Beruflich Dokumente
Kultur Dokumente
Gordon Proctor
Director, Ohio Department of Transportation
Acknowledgments
Table of Contents
Foreword
Acknowledgments
Introduction
The Basics
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
9
11
12
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14
15
16
18
19
20
20
21
21
21
21
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23
25
26
27
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35
51
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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:
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.
Introduction
Page 7
The Basics
The Basics
Page 9
The concept vision will inspire everything that follows. Proposal for the
I-70/I-75 interchange. Dayton.
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
Gateway Corridor
Suburban Corridor
Rural Corridor
Scenic Corridor
The Basics
Page 11
Gateway Corridor
Characteristics
Objectives
The Basics
Page 12
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
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
The Basics
Page 14
With a few incremental changes this corridor now has an uncluttered and
unified look.
Suburban Corridor
Characteristics
Objectives
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
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.
Objectives
I-71
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.
Rustic Ashlar
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
The Basics
Page 17
Scenic Corridor
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
The Basics
Page 18
Corridor Vision
All the elements in this roadway environment reinforce the drivers sense
that he has arrived in a rural corridor.
Corridor Vision
Page 19
Corridor Vision
Page 20
Community Participation
A successful community participation effort builds a
sense of trust between stakeholders and the project
team.
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
List stakeholders.
Results
Advisory Committees
Charrette meetings provide the public with the opportunity to share ideas.
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?
Community Participation
Page 23
Building Blocks
Pattern, Color, Texture and Relief
Color
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.
Colors are used to unify the bridge elements in this busy high density
urban corridor. I-75/US 35, Dayton.
Create projections on the elements which create shadow lines and give
the wall a unique appearance.
FPO
Use form liners to texture the concrete in ways that either emphasize
or hide the element joints.
categories:
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.
Building Blocks
Page 27
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.
Building Blocks
Page 28
Outside Edge
The following guidelines are applicable to planting
areas along the outside edge of the main roadway
and ramps:
Building Blocks
Page 29
Proposed. Plant materials can tie the highway structures into the
landscape.
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
Standard
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
Building Blocks
Page 31
Good. This terraced wall maintains its cap as it weaves in and out along
the contour of the highway
Both the noise wall and the retaining wall use the same stone form liner.
Building Blocks
Page 32
Noise wall, retaining wall and bridge abutment all come together
seamlessly because the wall maintains a one foot maximum drop in its
terracing.
Plant materials can help blend noise walls into the landscape
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.
Building Blocks
Page 34
FPO
FPO
Bridges
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
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.
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.
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.
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.
Need for proportion (deeper structure depth) controls over need for
slenderness on short spans.
Need for slenderness controls over need for proportion on longer spans
Building Blocks
Page 38
OR
Building Blocks
Page 40
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).
Haunch Depth
Haunch length
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
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
Building Blocks
Page 42
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.
Prominence of the pier cap end surface disrupts flow of horizontal lines
Pier Caps
Building Blocks
Page 43
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
Building Blocks
Page 44
side view
Tall Piers
V-shaped piers
V-shaped 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.
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
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
Align the face of the wall with the face of the wing
wall.
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
Building Blocks
Page 48
Building Blocks
Page 49
Mount the parapet on top of the wingwalls to extend the limits of the
bridge.
Parapets
Stain or paint the outside face of the parapet, Use accent colors in the
depressed areas..
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.
Building Blocks
Page 50
Lighting
Mounting all fixtures on median poles simplifies and declutters the scene
and provides optical guidance both by day and by night.
Low mast lights create a smooth flowing line along this median barrier
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.
Signs
Building Blocks
Page 52
Selecting useful information from the group of signs takes time and
distracts from the driving task.
Building Blocks
Page 53
Aesthetic Principles
Visual Design Elements
Form
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.
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.
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.
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.
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.
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
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
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
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.
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
Site/Environment Integration
Aesthetic Principles
Page 60
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.
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.
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.
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,
References
Page 65