ABSTRACT
This paper looks at the historic developments that led to the use of transparent acrylic construction elements from the 1950s onwards. The analysis is based on archive material from the record group Röhm of Evonik Industries AG, the Deutsches Museum (DM), and two key objects: the Opel Olympia (1930s) of the DM and the roof of the Olympic sports facilities (1970s) in Munich. In terms of their construction, usage, and meaning, these objects show the main differences between transparent acrylics before and after 1950. For the Opel, the polymer poly(methyl methacrylate) was thermoformed, showcasing German technological innovations for propaganda purposes. In contrast, the Plexiglas© for the Olympic roof contains several additives, including flame retardant and UV-absorber. It was biaxially stretched and cold formed into aluminium frames. Expressing the democratic ideals of an open society, acrylics presented a progressive, forward looking architecture of seemingly light structures.
