The Conceptual Design of Bridges: Form Finding and Aesthetics

The concept of a design process imbibing motivation from a given context dates back to ancient Greek architecture in 525 BC. The structural forms used were lintels, columns and walls and they were conscious attempts to make structures aesthetically appealing. The Roman Architectural Revolution gave rise to new structural forms like arches, domes and vaults. The invention of these structural forms culminated in sturdy aqueducts and bridges and, as they did to their other structures, the Romans decorated their bridges with embellishments. Form finding and aesthetics have always been an integral part of conceptual design, although there has been no evidence of proceduralising the process of conceptual design consciously. Even to date, conceptual design is not always taught in universities, as evidenced by countless anonymous, frequent utility structures that can be seen everywhere. Engineers like Thomas Telford, Gustave Eiffel, Jhon A. Roebling, Robert Maillart, Eugene Fressinet, Jorg Schlaich and Christian Menn are responsible for the state-of-the-art design and technology of bridges and their cultural value. David Billington called efficiency, economy and elegance common denominators for the conceptualisation of bridge design. In this article, after deliberating upon form finding and aesthetics aspects, the author has attempted to delineate the process of conceptualisation with illustrations.

Automated summary

The concept of drawing inspiration from a given context in the design process has a long history, dating back to ancient Greek and Roman architecture. Key elements in conceptual design include form finding, aesthetics, efficiency, economy, and elegance in bridge design. Influential engineers have played a crucial role in advancing the state-of-the-art design and technology of bridges.