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The article examines a little-explored aspect of the Western Georgian tradition of filigree based on examples of arms decoration in this technique. It also briefly describes previously uncovered life and creative path of the goldsmith Philippe “Philu” Dzadzamidze whose original works are widely represented in museums and private collections. Despite the fact that filigree technique occurs in Georgia since the ancient period, modern weaponology has so far been confined to the consideration of Georgian items mainly of the 19th century, as it was from the middle of the 19th century when arms decorated with filigree became popular in Western Georgia. Such arms were made in different cities of Western Georgia, in particular in Kutaisi, Khoni, Senaki, Zugdidi, Sukhumi and others, as well as in Eastern Georgia — in Tbilisi by “seasonal workers” who migrated from different regions of Western Georgia. Among arms with filigree, what particularly stands out is a number of items which have the author’s inscription of the surname “Dzadzamidze” and, accordingly, were made by the goldsmith Philippe “Philu” Dzadzamidze. The family of goldsmiths Dzadzamidze (Dzadzamia) came from Western Georgia, particularly from Mingrelia and their skill is directly connected with goldsmithing traditions that existed at the court of the Mingrelian rulers Dadiani for many centuries. Despite the fact that arms decorated by master Dzadzamidze are often seen in private and public collections and auctions, very little has been known about his life and creative path until now. Relying on various historical sources, the author provides a list of facts from the master’s life and highlights the goldsmithing traditions in the historical context of Western Georgia, the logical continuation of which is the mastery of filigree performed by Philippe “Philu” Dzadzamidze.

The Qing (1644-1911) ritual court headdresses of empresses and concubines were decorated exclusively with figures of gold phoenixes, and this style of decoration was different from that used in China since the Song dynasty (960-1279), which featured dragons, phoenixes, and also flora. This article focuses on the development of Qing female ritual court headdresses and places them in the context of Chinese ritual headdress history, thereby demonstrating the cultural aspirations of the founders of the Qing dynasty. This paper addresses four major issues. Firstly, the standard technical features of the gold phoenixes on court hats are summarized, as filigree phoenix-making techniques reached their maturity in the early 18th century. Secondly, the paper examines the process of integrating the phoenix headdress, which originated from the Ming Central Plains tradition, into Manchu culture. Thirdly, it explores the evolution of the court ritual headdresses worn by empresses and concubines: The prototype emerged in the later part of the Shunzhi 順治 era (1644-1661); but a fixed model was not established by the Qianlong 乾隆 Emperor until 1742, after much revision in the earlier part of his reign concerning regulations about clothing and headdresses. Fourth, from the perspective of material culture, the paper investigates the cultural significance of the filigree techniques for making gold phoenix headdresses and the material of birch bark. [ABSTRACT FROM AUTHOR]

Recently, efforts have been made to develop decoration techniques with CNC router machining and contact production machines in the furniture industry. However, this method is insufficient in micro-processes that require precision. In this research, the innovation of traditional furniture surface treatment techniques as a regression modeling production method with laser technology was examined. For this purpose, beech wood was processed in a CNC laser processing machine with a 130-watt carbon dioxide gas tube, and sample product design and manufacture were made. It has been determined that many furniture surface treatment techniques can be applied with the regression modeling method of CAD/CAM supported laser technology.

The article is devoted to the paper of Dagestan Arabic manuscripts and epistolary documents of the 19th — early 20th centuries, as an important aspect of source study. This work allows you to get an idea of the history of Russia’s cultural and economic ties with Dagestan and the countries of the East. In the course of the study, a comparative historical method was used. The authors analyzed the works of domestic and foreign experts on this issue, highlighted the main identification features of the paper of these written documents. The relevance of the ongoing research is due to the need for a comprehensive study of the writing material of the Arabographic monuments of Dagestan origin. The novelty of the work lies in the fact that the paper of these historical sources for the first time became the object of study in domestic source studies. It has been established that in the Dagestan manuscripts and epistolary documents of the 19th — early 20th centuries, the marked paper of Russian manufactories and factories is mainly represented. The article notes that for a full-fledged study of Dagestan Arabographic sources, it is necessary to use advanced digital technology and modern natural scientific developments. The study of historical sources paper is of great importance in the preservation and restoration of monuments of the written culture of the Dagestan peoples.

On the territory of the Perm cis-Urals during the Middle Ages wooden knife sheaths coated with metallic plates became popular. Most sheaths’ decorations were made of metal alloys with a high percentage of silver. Some specimens were decorated with grains, filigree, glass or stone encrustations, gild, and printed anthropomorphic and ornitomorphic images. The object of the article is to introduce into scientific discourse the sources and research results that will facilitate determining basic technological characteristics and individual features in the sheaths’ functions. Based on source collection and categorization, the authors reveal how diverse the items were, as well as the scale of their production. Coin material facilitated determining the period of the sheaths’ highest popularity, which is the 9th and the first half of the 10th centuries. Nevertheless, there are specimens dating back to the 11th century as well. The analysis of the features of the occurrence in burials, taking into account paleoanthropological data, allowed us to conclude that the sheaths with metal plates was part of a belt set and was used in women's costume as a symbolic and decorative element. Some items made their way from the Perm cis-Urals to the Udmurt cis-Urals (the Polom archaeological culture) and to the territory of Volga Bulgaria. It is possible that there were local production centres for these items in the Udmurt cis-Urals and on the territory of the ancient Mari people.

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Copyright of Wood Industry / Drvna Industrija is the property of Drvna Industrija and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Aims: The presence of micropapillary (MIP) in early‐stage lung adenocarcinoma is associated with a poorer prognosis, especially in patients undergoing sublobectomy. However, data on the sensitivity of frozen section (FS) evaluation of MIP is still limited. We included the concept of a filigree pattern on FS to assess its effect on the diagnostic sensitivity and specificity of MIP, and to verify its prognostic value in stage T1 lung adenocarcinoma. Methods: A panel of five pathologists evaluated 125 patients with T1 lung adenocarcinoma from January to February 2014 as a study cohort, and 151 patients from January to February 2020 as a validation cohort. The diagnostic accuracy of the filigree and classical micropapillary (cMIP) pattern on FS was investigated. Results: The diagnostic sensitivity of the MIP pattern on FS increased from 43.2% to 65.3% and 56.8% to 81.1% in the study cohort and validation cohort, respectively, and both with good specificity. Filigree not only increased the sensitivity of identifying MIP when there was an absence of cMIP, but also increased the sensitivity when the presence of a minor amount of cMIP. The almost perfect agreement among five pathologists was reached on cMIP and substantial agreement was reached on the filigree in the two cohorts. Moreover, the cMIP and filigree were both correlated with poorer recurrence‐free survival (pcMIP = 0.003; pfiligree = 0.032) and overall survival (pcMIP = 0.004; pfiligree = 0.005). Conclusions: The identification of a filigree may improve the diagnostic sensitivity of the MIP pattern on FS. FS was feasible for the detection of filigree and cMIP patterns in stage T1 lung adenocarcinomas. [ABSTRACT FROM AUTHOR]

Extraordinary railroad bridge over the Filstal valley – basic and detailed design of the new landmark of Baden‐Württemberg The Viaduct Filstal is part of the Albaufstieg project section of the new railway line Wendlingen–Ulm, and its tunnel‐bridge‐tunnel sequence within the existing topography and the Filstal's steep valley slopes presented the project participants with special conditions that had to be taken into account in the bridge design as well as during construction work. The adjoining tunnels with 30 m track spacing required two independent bridge structures. Therefore, two single‐tracked bridge structures were designed as jointless continuous girders with a length of 485 m and 472 m respectively, running over six spans and built as semi‐integral structures. In the area of the Y‐shaped main piers, the haunch is designed in a dissolved form with shallow inclined struts. The superstructure is a single‐cell box girder section prestressed in longitudinal direction and mildly reinforced in transverse direction. The third‐highest railroad bridge in Germany crosses the Filstal valley at a clear height of 75 m. A major challenge for design and construction of the semi‐integral structure with its slender piers was, among other things, the design of the monolithic connections and the longitudinal force transfer due to breaking loads. The selected construction method envisaged to initially build the superstructure in sections with top‐running launching truss on auxiliary towers for temporary support during construction. After completion of the superstructure, the inclined piers were concreted underneath on a suspended scaffolding, and self‐compacting concrete (SCC) was used at the superstructure connection. The total tonnage of the auxiliary construction structures amounted to approx. 3500 t per bridge. [ABSTRACT FROM AUTHOR]

On the base of typical hypothetical reconstructions according to the stages of the development of the attire upon archaeological material the comparative history of attires of two states is restored. At the end of the 11th – in the beginning of the 12th century and later, the features of heavy metal attire were preserved, in Volga Bulgaria – of Finno-Ugric and nomadic, in Old Rus’ – mainly of Slavic one. At the end of the 11th – the first half of the 12th century noisy attires of different designs were formed. In the first half – the middle of the 12th century filigree, niello, openwork weaving were combined in Bulgarian jewelry. Adornments were complemented with bead pendants of new shapes. In Rus’, enamel attire of the sacred-ascetic style created innovations, the niello one was distinguished with a variety of ornamentation (wide bracelets), the filigree retained Slavic traditions. At the end of the 12th – the first third of the 13th century the best jewelry was created. In Bulgaria the temporal rings were complemented by a miniature filigree sculpture, necklaces and chains with pendants presented. Original filigree bracelets with oval endings were famous. In Rus’, enamel and black attires were made in exaggerated and lush styles; luxurious frames of jewelry with filigree technique were used. Filigree attire changed constructively, moving away from folk traditions. In Bulgarian attire the traditions of local and eastern jewelry combined; in Russian attire – of local and Byzantine jewelry.

Many people in different regions and cultures of the world have used all kinds of weaving products in their lives, sometimes from necessity and sometimes for decorative purposes. One of these woven products is rugs. It is understood that the motifs used in the rugs are sometimes woven to protect from evil forces, sometimes to symbolize feelings that cannot be expressed, and sometimes to bring good luck. Rugs in Anatolia have been usually woven by women. It is known that the woman uses the language of motifs where she cannot verbally express her feelings. Today, these motifs have been a source of inspiration for the awareness of cultural heritage with the meanings they carry, as well as the application of them artistically in many fields and the emergence of new works of art. One of these fields is the art of silver filigree. In this context, the subject of the study constitutes jewelry produced from rug motifs in the Jewelry Manufacturing Workshop within the Mardin Maturation Institute. In the study, the meanings of rug motifs will be mentioned and it will be tried to convey the examples reflected in the silver filigree area with their visuals. The aim of this study is to transfer the rug motifs, which have survived to the present day by preserving their originals for centuries, to the next generations by producing and spreading them as jewelry on the human body, apart from the floor covering. [ABSTRACT FROM AUTHOR]

Introduction. The article is devoted to characterizing the decorative features of the fibulabrooch discovered during the study of the mound in the northern surrounding areas of Cherkessk (territory of the Republic of Karachay-Cherkessia) and stored in the collection of the Stavropol State Museum. The aim of the publication is to introduce the poorly known scientific material into scientific use. A full set of illustrations and accurate measurements will further avoid confusion with the description of the specific artifact (in existing publications there are no drawings; conclusions are based only on photos). Explanations relate to the history of the brooch and details of its decoration. Methods. The comparative typological method is used as a working one. It is based on the classification by material, processing method, form, ornamentation, as well as identifying and studying types of brooches with pendants. The comparative analysis of the decor of the brooch from the Stavropol museum and similar brooches with pendants found in the western part of the North Caucasus shows the variety of polychrome decoration production technologies in the region in the 3rd – 1st centuries BC: preserving the traditions of Bosporan jewelry art; distribution of the elements of Colchian toreutics. Analysis. The paper considers design features of brooches from the Stavropol museum and monuments of the Western Ciscaucasia: details of zoomorphic figurines; characteristics of caste design; wire inlay; form and features of enamel inserts; character of pendant weaving and features of the design of suspended discs. Results. In the production of hollow zoomorphic images of the 3rd – 1st century BC there were two lines of development: 1) simplified modeling of figurines modeled on the pattern of Colchian products of the 5th – 4th centuries BC (Psenafa and others); 2) continuation of the tradition of producing jewelry with enamel (brooch from the mound in the land of Rodina state farm). In the first case, the simplicity and negligence of execution evidence established local production of imitations of Colchian images. In the second case, elegance of images and refinement of execution emphasize the creation of brooches of Karachay-Cherkessia in one of the centers of Bosporus toreutics which was under the influence of Colchian jewelry.

The article explores new approaches to studying the jewelry art of the Turkic peo-ples of Eurasia. First of all, it presents the analysis of the facts mentioned in the collec-tive monograph on Eurasian Turkic peoples’ jewelry, which was written by the most prominent experts in this field from research institutions of Russia. This fundamental work presents analytical studies of Turkic-speaking peoples’ jewelry: Tatars of the Vol-ga and Ural regions, Yakuts, Buryats and others. The authors systematized a vast amount of materials, distributed it into groups and categories, and highlighted the kinds and types of products. The definitions of produced items functionality and their formal features served as the ground for classification. The articles provide reasoned infor-mation about the origin of certain types of jewelry, the time of their occurrence and exis¬tence. Appeal to the mythology of the peoples who made such products is of parti-cular interest. This made it possible to understand and present the special role of jewelry in the world view and its significance in the mythological ideas of the Universe and the world. Technological methods of jewelry making of the Turkic peoples of Eurasia are examined, the specifics of the production and artistic methods of applying the decor are identified. Obviously, the processes of artistic crafts formation, as well as fabrication of produced items, have a long history associated with the processes of ethnocultural interaction.

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Copyright of Santander. Estudios de Patrimonio is the property of Santander Estudios de Patrimonio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Filigree steel‐chassis with futuristic plastic cladding roofs sports hall Friedrich‐Ebert‐school in Pfungstadt The new sports hall of Friedrich‐Ebert‐school in Pfungstadt is a freestanding solitaire in a heterogeneous industrial area. The steel‐chassis of the roof structure with its futuristic white plastic cladding is an outstanding design element of the building. This article describes the structural design of the roof structure. [ABSTRACT FROM AUTHOR]

The article is devoted to the identification and archaeological and ethnographic interpretation of technical and technological features of the Tatar jewelry art. Kazan was one of the largest jewelry centers in the Russian Empire, distinguished by the peculiarities of technical and technological and ornamental techniques of jewelry, formal and morphological content of jewelry. Tatar jewelers had a grip on almost all technological processes, but they acquired a special skill in the art of filigree and embossing. In historiography there was a belief that the so-called knobby filigree is “distinctive and unique appliances that have not received distribution in jewelry of other Nations” (Tatar encyclopedia, p. 468). However, recent research (RFFI, project № 13-06–97056) showed that it was common in the jewelry of some of the peoples of the European part of Eurasia since the 11th century. Analogues of Kazan Tatar lumpy filigree of the 18th – the first half of the 19th centuries were revealed for the first time in Russian (religious) and European (secular) traditions of jewelry art. Original kind Tatar coinage is the coinage identified by the researchers (F.H. Valeev) as a high-relief. On the products, which were made using this technique, presence (merger) of regional traditions characteristic of Tatar and Russian art have been revealed. Manifestations of syncretism, whoch are observed in a number of technologies of Tatar jewelry production, are probably due to the existence of numerous Russian jewelry centers in Kazan, the Kazan Volga region as a whole (usually in monasteries), including a large handicraft in the village of Rybnaya Sloboda.

Several sites with rich finds are known from the area of the Púchov culture with a wide range of finds. They include a mass find from the central Považie region, from the hitherto little-known site of Podskalie, on the flank of the Veľké skaly hill in the district of Považská Bystrica. It contains two examples of a hitherto unknown, new type of belt hook, a belt ornament and a pseudo-filigree basket amulet. A key, lock spring, cramp irons and two knives were also found. Several Celtic coins in circulation on the territory of the Púchov culture also come from this site, namely the Divinka, Nitra, Veľký Bysterec types, the Slovak or Kolačno type, the Liptovská Mara and Simmering types. The hoard and the coins date the site to the late La Tène period LT D. [ABSTRACT FROM AUTHOR]

Certain forms of bronze fibulae, alongside some forms of bronze belts, are recognizable items of the Middle La Tène Scordiscan female costume. One of those forms is the so-called Scordiscan variant of bronze fibulae with round plates decorated in pseudo-filigree and pseudo-granulation techniques. Fibulae belonging to this heterogeneous group, with specific variants singled out, are characteristic of communities along the Danube River which shared similar ideas of decoration of the female body during the Middle La Tène. The presence of numerous variants of fibulae clearly points to the existence of local workshops, regardless of noticeably the same basic decorative design concept in their production. Fibulae assigned to the Scordiscan variant have a characteristic trefoil motif with a knob on the top of the round plate and are, for now, known only from Scordiscan sites, due to which they can probably be considered products of their workshops. Finds of fibulae assigned to some other variants were also discovered at Scordiscan sites, indicating the existence of cultural contacts with neighbouring communities. In any case, bronze fibulae decorated in pseudo-filigree and pseudo-granulation techniques provide valuable findings of decorating Scordiscan women's bodies, as well as their public presentation, i.e., the fibulae probably represent a recognizable manifestation of their visual identity. [ABSTRACT FROM AUTHOR]

Found by chance in 1912, the hoard from ţifeşti (in the former Putna County) immediately came to the attention of numismatists. First published in 1915 by Constantin Moisil, it remained in oblivion for a long time, at most barely mentioned in various articles. The beginning of the First World War and the entry of Romania in the middle of these events had, as a consequence, the evacuation of the country's treasure to Russia. After arriving in Moscow, it was returned to the Romanian state in 1956. The coins of the treasure came from both the Ottoman Empire and Hungary. The Turkish coins (the akçe) were issued during the reigns of Sultans Mehmed the Conqueror (1451 - 1481) and Bayezid II (1481 - 1512). The coins issued in Hungary are from the time of kings Matthias Corvinus (1459 - 1490) and Vladislaus II (1490 - 1516). So far, they have not yet been published in full. The buttons (seven) are manufactured of filigree silver wire wrapped in the shape of a ball. The other two items, manufactured of foil, are dress accessories rather common in the Middle Ages, widely circulated both chronologically and territorially. There are also parts of buttons which are not mentioned in the article published in 1916. The adornments consist of two pairs of silver earrings manufactured in the filigree and granulation techniques. In the case of the items from ţifeşti, they are dated to the second half of the 15th century. [ABSTRACT FROM AUTHOR]

This article assesses connections between the Valasse reliquary cross and the Plantagenets, and considers whether the smaller, older set into the Valasse reliquary cross may have been the Empress Matilda's own jewel. I explore the evidence for the agency of this 12th-century English princess, whose eventful travels through England, Germany, northern Italy, Rome, Maine and Normandy are well documented. The cross itself changed as it moved through time and space. I examine the contexts in which it may have been presented as a gift to a religious foundation, and attempt to explain why the reception of the reliquary by a Cistercian and Norman abbey was appropriate. [ABSTRACT FROM AUTHOR]

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Abstract: Gateway to the Spessart – Replacement of the transfer of the state road 2312 in the course of the construction of the federal highway A3. The Federal Highway A3 is one of the most important federal motorways in Germany. Due to the high traffic load, the Federal Highway A3 between Aschaffenburg and the Biebelried motorway junction will be expanded to six lanes. Selected bridges in the section receive a special design with recognition value. This includes the transfer of the state road 2312, the so‐called Monobogen. This single arch creates a gateway to the Spessart. As part of the six‐lane expansion of the Federal Highway A3, the relocation of the Federal Highway A3 and the state road 2312 will require a new intersection. The conception of the new bridge should take into account in particular the oblique crossing situation. A structure was designed that counteracts the skewness in its statics and view. The diagonally over the superstructure exciting Monobogen with bilateral cable suspensions crosses at almost right angles the underpassed federal highway. The regularly arranged cable suspensions allow a very slim designed bridge deck, which unfolds its effect regardless of the viewing angle. Due to its almost right‐angled orientation to the federal highway, the arch is unadulterated in its true arched form. The shape of the rope overstretch is characterized by static aspects of the architecturally designed, crossed trailer view. For the architecturally designed structure, fully closed ropes were chosen, as their outer diameter and the geometry of the anchorages compared to stranded cables are better suited to the proportions of the filigree bridge. [ABSTRACT FROM AUTHOR]

Filigree concrete shells at the central station in Berlin Berlin Central Station, opened in 2006 near the city centre was finally connected to the capital's tram network in 2016. Over the course of this extension an important transfer point emerged in the form of a new tram stop at Europaplatz. To cover the two platforms and offer weather protection to waiting passengers, long stretched, curved reinforced concrete shells were developed. At a size of 58 m × 6 m the two symmetrical, cantilevered roofs are additionally supported on several points by steel columns along the outer edges. They emerge as an extension of the centrally arranged vertical escalator walls, which lead to the future subway station. Due to complex conditions, not only the design and dimensioning of the roofs were a challenge, but also to establish a safe and stiff foundation for the roof structure. The curvature of the roof surface allows for a load-bearing behavior of a shell in which bending moments are minimized. By using high-strength but lightweight concrete (LC45/50 in accordance with DIN EN 1992) combined with a stainless steel reinforcement it was possible to create an extremely slender concrete shell measuring only seven centimeters along the inner edges. [ABSTRACT FROM AUTHOR]

Thinking by modelling - Comprehensible models as a central instrument in the work of Frei Otto. The innovative architect, engineer and researcher Frei Otto (1925-2015) is considered to be one of the world's most renowned structural designer of the second half of the 20th century. A lot has already been said and written about him. His activity oscillated in the interplay between searching and finding, between constructing and understanding, between modeling and analyzing, between design development and nature exploration. The sometimes expressed assertion that he had copied his innovative constructions of nature, is as superficial as inaccurate. The essential tool of his work was, rather, the built, the comprehensible physical scale model. About 200 filigree pieces of his work and research equipment was shown at the Karlsruhe Center for Art and Media (ZKM) until March 12th, 2017. [ABSTRACT FROM AUTHOR]

The aim of the paper is a diachronic research of the Albanian minority engaged with filigree production and the relationships (of power) between minorities present today in Istria. The text is motivated by three factors. Firstly because of the prevailing bipolar relation between the Croatian majority and Italian (autochthon) minority this opens up spaces for research of the position of other minorities. Further, the inquiry for collaboration came from the community and finally by spacious and temporal determinants of the researched subject being Rovinj and Poreč, two cities where the authors lived and which are closely linked to the craft and the period in which the younger author spent her earliest childhood and the older remembers the school motto being: “to build up a comprehensive, free, creative and socialistic personality”. Starting from the idea of “brotherhood and equality” using ethnological methodologies we discover the ambivalent position of the filigree workers/Albanian minority through time and which we articulate through the prism of minority issues and today’s concept of multiculturalism and interculturalism in Istria.

The present article obeys to the interest that exists in the general scope, to write on subjects related to the war and the conflict. In this case, one is not to repeat the reflections provoked on critical, sociological or political aspects: it is plus to philosophical or literary reflection, with a noticeable political emphasis. Like article, it is formed following a model of metaphorical anecdotal and writing, until attaining to give form to a filigree of the war.

This article presents a part of the decorative techniques used by the craftsman in Hellenistic period on jewellery -- to be more precise, the techniques that not require adding new material to create a more colourful piece except enamel. The decision to describe the last technique is given by the repeated mention of the enamel in filigree technique but this method is a part of the polychrome techniques that use different materials or substances to give colour to the jewellery. [ABSTRACT FROM AUTHOR]

Unserem akademischen Lehrer und Vorbild Herrn Prof. Dr.-Ing. Kurt Schäfer zum 80. Geburtstag gewidmet Der Neubau von drei Überdachungsbauwerken ist Teil der Baumaßnahme ZOB (Zentraler Omnibusbahnhof) Pforzheim. Den Überdachungsbauwerken als funktional notwendige und gleichzeitig gestalterisch prägende Elemente kommt eine maßgebliche Bedeutung für die Gesamtbaumaßnahme zu. Erscheinungsbild und Form der sehr filigranen, mit einer weißen Verkleidung versehenen Überdachungsbauwerke in Stahlbauweise sind abgestimmt auf verkehrsplanerische, städtebauliche und funktionale Randbedingungen. Der Beitrag beschreibt den Tragwerksentwurf für die Überdachungsbauwerke sowie deren Tragverhalten. Umbrella roofs of ZOB Pforzheim: Structural design of geometrically sophisticated emblematical steel structures. Three new roofs are part of the project central bus station Pforzheim. Functional necessary and in terms of design striking the roofs have significant relevance for the entire area. Appearance and form of the extremely filigree steel roofs, covered with a white cladding, have been adjusted to transportation, urban as well as architectural planning aspects. This article describes the structural design process for the roof structures as well as their structural behaviour. [ABSTRACT FROM AUTHOR]