2. Introducción
¿Por qué la silla corona?
Ocurrió en un debate muy breve, sobre como escoger un producto que se distinguiera notoriamente del resto, no
por su espectacularidad, si no por su éxito y difusión, es interesante que estos grandes logros de la mercadotecnia
siempre tengan un carácter anónimo, difíciles de rastrear, tan exitosas que no requieren de pomposas campañas
publicitarias.
Apareció allí, discreta en la conversación, la silla Corona, un elemento común de nuestro entorno, afianzado en
nuestra memoria colectiva, presente invitado de fiestas, comidas y cumpleaños desarrollados en lugares inhóspitos
donde todo otro conjunto de muebles fallarían, se romperían, doblarían, ensuciarían y estorbarían.
Introduction
Why “Corona” chair?
It happened in a very short debate. on how to choose a product
that is distinguished markedly from the rest?, not for its
spectacularity, if not for its success and dissemination, it is
interesting that these great achievements of marketing always
have such a successful, hard to track, anonymity that do not
require pompous ad campaigns.
It appeared there, discreet in conversation, the “Corona” chair, a
common element of our environment, entrenched in our
collective memory, this guest of parties, dinners and birthdays
developed in inhospitable places where every other set of
furniture would fail, would be broken, would bend, or maybe get
dirty and would hind.
3. data sheet/ficha tecnica
Basic Info
Name: “Corona” Chair (1968)
Typology: Chair
Designer: Unknhow
Producer: “Industria mueblera guismo”
Material: Galvanized steel, tubes and
sheets, polypropylene caps.
Structural settings: Active Surface,
connected by rivets.
Process: cutting, bending, welding,
assembly, rivet, passive varnishing,
painting
Nombre: Silla Corona (1968)
Tipología: Silla
Diseñador: desconocido
Materiales: tubos y laminas de Acero galvanizado y
tapones de polipropileno
Configuración estructural: Superficie activa, unida por
remaches
Procesos: Corte, doblado, soldadura, ensamble, remache caliente,
barnizado pasivante, pintado.
4. History / Historia
Se puede observar el parecido en el mecanismo y los materiales
(tubos)
You can see the similarity in the mechanism and materials (tubes)
Firstmetal
folding chair.
Marlcel Beuer
B4
1927
Weimar republic
transition
Not for
social status
Leather strips
to hold
9. business Impact / Impacto comercial
La silla corona surgió como parte de una estrategia comercial por parte de la cervecería homónima. Empatada con el surgimiento de eventos
públicos de gran magnitud nunca vistos hasta la década de los 60´s , momento en que México surgió de la ruralidad y comenzó una gran
migración hacia las ciudades.
Este cambio se vio reflejado en el manejo de la infraestructura de las olimpiadas de 1968.
Su impacto en el mercado radica en el posicionamiento de una marca, dentro de un ámbito persona, una persona, un asiento, y en el respaldo
de este, la marca. De manera que existen una multitud de consumidor aunque solo exista un cliente, la marca “Corona”
The “Corona“ chair emerged as part of a marketing strategy by the
eponymous brewery. Tied with the emergence of large-scale public events
never seen until the early '60s, when it emerged from the rural Mexico and began a
great migration to the cities.
This change was reflected in the management of the infrastructure of the 1968
Olympics.
Their impact on the market lies in brand positioning, within a personal, one
person, one seat and the back of this, the brand. So there are a multitude of
consumers though there is only one client, the brand "Corona”
10. Contexto social/social environment
México durante la década de 1960 fue escenario de varios cambios sociales, influenciados por la apertura de la economía al extranjero, la
instalación masiva de fabricas en el territorio nacional, así como la difusión de la infraestructura de carreteras, hospitales, oficinas de desarrollo
social, así como la autonomía de la enseñanza en las universidades, que dieron origen a una generación joven, educada con ideas diferentes
surgidas de un modo de vida distinto al conocido hasta entonces, todo dentro del explosivo ambiente de la guerra fría.
Cambiaron conceptos de la vida familiar, el trabajo y la libertad.
Mexico during the 1960s was the scene of several social changes,
influenced by the opening of the economy to foreign, massive
installation of factories in the country, as well as dissemination of road
infrastructure, hospitals, offices of social development, and the autonomy
of teaching at universities, which led to a young generation brought up
with different ideas from a different way of life ever known, all within the
explosive atmosphere of the Cold War.
They changed concepts of family life, work and freedom.
11. Production cost Space efficiency Accessibility Weather resistance
We focus on four of the strongest factors that we believe the “Corona”
chair owes its success in Mexico.
Production cost , profit deducted by the core logic of the
transformation of matter and construction
Efficiency of space, the volume occupied by item to be stored based
on their dimensions, dimensions less bend capability.
Accessibility; ease of acquiring today , Mexico 2015
Weather resistance; its ability to support inhospitable exterior
conditions
10 10 7 7
Just two
prefabricated
Material, cut,
welded an
assemble
Corona chair
can completely
blend
Even if you can
buy one, you
can not buy it
from producer
Galvanized
steel is less
resistant than
stainless steel
to water.
Rate: 8.5
.
12. 7 5 1 6
Only stainless
steel sheet,
bend and weld
with a textile
and foam
cushion.
37x127x41Cm
(1850cm3)
and can not
bend
No under
production in
2015
Textile are not
resistant to
weather.
• NAME: wave bench (1968)
• TYPOLOGY: chair/bench
• DESIGNER: Maria Pergay
• PRODUCER:
• MATERIALS: stainless Steel, and textil
• STRUCTURAL SETTINGS: sheet
stainless steel bent and welded together
• PROCESS: bending and welding
Rate: 4.75
Production cost Space efficiency accessibility Weather resistance
13. 4 6 2 6
Components
have to bend
individually,
textile and
foam.
92x64x77cm
(4,642cm3)
And Can not
bend
Fabrication
Over demand
• NAME: loungue chair (1968)
• TYPOLOGY: chair
• DESIGNER: Warren Platner
• PRODUCER: KNOLL
• MATERIALS: nickel, steel, linen, foam cushion.
• STRUCTURAL SETTINGS: steel rods bent and
drawn to a circle at the base steel into the shape of
seat
• PROCESS: bending and welding
Rate: 4.5
Production cost Space efficiency accessibility Weather resistance
Textile are not
resistant to
weather.
14. 4 5 10
Cellidor is very
expensive anti
scratch
material.
75 x 47 x 50.5
(1762cm3)
Complete
folding chair
Import only Very resistant
to weather
Name: plia (1968)
Tipology: chair
Desinger : Giancarlo Piretti
manufacturer: Castelli s.p.a.,
material: polished die-cast aluminum,
oval tubular steel, cellidor plastic
Rate:7.25
10
Production cost Space efficiency accessibility Weather resistance
15. 8 5
Tubes cut and
welded, with
leather common
material but
expensive
process
Import only Leather is not
resistant to
weather
Name: sled chair 1968
Tipology Chair
Designer: Ward bennet
Productor: Herman Miller
Material Leather, Chromed Solid Tubular Steel
46
78×66×66cm
(3,397cm3)
And can not
bend
Rate:5.75
Production cost Space efficiency accessibility Weather resistance
16. Silla Production
cost
Space use accessibility Environment
resistance
Rate
“Corona” 10 10 7 7 8.5
“Wave” 7 5 1 6 4.75
Lounge 4 6 2 6 4.5
“Plia” 4 10 5 10 7.25
Sled 8 6 5 4 5.75
Al ver las propuestas extranjeras de sillas en acero del mismo año, nos dimos cuenta que en otras naciones existían crisis diferentes, reflejadas en las
realidades propuestas por sus diseñadores; enfocadas en grupos mas privilegiados de un tipo burócrata, con exigencias existenciales reflejadas en
materiales aislantes, muy diferentes a las exigencias publicitarias de la compañía “corona” y su interés comercial, enfocado a la satisfacción de las masas
durante sus eventos patrocinados.
Creemos que el existo de la silla corona reside en enfocarse en las crisis practicas por encima de las existenciales, y en darle un papel a la sobre estructura
para resaltar la identidad de la silla.
Conclusion:
Seeing foreign proposals steel chairs in the same year, we realized that in other
countries there were different crisis, reflected in the realities proposed by its
designers; more privileged groups focused on a type bureaucrat with existential
demands reflected in insulating materials, very different from the advertising
requirements of the company “Corona" and its commercial interests, focused on the
satisfaction of the masses for their sponsored events.
We believe that the crown exist chair lies in focus on practical crises existential above,
and to give a role on structure to highlight the identity of the chair
