divisions in the railing at least


2 1/2 times the railing depth when selecting
patterns for the railing face.

Avoid the use of substantial vertical rustication


on railings, as they diminish the horizontal lines.
Shallow vertical rustication will appear as a
texture and will not detract from the horizontal
lines.

Emphasize horizontal lines of railing.

Aesthetic Design Guidelines


Ohio Department of Transportation

Haunched Girders
Constant-depth girders are those girders having top
and bottom flanges that are parallel. Typically, flanges
run parallel to the deck profile. Reduced fabrication
costs make this girder type desirable for the majority
of welded plate girders. Haunched girders are not
economically competitive until the span lengths reach
around 300 ft. (90 meters).

Limit the angle subtended by the haunch to


between 135 and 160 degrees; otherwise, the
bearing point will look too delicate to support the
girder.

Haunch Depth

Haunching the girder at the piers will produce a slender


structure. The haunches make the bridge seem
smaller by reducing the average depth while
maintaining the length. Haunching is attractive for multi
span structures with a large main span and for long
three span river crossings.

Haunch length

Considerations for haunched girders can include the


following:

Provide parabolic haunches rather than linear


haunches.

Avoid the use of haunches on tall piers when the


openings are predominantly vertical.

Avoid the use of fish belly haunches.

Provide a substantial pier beneath the haunches.


This element can provide a corresponding strong
visual support for the concentrated loads at that
point.

Haunches can be proportional to the span length.


Use 1/3 the span as a guide for the length of one
side of the haunch.

Limit the depth of haunches to twice the mid span


depth.

Aesthetic Design Guidelines


Ohio Department of Transportation

Haunches should come to a point (the width of the bearing) at the pier;
the angle at the point of the haunch should be between 135 and 160
degrees.

Substructure
The substructure provides the visual, as well as literal,
base for the bridge.
Visually, the substructure moderates the suspended
superstructure and the earth foundation. The visual
appeal of bridge forms is greatly influenced by the
substructure units. This is due primarily to their size
and prominence.
Placement and size of the substructure units is a major
factor in the viewers perception of scale, proportion,
order and balance. The shape of the substructure
units affects the viewers perception of line and mass.
The surface treatment of the units affects the continuity
and rhythm of the structure. Collectively, the
substructure units influence the visual appeal of the
structure as much as any other aspect of the bridge.
Piers
The term pier is used to refer to the collective system
of columns (or shafts) and pier caps that support the
superstructure at a single location. The appearance
of piers is primarily influenced by their proportion, their
width relative to their height and the configuration of
the pier cap with the pier column. Piers can not be
the visual focal point of a bridge composition. The
main visual emphasis of the visual formation can
remain on the horizontal lines of the superstructure.
Tall piers benefit from simplicity, fewer lines, and
slender proportions.
Traditional short piers are more difficult to design from
an aesthetic standpoint because the pier cap is often
large and visually clumsy in relation to the total pier.
Building Blocks
Page 41

Piers that appear larger than necessary to support


the superstructure look disproportionate and are
undesirable because attention is directed away
from the superstructure.

Piers can be proportional to their structural task.


Piers that appear too slender impart a precarious
feeling of instability.

A lower limit of 36 inches (915 mm) can be used


for the width of piers.

Family of piers that vary by height

Pier proportions

Pier Families
Multi span bridges often have piers of widely varying
heights. Bridges over rivers, large bodies of water,
and deep valley cuts are examples. The designer can
select a basic pier shape or type, and vary its
proportions through the different heights.
Family of piers that vary by height

Short Piers
Short piers are considered to be those piers with length
(B) that exceed their height (t). The majority of piers
that designers deal with are short piers. This type of
pier is common on grade separation crossings and
shallow stream crossings
Short piers can be constructed in several shapes:
T-type piers, V-shaped piers, and the traditional multicolumn bents.
Family of piers that vary by width

Family of piers that vary by height

Building Blocks
Page 42

Short and Tall Piers Defined

Aesthetic Design Guidelines


Ohio Department of Transportation

A design issue common among all types of short piers


involves the geometrics of the columns, shafts, and
pier caps that are used to construct the pier. The
geometry of these individual elements can be selected
from the same shape family, e.g., circular, rectangular.

Use a single shape family for all elements of the


piers. This family shape can also be used on the
abutments.

Pier Columns
The width of columns perceived by the viewer is
normally controlled by light reflecting from the column
surfaces and edges. A square or rectangular column
with strongly beveled edges will appear more slender
than a circular column due to the edge lines and
varying shades of reflective light. The designer can
use this technique to slim down the appearance of a
massive column. It can also be used to increase the
apparent size of a column to offset a massive
superstructure.
Columns do not always have to be vertical shafts.
They can be shaped to achieve a desired visual effect.

Pier cap end creates disturbing visual hot spot

Prominence of the pier cap end surface disrupts flow of horizontal lines

Designers can attempt to diminish the prominence of


the pier cap and the pier cap ends.
The end of the pier cap can be minimized by:

Reducing its mass and reflective surface

Beveled edges and surface treatment make columns appear thinner

Beveling or tapering the surfaces of the pier cap


end

Pier Caps

Minimizing the height of the pier cap.

Contemporary pier caps distribute the loads of


narrowly spaced girders among the wider-spaced
columns. When viewed from a position approaching
the bridge, the function of pier caps becomes less
obvious and the observer is left with a subtle question
regarding the purpose of the pier cap. The pier cap is
clearly separate and distinct from the horizontal lines
of the superstructure; however, it does not quite relate
to the predominantly vertical lines of the columns. The
result of this element, when viewed from a position
approaching the bridge, is visual confusion and
disruption of the horizontal flow of the superstructure.

Reducing pier cap height diminishes visual hot spot

Aesthetic Design Guidelines


Ohio Department of Transportation

Building Blocks
Page 43

Pilasters and closure walls are sometimes used on


pier caps to hide bearings. Similar to the ends of pier
caps, these elements visually interrupt the horizontal
flow of the superstructure lines, breaking it up into
individual segments. The effect of this makes the
structure appear thicker. Designers can avoid the use
of closure walls on pier caps.
V-shaped Piers

Rounding the pier cap end reduces its prominence

Columns and pier caps can be eliminated entirely by


using a wall that is narrower at the base than at the
top. This type of pier is referred to as a V-shaped
pier. While V-shaped piers eliminate the pier cap,
they create other visual problems. The solid wall can
appear disorderly if several are used, and they may
effectively block the observers sight when viewed at
an oblique angle. Considerations for V-shaped piers
can include the following:

Beveled pier cap end guidelines

Pier caps supporting bridges with super elevation can


follow the cross-slope of the deck at the point of
support. Under these conditions, designers can use
a constant height of the pier cap end on both sides of
the bridge. If a beveled pier cap end is used, the
angle of the bevel may need to be referenced to the
slope of the bridge deck for proper appearance.

Pilasters break up the horizontal flow

Emphasize visual stability. V-shaped piers that


are too narrow at the base will look unstable.

Make base lengths at least 2/3 the pier length.

T-piers
The appearance of T-piers is sensitive to its relative
proportions. The design intention is to provide a visual
element with enough mass to balance the total visual

Super elevated pier cap guidelines

Building Blocks
Page 44

Base length versus pier length

Aesthetic Design Guidelines


Ohio Department of Transportation

Suggested batter of V-shaped piers

side view

composition. At the same time, a slender shaft and


harmonious proportions between the shaft and arms,
and between the pier and superstructure, are
maintained. Designers can examine T-pier designs
for long, cantilevered arms that make the pier look
top heavy. Conversely, short arms on a wide pier will
tend to look fragile. Considerations for T-piers can
include the following:

T-piers in a series can be consistent in


appearance, i.e., the same size, shape, proportion
and detail.

T-pier shafts can not be shorter than the cap-beam


depth plus 6 feet. When this height is not
available, the designer can consider transition
to a wall pier.

Short T-piers may use either vertical or battered


sides, depending on the desired aesthetic effect.

Tall T-pier designs can attempt to use a common


batter for all piers.

Tall Piers

V-shaped piers

V-shaped piers

Aesthetic Design Guidelines


Ohio Department of Transportation

Tall piers are those piers whose height (t) exceeds


their length (B) and height exceeds 30 feet. Tall piers
are easier to design than short piers because the
structure and aesthetics work toward the same goals:
proportion and simplification. The taller a pier is, the
more it lends itself to single-shaft elements. Straight
pier shafts are appropriate for most any height of a
tall pier. When pier heights (t) begin to approach the
span length (l), tapering the shaft can maintain the
structural capacity required at the base and preserve
the slenderness of the pier. Tapers of 1:24 to 1:40
work well in most situations, with lesser tapers being
used for taller piers. Consideration for tall piers can
include the following:

Accentuate the vertical aspects of the pier.

Consider tapering exceedingly tall shafts.

Simplify and consolidate line segments.

Integrate the pier cap to the shaft or to the


superstructure.

Use simple vertical shapes, emphasizing the


vertical members and de-emphasizing the
horizontal members.
Building Blocks
Page 45

Battered abutment face without curtain wall

Tapering tall piers

Abutments
Visually, abutments define the start and end of a
bridge. The viewer perceives that the bridge initiates
at the first sign of exposed concrete and terminates
at its counterpart on the opposite end. Depending on
the setting of the structure and aesthetic design, the
abutments can serve as definitive points of origin and
conclusion of the structure, or as more subdued points
on which the superstructure simply rests.

Battered abutment face with curtain walls

Consider battering the front face of the abutment


if the overall visual design theme is dynamic.

The shorter the bridge, the bigger the part the


abutment plays in the overall visual image. In such
circumstances, the proportions of the abutment are
crucial to the mass, scale, and proportion of short to
medium span bridges. The aesthetic objective is to
provide good proportion between the mass of the
abutment and the superstructure.

Consider using a vertical front face of the


abutment if the overall visual design intention is
formal.

Battering the front face of stub abutments and


semi-deep abutments is appropriate, depending
on the visual intention of the design.

On larger and longer multiple span structures,


abutments have less impact because they are a
smaller part of the overall structure. For these
structures, the main goal is to provide an appropriate
support for the end span and an attractive ending for
the railing.

Generally, battering the front face of deep


abutments creates a visual impression of
instability and can be avoided.

Abutment Face
The face of the abutment can be battered inward or
outward, or it can be placed in a vertical plane. A
vertical face reinforces the vertical lines of the piers.
When battered inward, the abutments contribute to
the flow of horizontal lines from abutment to abutment.
The front of the abutment can be battered outward.
Considerations for battering the face of an abutment
can include the following:
Building Blocks
Page 46

Abutment face battered outward

Aesthetic Design Guidelines


Ohio Department of Transportation

Walls can extend from the top of the bridge seat to


the bottom of the deck. Insufficient detailing of the
top of the wall may result in an uneven, or possibly
excessive, void between the top of the wall and the
bottom of the deck.
Predominant abutment lines contrast horizontal flow

Predominant abutment lines complement horizontal flow


Wall details

Vertical abutment face presents a static visual image

Curtain Walls
The designer has the option of exposing the bearing
assemblies or concealing them behind a curtain wall.
Curtain walls also influence the viewers perception
of the abutments importance in the total composition
and height. These walls also simplify the overall
appearance of the bridge.

Wall detailing

Considerations for use of walls include:

Fundamental to the use of walls is the visual


balance of the structure.

Consider the use of walls if the bearing assemblies


create a visual distraction from the balance of the
composition.

The use of walls is recommended when the face


of the abutment is battered.

Consider the apparent increase in mass, scale,


and proportion of the abutment when using walls.

Align the face of the wall with the face of the wing
wall.

Provide top of the wall elevations.

Consider a fillet and abundant reinforcement at


the intersection of the wall to the bridge seat.

Consider the effect of a construction joint at this


interface.

Curtain wall/exposed-beam seats

Alternate abutment methods present simple and formal images

Aesthetic Design Guidelines


Ohio Department of Transportation

Building Blocks
Page 47

Abutment Families
Most abutments fall into one of two categories: stub
abutments or wall abutments. The stub abutment is
the shortest and commands the least attention. It is
commonly constructed of a simple pile cap and parapet
wall. Wall abutments are decidedly higher than stub
abutments and are usually constructed of a massive
vertical cantilevered wall. Each type has its own
appropriate function and visual bias.
Stub Abutments
Stub abutments are the most economical abutment
type and can be used unless there are overriding
Turnback and angled wing walls

Abutment Walls

Stub Abutment

Abutment wing walls generally look best when aligned


with the proper roadway. This provides a logical place
to tie in fencing and guardrails, making the bridge
appear longer.

aesthetic or structure layout conditions. They work


well with small multi span bridges that have shallow
superstructure depths. This is because their limited
mass defers visual attention from the abutment to the
horizontal lines of the superstructure.
The minimum height (a) of the exposed abutment face
can approximate 1/2 of the girder depth that rests atop
the abutment. If the exposed height is less than that,
the element will not appear appropriate for its structural
function.

Retaining walls are often aligned parallel to adjacent


abutments. Under these conditions, the abutment can
be treated as a continuation of the retaining walls.
This avoids any abrupt changes. Surface treatment
of the abutment face can be consistent with the
adjacent retaining wall surface treatment.
Considerations for wing walls include:

Considerations for stub abutments can include the


following.

Plan the layout of the abutments and any adjoining


walls to promote continuity.

Minimum height of the stub abutment can be 1/2


of the girder depth that rests atop the abutment.

Provide a logical point to tie in guardrails and rightof-way fences.

Use slender girders with stub abutments to


promote slender appearance and horizontal flow
from touchdown point to touchdown point.

Aesthetic design objectives can address and


coordinate expansion, contraction and
construction joints.

Treatment of the exposed face of the wing wall is


appropriate, depending on the visual intention of
design.

Emphasize continuity from the superstructure to


the abutments through textures, overhangs or
fascia projections.

Partial Height Wall Abutments

Use wall treatments that are consistent with other


elements of the bridge and adjacent structures.

Partial height wall abutments can be used to shorten


the end spans of the bridge, drawing attention to the
terminus of the bridge. They work well with two span
overpass structures because their increased mass

Building Blocks
Page 48

Aesthetic Design Guidelines


Ohio Department of Transportation

are commonly used with depressed roadways and


within the city limits. The height (a) of full height wall
abutments can equal that of the vertical clearance (c).
The full height wall abutment produces a strong visual
statement due to its mass. The designer can
recognize the visual effect of this mass in the design
of the bridge.
Consideration for full height abutments include:
Partial Height Wall abutments

tends to complement the increased structure depth


required for medium span highway structures.
As with all types of abutments, the use of curtain walls
increases the visual mass of this element. Designers
can pay special attention to the relative proportions
of the visual composition when partial height wall
abutments are needed. If the abutment appears too
massive, designers have the options of eliminating
the curtain wall or using rustication on the wing wall to
reduce the apparent height of the element.
Considerations for partial height wall abutments
include:

Abutment height (a) may approach that of the


vertical clearance (c) beneath the structure.

The relative proportions of the superstructure and


abutments suggest that designers can not attempt
to minimize the depth of structure.

Full height wall abutment

Methods of reducing the apparent height of an abutment

To limit the mass of the abutment, the abutment


height (a) can be no greater than 1-1/2 the total
superstructure depth (D).

Use of slender girders continues to be important


with semi-deep abutments. However, the
designer can keep the structure depth
proportionate to the abutment mass.

Use of surface textures and/or landscaping to


reduce the visual scale of the abutment walls is
appropriate depending on the intention of the
visual design.

Full height wall abutment

Use of a battered front face is not appropriate for


deep abutments.

When full height wall abutments are used with


triangle-shaped wing walls, reduce the visual scale
of the wall area with either surface textures and
rustication or landscaping along the sides.

When flanked by adjacent retaining walls, match


aesthetic treatment and visual design of walls and
abutments.

Full Height Wall Abutments


Full height wall abutments are often used adjacent to
retaining walls in cut situations or when right-of-way
limitations restrict the length of the bridge. As such,
they are more conducive to urban environments and
Aesthetic Design Guidelines
Ohio Department of Transportation

Building Blocks
Page 49

Incorporate the slab parapet joint into the parapet design.

Mount the parapet on top of the wingwalls to extend the limits of the
bridge.

Keep the parapet patterns horizontal

Parapets

Stain or paint the outside face of the parapet, Use accent colors in the
depressed areas..

The parapet has an important influence on the overall


appearance of the bridge because it affects the depth/
span ratio of the superstructure. Parapets are the only
components of the bridge which are visible from both
on and under the bridge. For parapets on the highway,
details should be simple, pronounced and easy to
distinguish since passengers traveling at high speeds
cannot notice fine details.
Attention to the following details, using ODOTs
standard drawings, can improve the appearance:

Provide vertical details to interrupt the horizontal


lines and make parapet appear deeper.

Mount the parapet on top of the turnback wingwalls


to extend the limits of the bridge.

Taper the ends and terminate fencing details


consistent with the overall structure and
surroundings.

Texture and paint the outside face of the parapet, use accent colors in the
depressed areas.

FPO
The relationship of posts to parapet divisions should be consistent.

Vandal protective fencing or pedestrian railing

Simplify the parapet ending.

Building Blocks
Page 50

Design the fencing and railing to complement the


bridge and surroundings.

Align the vertical supports and construction joints.

Paint pedestrian screens and vandal fencing


black, blue or light gray. A black screen is less
obvious because it will lose itself against most
backgrounds. Light gray or blue are also less
obvious and will blend against the sky.
Aesthetic Design Guidelines
Ohio Department of Transportation

Lighting

Pole-top fixtures eliminate two arms and one luminaire

Use the same fixture, arm and pole throughout a


corridor. Many poles are seen at the same time
and easily compared to each other. Differences
between them will be obvious and distracting.

Eliminate pole arms to decrease visual clutter.

Exposed surfaces can be painted to blend


into the highway environment or to be consistent
with the design concept for the corridor. Items to
consider for painting include poles, luminaires,
arms and power supply cabinets.

Minimize the variety and number of light poles to


provide a coordinated appearance and smooth
flowing lines.

Color light pole and their luminaires to either blend


into the highway environment or when appropriate
to provide definition of neighborhood or corridor.

Mounting all fixtures on median poles simplifies and declutters the scene
and provides optical guidance both by day and by night.

Lighting Placement and Type


The placement of lighting poles and fixtures has a
visual impact on the corridor both day and night. From
an aesthetic viewpoint much can be accomplished by
pole and fixture placement with little or no increase in
cost. The following suggestions are aimed at
achieving the goal of providing attractive highway
lighting.

This use of low mast lighting helps reduce clutter.

Bridge Lighting Considerations


Roadway Lighting on Bridges

Low mast lights create a smooth flowing line along this median barrier

Aesthetic Design Guidelines


Ohio Department of Transportation

The material, color and finish of the supporting poles,


luminaires and other lighting hardware can
complement the structures appearance. Set poles in
a visually obvious relationship to the piers or other
major structural features. The poles can look like they
were designed as part of the bridge and not as an
afterthought. Avoid exposed conduit.
Building Blocks
Page 51

Signing

The information on this logo sign is clear, helping the driver make a
quick decision at the upcoming interchange.

Sign Placement
The goal of providing information can be met while
reducing clutter and improving appearance. Only a
few signs can be understood when the driver is moving
at highway speeds. The use of sign spreading will
decrease the number of large sign trusses and
minimize the clutter in the corridor.

At interchanges which combine left and right exits.

At optional lane exits.

Signs can be maintained and upgraded on a regular


basis. Old, weathered signs are unattractive and
difficult to read.
Sign Poles and Spacing

Signs

When adding signs to a bridge the sign silhouette


should fit within the outline of the bridge. In urban
areas sign poles may be painted to match the theme
color. Replace old and damaged signs. Use sign
spreading, interchange sequence signs, diagrammatic
guide signs and uniform sign height to reduce visual
noise.

To reduce the number of overhead span truss supports


the concept of sign spreading can be used to the
greatest extent possible. This concept will result in
the replacement of one truss span support with two
cantilever supports. To further reduce the need for
overhead truss span supports in urban areas the use
of median mounted interchange sequence signs can
be considered.

Use monotube sign supports to reduce visual clutter.


Use diagrammatic guide signs:

On approaches to interchanges where traffic exits


to the left of the main roadway.

At locations where vehicle operators following a


main of through route must leave what appears
to be the main or through lanes and negotiate a
ramp to remain on the THRU route.

Building Blocks
Page 52

At major bifurcations the use of diagrammatic guide


signs can be considered. The use of diagrammatic
guide signs will generally allow two or three signs on
overhead truss span support to be replaced with one
sign. Connections can be made so that the sign looks
like it belongs there, not a bolted-on afterthought.
Refer to Ohio Manual of Uniform Traffic Guidance
(OMUTCD) sections 2V-8, 2V-12, and 2V-14 for
guidance.
Aesthetic Design Guidelines
Ohio Department of Transportation

Standard. No sign spreading

Proposed. With sign spreading and a monotube sign structure.

Selecting useful information from the group of signs takes time and
distracts from the driving task.

Standard sign bridge with multiple signs.

Aesthetic Design Guidelines


Ohio Department of Transportation

Proposed. Monotube Sign Structure with multiple signs.

Building Blocks
Page 53

Aesthetic Principles
Visual Design Elements

Form

Analyzing the visual design elements of a highway or


highway feature makes it easier to predict how people
will perceive it.

Form reveals objects in three dimensions, adding


depth to the height and width of shape. The visual
experience of moving under or over a bridge is
primarily influenced by the form of the bridge, its
geometry, span arrangement, horizontal alignment,
vertical profile, and relationship to adjacent structures.
The form of a roadway is seen in the context of space
or sets of spaces that create its environment.

Line
A line is a direct link between two points, either real or
implied. The strongest lines on a highway are created
by the pavement edges. Other prominent lines are
created by railings, girders, piers, abutments, and the
top edges of retaining walls and noise walls.

The three dimensional form of a highway is a result of the interaction of


the pavement, the side slopes and the larger landscape of which it is a
part. I -5, San Diego, CA.
Our aesthetic reaction to this bridge is strongly influenced by the
attractiveness of its parallel curvilinear lines.

Shape
When a line closes, it forms a two-dimensional surface
with spatial directions of height and width. This twodimensional surface is the shape.

Seasonal colors screen the noise wall behind. I -295, Trenton, NJ.

Color

The haunch gives the girder a more interesting and attractive shape than
a girder with parallel edges. It also indicates how the girder works
structurally: it makes the girder deepest over the pier where the forces
are the highest. I-81, Virginia.

Aesthetic Design Guidelines


Ohio Department of Transportation

Color can be applied to define, clarify, modify,


accentuate, or subdue the visual effects of structural
elements. Warm colors (yellows and browns) tend to
emphasize the presence and size of forms, whereas
cool colors (blues and greens) diminish the visual
importance of the elements to which they are applied.
Intensity of color reverses the effects just described.
Aesthetic Principles
Page 55

Colors are perceived differently at different times of


the day and at different times of the year because of
the changes in light conditions created by changes in
sun position and atmospheric conditions.
Colors are also influenced by the background against
which they are seen, and their appropriateness is often
judged in terms of their fit with their background.
Background is particularly important for most highway
color selections because the highway element is
almost always a very small part of a much larger scene,
the colors of which are outside the designers control.

Intense colors enhance the importance of a highway element. I -81,


Scranton,PA.

Texture
Texture is found on the surface of all objects and is
closely related to form. Texture helps define form
through subtle surface variations and shadings. It can
be used to soften or reduce imposing scale, add visual
interest, and to introduce human scale to large objects
such as piers, abutments, and retaining walls.
Distance and motion alters the perception of texture.
When viewed from a distance or at high speeds, fine
textures blend into a single tone and appear flat. As a
rule, the greater the distance, the higher the observers
speed or the larger the object to which it is applied,
the coarser or larger the texture must be.
Aesthetic Principles
Page 56

This texture would be more obvious at highway speeds if the relief were
greater. I-75, Ohio.

Aesthetic Design Qualities


Aesthetic qualities result from the appropriate
arrangement of visual design elements and are used
to evaluate a visual composition. These design
qualities are intangible; they are perceived qualities
that arise from relationships of design elements.
Aesthetic Design Guidelines
Ohio Department of Transportation

Order
Order is the arrangement of design elements so that
each element has a proper place and function so the
whole works together as a unit without confusion.

The proportions of the bridge, the large depth at the abutment compared
to the depth at mid span, give it a very slender appearance. Ottawa,
Canada

Rhythm
This bridge has a little bit of everything except order.

Rhythm is a method of creating a sense of order by


repeating similar elements in, on or around a structure.
When these elements create a natural flow which is
satisfying to the eye, rhythm is created. It requires
that the elements have some similarity of visual
characteristics in addition to a modulated placement.
In bridges, for example, major rhythms are created
by the repetition of similar pier shapes. Minor rhythms
may be created by the spacing of light poles, post
spacing within a railing, or even the horizontal
rustication on a pier.

The repetitive pier shapes and continuous girder depth give this bridge a
sense of order.

Proportion
Proportion is a method of creating a sense of order
by assigning appropriate relative sizes to the various
elements. The goal is appropriate proportions
between the various parts of a structure: between its
height, width, and depth; between solids and voids;
between surfaces and openings; and between areas
of sunlight and shadow.
Proportion can suggest the order of significance of
the elements or the role played by the elements in a
structuretheir relative size classifies some as
performing principal functions and others as attending
to secondary functions. For example, a slender
column suggests a light load-carrying function,
whereas a thick column suggests the opposite.
There can also be proportional degrees of surface
texture and color.
Aesthetic Design Guidelines
Ohio Department of Transportation

The larger main span creates a variation in the major rhythm of the
piers, while the light posts create a consistent minor rhythm. Severn
River Bridge, Annapolis, MD.

Harmony
Harmony means that elements of a design have visual
similarity. The relationship must be complementary.
If planes or lines in a design have more dissimilar
characteristics than they have similar characteristics,
they are not likely to be perceived as harmonious.
Aesthetic Principles
Page 57

Contrast
Contrast relieves the monotony of simple harmony by
complementing the characteristics of some design
elements with their opposites. This adds a heightened
awareness of each other. Contrast often takes the
form of dramatic differences in color or light and
shadow.

The shapes of these piers are similar, and thus harmonious, even though
their sizes are different. I-95, Cheverly, MD.

A second principle of contrast is that of dominance,


where one of two contrasting elements commands
visual attention over the other. One becomes the
feature and the other becomes the supporting
background. A dominant theme is essential in
organizing the design into a pleasing aesthetic
experience.

Highways are very large elements even compared to city buildings. I -5,
San Diego, CA.
The differences between the hexagonal elements of the retaining wall
and the rectangular elements of the noise wall, differences which are
reinforced by the color contrast, make this an inharmonious composition.
I-295, Trenton, NJ.

Scale
Scale refers to the size relationship among various
features of the highway and between the highway and
its surroundings. Since most design concerns itself
with things that are to be used by people, a connection
exists between the human body and designed objects.
We often refer to structures that respond to the size
of the human form as having human scale.

Freeway compositions work best when they are balanced about the
median centerline. I 66, Virginia.

Balance
Visual balance is the perceived equilibrium of design
elements around an axis or focal point. Rather than a
physical balance, it may refer to equilibrium of abstract
elements of design, such as masses, visual weights
or texture.
Aesthetic Principles
Page 58

The overwhelming size of a typical highway element becomes clear when


it is inserted into a pedestrian environment. San Diego, CA, Airport
Access Road.

Aesthetic Design Guidelines


Ohio Department of Transportation

Highways have a larger scale because they are built


for vehicles moving at a high rates of speed. Highway
elements such as piers or girders can be very large
but appear in scale with the highway environment.
Conflicts in scale become apparent when highway
elements become part of a pedestrian environment
or adjoin buildings. Ways must then be found to
reduce the apparent size of the highway element so
that it fits into the smaller scale environment.

Some common visual illusions that can assist with highway design.

Illusion
What people perceive is not always what is there. Our
vision is susceptible to manipulation and illusion.
Designers can use illusion to improve the appearance
of an element. For example, placing a series of vertical
grooves on a column will make it appear thinner.

The arch provides a central feature, reinforced by its strong color, that
ties together both the man made and natural features of this scene.
I-70, Frederick, MD

Aesthetic Corridor Design Objectives


Designers can have visual objectives for the projects
they design, just as they have objectives for safety,
economy, or serviceability. Similar to engineering
objectives, aesthetic design objectives can be
established prior to the start of the design process so
they can serve as an aesthetic compass. These
objectives are all components of the aesthetic Vision,
which is the mental image underlying the design of
the project.
Aesthetic design objectives are considered throughout
the design process when decisions are being made
about the project and its setting. Establishing clear
objectives and referring to them throughout the
decision making process will ensure a successful
visual design.

The slanted lines of the abutment create the illusion that the girder is
longer, and thus thinner, than it really is. I-70, Denver, CO.

Unity
Unity provides the observer with a sense of wholeness.
This is generated by some central or dominating
perception in the composition. It encompasses the
perfect application of all the other qualities, and it refers
to the combined effects of all other aesthetic qualities
applied simultaneously. Unity is the condition, or state,
of full resolution of the site and project functions. It
implies harmony where all of the elements are in
accord, thus producing an undivided total effect.
Aesthetic Design Guidelines
Ohio Department of Transportation

Ideally, aesthetic objectives would be quantitative and


therefore easily measured. Given the subjective
nature of aesthetics, however, visual goals are
necessarily qualitative. Only through evaluation can
the success of the Vision be measured. When
evaluating a project, designers can evaluate each part
of the highway in terms of the whole, and the whole
highway in terms of the setting and the corridor.
There are many different approaches to aesthetic
quality. Given the difficulty of the driving task and the
paramount need for safety, aesthetic objectives should
aim for clarity, balance, simplicity, harmony and a
sense that the environment is satisfying expectations.
Elements expressing discord, conflict and tension are
best left to the museums.
Aesthetic Principles
Page 59

Here are two similar situations handled differently. In the second example
the retaining wall is placed at the top of the slope and combined with the
abutment, thus eliminating one visual element as well as the hard-tomaintain slope between the abutment and retaining wall. I-75, Dayton.

Simplicity and Continuity


The project form can appear straightforward and
uncomplicated. Merely reducing the number of items
or the numbers of different types of items can improve
the appearance of a highway. For example, replacing
light poles on the outer shoulders with light poles in
the median will cut in half the number of elements
required for lighting. Simple forms and uninterrupted
lines will create attractive bridges.

Small decisions that make a big difference: moved a foot or so to the


right the railing posts would align with the pier centerlines. NY-17c,
Owego, NY.

Order and Balance

The flared pier edges hide the pier cap, thus visually eliminating one
element, while their curves complement and continue the curve of the
haunched girder. MD-100, Columbia, MD

The project can exhibit a natural progression of


assemblage. Order is achieved by limiting the
direction of lines to a minimum. Repetition of visual
elements can be used sparingly to develop rhythm;
used in excess, it creates monotony. The orientation
and interaction of the design elements can suggest
balance between the elements. Visual balance is
fundamental to successful highway compositions.
Shapes used to form elements can be from the same
family to promote harmony rather than confusion.

Scale and Proportion

Site/Environment Integration

The highway can be in scale with its surroundings,


with its parts similar in scale to each other and the
whole. As a general rule, no single element can
dominate the visual composition. The collective design
of the highway can be in scale with the site and
environment. Primary bridge elements, including span
lengths, girder depth, and abutment height, can have
good proportional relationships to each other and to
their structural chore.

Projects must be integrated with their environment,


landscape, cityscape, or surroundings. For example,
colors can be selected which complement or
harmonize with their surroundings. Integration is
particularly important where dimensional relationships
and scale are concerned, because pedestrians are
uneasy and uncomfortable with large, heavy forms.
In other words, the dimensions of the highway must
relate to human scale when pedestrians are involved.

Aesthetic Principles
Page 60

Aesthetic Design Guidelines


Ohio Department of Transportation

As speed increases, foreground detail begins to fade.


At higher speeds nearby objects move across the field
of view quickly. Since rapidly moving objects cannot
be perceived separately, the driver does not see clearly
discern them, except at some distance. Objects at
medium distances are seen only for a short time. Only
distant objects, the sky or horizon, have any
permanence and can be clearly understood.

The jagged alignment and profile of the noise wall are inconsistent with
both the smoothly curved lines of the highway and the irregular curves of
the topography and thus emphasize the separation between the highway
and the environment. I-440, Raleigh, NC.

The net effect of these characteristics is that the


highway itself and its immediate surroundings
generally exert the strongest influence on the aesthetic
impression. With regard to the surroundings only
grand views, a major building or large natural feature
will be seen and understood. Within the highway it is
only the larger elements that will be seen. Features
less than six inches in size will be barely glimpsed, if
they are seen at all.

Aesthetic Perception on the Highway


Before making specific design decisions the project
designer must understand the limitations and abilities
of the eye. The relevant principles of vision in motion
are:
Seeing takes time. It takes about a second to change
focus from seeing the speedometer on the dashboard
to seeing detail on the road ahead. This time is
significant, because at 60 miles per hour the observer
is moving at 88 feet per second. Nearby objects move
across the field of view very rapidly and may be missed
in the interval between one glance and the next
As speed increases, concentration increases. As
speed increases, the number of things to be seen and
attended to increases proportionately. It becomes
increasingly dangerous to observe irrelevant objects
and concentration becomes fixed on the approaching
ribbon of road.
As speed increases, the point of concentration
recedes. The eyes are feeling their way ahead of the
wheels; their focusing point at 25 mph lies
approximately 600 feet ahead on the road. This
distance increases with every increase in speed. At
45 mph, the fixation point lies some 1,200 feet ahead;
at 65 mph, it is as far as 2,000 feet.
As speed increases, peripheral vision diminishes. At
25 mph, the eye encompasses a total horizontal angle
of about 100 degrees. This is referred to as the cone
of vision. At 45 mph, this narrows down to about 65
degrees; above 60 mph, the angle is less than 40
degrees. This restriction is called tunnel vision.
Aesthetic Design Guidelines
Ohio Department of Transportation

Aesthetic Design Hierarchy


Principal Factors
As might be expected, there is no single design
parameter that controls the general physical
characteristics of a project. An attractive project is
the orchestration of design parameters employed
simultaneously to complement each other. However,
some elements that will have more influence than
others on the final result. Because of the influence of
motion on perception, it is generally the larger
elements and their shapes, forms, proportions and
other characteristics that will be the principle factors.
The principal aesthetic design factors can be the visual
basis upon which the balance of the appearance is
built. Designers can concentrate on developing the
best design solutions for these parameters prior to
considering other visual treatments. To find the best
design solution, they can consider the aesthetic
objectives outlined previously when making decisions
regarding these design parameters.
Secondary Factors
Secondary aesthetic design factors can be used to
accentuate positive qualities that have been created
by the principal aesthetic design factors. Details,
texture and color can be engaged to draw attention
to, or to detract from, the role of structural elements.
When considering the secondary aesthetic design
factors, designers can consider the aesthetic qualities
previously defined.
Aesthetic Principles
Page 61

Summary
Landscape
Use District Operations allocation to fund both the purchase
and planting of wildflower seeds. Use herbicidal spray contracts
to control weeds. Refer to the reference section in L&D Manual
Volume One, Reference Section for guidance on landscaping.

Lighting
Use low mast or davit poles. Minimize the variety and number of
light poles to provide coordinated appearance and smooth flowing
lines. Color light poles and luminaries to either blend into the highway
environment or, when appropriate, provide definition of neighborhood
or corridor.

Sign Poles and Spacing


When adding signs to a bridge the sign silhouette should fit with the
outline of the bridge. In urban areas sign poles may be painted to
match the theme color. Replace old and damaged signs. Use Sign
spreading, interchange sequence signs, diagrammatic guide signs
and uniform sign height to reduce visual noise. Refer to Ohio Manual
for Uniform Traffic Control Guidance (OMUTCD), Sections 2V-8,
2V-12, and 2V- 14 for guidance.
Texture and Shape
Provide texture for piers, abutments, wingwalls, parapets, and
noise walls. Provide caps for the tops of the noise walls. Refer
to ODOT Bridge Design Manual, section 800 for guidance.

Color
Paint steel and concrete superstructures and all exposed
concrete surfaces. Refer to Supplemental Specification 910
OZEU Structural Steel Paint and Proposal Note 516 for
Sealing of Concrete Surfaces for guidance on paint and sealer
colors.

Aesthetic Design Guidelines


Ohio Department of Transportation

Summary
Page 63

References
ACI, Esthetics in Concrete Bridge Design
Arizona Department of Transportation. Landscape
Design Guidelines for Urban Highways. Arizona
Department of Transportation, Phoenix, Arizona, 1988.
Federal Highway Administration. Visual Impact
Assessment for Highway Projects. American Society
of Landscape Architects, Washington, DC.
Federal Highway Administration/Federal Transit
Administration. Public Involvement Techniques for
Transportation Decision-Making. Federal Highway
Administration, Washington, DC, 1996.
Frederick Gottemoeller. Bridgescape: The Art of
Designing Bridges. John Wiley & Sons, Inc., New York,
1998.
Peter L. Hornbeck and Garland A. Okerlund, Jr., Visual
Values for the Highway User: An Engineers Workbook.
U.S. Department of Transportation, Federal Highway
Administration, Washington, DC, 1973.
Fritz Leonhardt. Brken:Bridges.
Cambridge, Massachusetts, 1982.

MIT Press,

Maryland Department of Transportation. Aesthetic


Bridges: Users Guide. Maryland Department of
Transportation, State Highway Administration, 1993.
Minnesota Department of Transportation. Aesthetic
Guidelines for Bridge Design. State of Minnesota
Department of Transportation, Roseville, Minnesota,
1995.
Province of British Columbia. Manual of Aesthetic
Design Practice. Province of British Columbia, Ministry
of Transportation and Highways, 1991.
Cassandra Sheaffer and Mary Ann Rose. The Native
Plants of Ohio. The Ohio State University, Columbus,
Ohio, 1998.
Transportation Research Board. Bridge Aesthetics
Around the World. Transportation Research Board,
Washington, DC, 1991.

Aesthetic Design Guidelines


Ohio Department of Transportation

References
Page 65

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