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Eleven major bridges unite New York City together and with the rest of the nation. One engineer was responsible for more than half of them, yet hardly anyone knows his name.

Othmar Ammann came to America as a graduate of Swiss engineering schools and learned bridge building from the reigning bridge engineer, Gustav Lindenthal. As his protégé, Ammann worked on the Hell Gate Railroad Bridge, an arch bridge of unprecedented strength and beauty. Lindenthal had plans for an enormous rail bridge across the Hudson River, but they were rejected as too expensive. Ammann proposed a lighter, less expensive span for automobiles and trucks. In a painful parting, he left Lindenthal and built the landmark George Washington Bridge, a span twice as long as any suspension bridge in the world.

Welcome to the Portland Bridges page, presented by Environmental Services, Oregon Department of Transportation. The bridges of Portland, Oregon are numerous and diverse. The structures, ranging in age from 27 years to 90 years of age, represent a variety of construction types including vertical lift spans, double-leaf Bascule drawspans, and the longest tied arch span in the world.

Welcome to the online edition of Bridging the Bay: Bridging the Campus.

...At a time when the Bay Area’s bridges are being analyzed and new structures are being planned, it is important to recognize the diversity and depth of the research collections that exist on the Berkeley campus. The exhibit includes books, documents, architectural drawings and renderings, blueprints, artifacts, maps, and photographs. The bridges documented include the Golden Gate Bridge, the San Francisco-Oakland Bay Bridge, the Carquinez Bridge, the Richmond-San Rafael Bridge, the Antioch Bridge, and the Dumbarton Bridge. The exhibit also contains documents detailing Bay Area bridge projects that were seriously considered, but were never built.

Cret’s plan shows that he had learned to manipulate the École’s graphic conventions and to put a program “in order” (see Fig. 13). The contrast between the mosaique, the tapestry of broken lines that represent decorative floor and ceiling patterns, and the poché, the more heavily inked lines that indicate structure, make clear that the arrangement is a linear succession of volumes, with two relatively narrow rooms bracketing the more ample one at the center. The heavy unbroken outline of the main space underscores the lack of windows and reliance on top lighting, and thus its use for paintings and works on paper. The mosaique is more than decoration; it visually interweaves the volumes and defines a broad axial promenade, or path of movement, from the entrance to what is presumably the sidelit sculpture gallery that opens to a cascade of stairs leading down to the garden of fragments. All the pieces of a good Beaux-Arts plan are here: the clear proportions of the independent volumes, the axial disposition of openings, the warp and weft of the details, and the telling use of the graphic conventions of poché and mosaique so the design appears at once simpler than the sum of its parts and more ample than one might expect of a small museum

A self-made man and one of America’s greatest engineers, James Buchanan Eads led a life inextricably intertwined with the nation’s most important waterway, the Mississippi River. He explored the river bottom in a diving bell of his own design; made a fortune salvaging wrecks; in the 1870s built the world's first steel bridge over the Mississippi at St. Louis; then deepened the river at its mouth, turning New Orleans into the second largest port in the nation. By the time of his death in 1887, Eads was widely acknowledged to be one of the most influential men of his day.

A gift of John F. Harbeson, the archive consists of Cret's student and professional work and is displayed on approximately four hundred and seventy-six sheets containing one or more drawings, photos, or prints per sheet. The archival holdings may be broadly divided into eighty-eight sheets of student work at the Ecole des Beaux Arts in Lyon and Paris, fifty-three student and professional watercolors, thirteen sheets of bookplates, seals, medals and title pages, fifty-six sheets of competitions (thirty-two of various university designs), nine sheets of commercial work, one hundred and two of memorials, twenty-two sheets of government buildings, twelve residential designs, twenty-one sheets of bridge designs, five sheets of watercolors and ink sketches by Col. Oscar Lahalle (Cret's father-in-law), and one hundred and eleven sheets of varied design work.

One of the most interesting papers presented to the American Society of Engineers at the Seabright Convention is that of Mr. THEODORE COOPER on "American Railway Bridges." It is interesting from the historical matter contained in it, and here first systematically gathered together, and valuable as showing the progress of a branch of engineering that has made our country famous for its works of this nature. The paper is necessarily long, so that we cannot publish it in full, even did the rules of the society permit, and we must content ourselves with the following abstract. We congratulate Mr. COOPER upon the success attending his efforts to unearth and arrange much matter relating to the early history of wooden bridge building that has usually been considered inaccessible.

A newspaper, the Lansing Republican, dated February 5, 1884, reprinted a story from the Grand Traverse Herald pointing out that the experiment to provide all-year service across the Straits by boat had failed, and that if a great east-west route were ever to be established through Michigan a bridge or tunnel would be required. The editor considered both as practicable; the only question in his mind was that of cost.

Despite its pioneering technology in 1779, as the first structural use of cast iron, no eye witness accounts are known which describe the Iron Bridge being erected. However, recent discoveries, research and experiments have shed new light on the mystery of exactly how it was built, challenging the assumptions of recent decades. In 1997 a small watercolour sketch by Elias Martin came to light in Stockholm. Although there are a wealth of early views of the Bridge by numerous artists, this is the only one which actually shows it under construction.

Personal author:
Ellet, Charles, 1810-1862.

Title:
Report on a rail-way suspension bridge across the
Connecticut, at Middletown, with a proposal for its
construction, to a committee of the citizens of