To contribute for the harmonious integration of individuals with the domestic and professional environment, by offering improvements and solutions in the furniture industry, with durable products and innovative services.
Be recognized in the market for providing the best solutions in furniture, in both the corporate and residential segments, with distinguished product and service quality, by means of a qualified and sustainability focused management.
principles and values
The permanent transmission and search of the best practices depend exclusively on our employees, whose personal interests should not conflict or come before the ones of the company and of society.
The success of our business depends on the constant improvement of the principles and values below:
1. Surprising and respecting users and customers, to receive the best solution in products and services, in the quality provided and in the agreed quantity and time;
2. Stimulating our employees’ good performance, maintaining respect for the individual, sharing knowledge and responsibilities, always in a transparent manner;
3. Establishing partnerships with our suppliers, based on mutual trust and adding knowledge and value;
4. Be committed to results, reaching and exceeding goals. This effort is the base for growth and support for the business perpetuity;
5. Care about the environment; respect it, prevent and reduce harmful impacts to nature through processes and the use of sustainable development oriented technologies.
All commercial, operational and support processes, inserted in the scope of customer relationship, must prioritize the constant pursuit for cost optimization, innovation introduction and continuous improvement of the Quality Management System efficacy.
Our success will be the market acknowledgment who, by choosing our solution, will realize not only our products’ durability and the quality of our services but also the best cost/benefit relation.
And this success is the path to our business growth. It will build self-confidence and satisfaction to us as individuals, and will create a great opportunity for professional development.
. waste management
The industrial waste generated by Securit’s productive process, before being disposed of or sent to treatment, passes through a laboratory analysis to identify its composition and apply the best and most viable final destination technology.
The company follows rigorously all waste management procedures, sending the material for treatment and/or elimination with all related waste handling certifications of environmental interest in full compliance with CETESB rules. At our plant in Guarulhos (High Tietê Hydrographic Basin) there is a treatment station for chemical effluents generated during the production process, where also the separation and destination of I, II and IIA class industrial waste occurs, as described below:
25% industrial landfills accredited and certified by the environmental agencies
10% reuse as raw material
Description of the technologies applied on the waste generated during the industrial process.
1. Co-Processing: it is the thermal destruction of residues in cement furnaces. It distinguishes itself for being a sustainability allied solution for using waste as an alternative fuel - due to its energy potential - and also as a raw material substitute for the cement industry.
2. Industrial landfill: this is an environmentally safe solution for the final disposal of class I, IIA and IIB waste. The landfills are constructed with a state of the art soil impermeabilization technology, using a total waste containment technique, with drainage and treatment of gaseous and liquid effluents, continuously monitored to secure maximum environmental safety.
3. Recycling: Recycling is the term regularly used to name the reuse of processed materials as raw materials for a new product. Several materials can be recycled, the most common being paper, glass, metal and plastic. The biggest advantages of recycling are the reduction of the use of natural sources, which are often not renewable, and the reduction of the quantity of waste that needs final treatment, such as landfilling or incineration.
4. Reuse: this means using a product for more than once, regardless of its use. The reuse itself doesn’t solve waste related problems but it contributes in its management, for its intensive re-use by third parties, giving the product longer life and reducing the use of natural resources.
5. Incineration: the incineration units are capable of safely destroying highly hazardous solid, liquid and viscous waste. It is the process of destruction via thermal oxidation at temperatures ranging from 800º to 1200 °C. Incineration of medical waste is not compulsory as a means of treatment, but it’s considered the best treatment alternative, because of the following factors:
- It stongly reduces waste quantity, leaving a small amount of ashes;
- It’s a simple process although critical in regards to operational procedures compliance;
- The downside, in case the plant is not correctly designed and operated, is the emission of toxic compounds such as dioxins and furans.
. raw material management
- MDF: Chipboard and its by-products, exclusively acquired from Custody Chain Certified suppliers, producers of natural wood and/or well managed plantations derivates, approved by the Forest Stewardship Council. (Pinus and Eucalyptus)
- Steel: Recyclable material, its scrap is sold for recycling.
- Wood: the company does not work with natural wood laminates.
- Aluminium: Recyclable material, its scrap is transformed into new products by the raw material supplier.
- Painting booths are equipped with water curtains to minimize pollution.
- The exhausting system of woodworking machinery is equipped with bag filters to prevent particulate elements’ dispersion.
Created in São Paulo and founded by Engineer Aldo Magnelli, then director for Olivetti in Brazil. From Olivetti machine assembler, the company gradually amplifies its product range, adding dismountable storage shelves for industrial stocking, bookcases, and armchairs with "giroflex" mechanism and horizontal file cabinets. Organized according to European criteria, with serial production and assembly line, it becomes the first modern furniture manufacturer in Brazil.
During the decade, it launches the first totally dismountable table, with 234 different combinations, conceptually modern to this day. It is the first company of the sector to install a complete ambiance, setting the first Office Furniture System in Brazil.
With the advent of the automobile industry, the modern manufacturing structure allows Eng. Magnelli to accept the challenge of producing auto parts and components for the white line industry. During the same period he starts the production of steel kitchens and this consolidates the Securit brand as a market leader. Syngas helped the country during the fuel shortages.
The 60s and 70s
Sandro Magnelli takes charge of the company, replacing his father, and builds the second plant where the highlight is the completely automated woodwork manufacture, the most modern in Brazil. Tecnoramic, the first office system with electrifiable and panoramic partition walls is launched.
Canadian license pallet racks and mezzanines completed the line.
The company launches the Residence kitchen, licensed by Boffi Cucine, in collaboration with Pier Ugo Boffi and made entirely of wood.
The 70s and 80s
The company becomes an exporter, opens a branch in Houston and wins a prize in the USA. Desks made of hardwood jacaranda, ironwood, sucupira and ivory wood are a success all over the world.
The 80s and 90s
A period of great difficulties, with the country s high inflation rate, the company manages to stay in business and creates the Modular system, a synthesis of panoramic office furniture models, sold in high volumes. The production of the 40/4 chair, a classic of international design by North American David Rowland and today part of the New York Museum of Modern Art collection, is started.
The company innovates introducing products with a higher added value, while maintaining the attributes. The Securit brand product was made to last and has continued throughout decades. Massive introduction of aluminum sections and launching of the high technology Element and Network furniture systems: the first ones in Brazil using stackable partitions, with frontal removal. International design by Chris Sykes. By the end of the 90s, the start of a new century, items are gradually eliminated and the company focuses only on durable, technologically valid and innovative products.
The production of storage systems undergoes an important evolution, resulting in the launch of Tango, the sliding archive. A new segment of the Securit brand for trade fairs, storage shelves, events and stores added to the Clic and Pila constructive system offices, with international design by Burkhardt Leitner.
The modular system, with the Alfa desks, is renewed by Chris Sykes and the Stand 50 panel System emerges. Platform desks appear on the market and Securit presents its Connect platform as well.
By the end of 2008 the Lynx line designed by Chris Sykes enters the company portfolio.
The history of the company and its products shows a constant concern in offering customers the best, both in terms of product and solution. Securit is attentive to the market changes and needs, and closer to the main focus, its customer. The consequent change of the corporate image encouraged us further in pursuing the achievement of our vision.
The New Brand
The Securit brand has always been in tune with the culture of its time. The new brand comes to translate into image its commitment of more than 60 years with design, with technology and with the human being.
An image that is at the same time strong and warm. A smiley signature, closer to the user, more compatible with the best products offered by the Brazilian furniture market. Joy and warmth that bring life to the new Securit brand are concentrated on the red letter "e".
Securit is proud of being part of the history of the Brazilian 20th century design. And it continues to be connected to the world, fully committed in offering the best design for the 21st century. Securit. Design Today.
Chico Homem de Melo
Bill Stumpf .
Bill Stumpf once said, "I work best when I'm pushed to the edge. When I'm at the point where my pride is subdued, where I'm innocent again. Herman Miller knows how to push me that way, mainly because the company still believes—years after D.J. De Pree first told me—that good design isn't just good business, it's a moral obligation. Now that's pressure."
Stumpf's association with Herman Miller began in 1970 when he joined the staff of the Herman Miller Research Corporation. After establishing his own firm in 1972, Stumpf created the Ergon chair, the first ergonomic work chair. Later, in collaboration with Don Chadwick, he produced the groundbreaking Equa and iconic Aeron chairs. He also was principal designer for the Ethospace system.
"I enjoy myself, and I do it through design," Stumpf declared in an interview a few years ago. "I love beauty, and I love the availability of beautiful things and useful things immediately around me."
When he looked around, though, too often he saw design that "denies the human spirit," architecture that acknowledged money and not people, offices that were "hermetically sealed in artificial space." He constantly battled against such designed indignity—a battle that began in the 1960s at the University of Wisconsin.
"Everything goes back to those days at the University of Wisconsin," he said recently, referring to the postgraduate years he spent studying and teaching at the university's Environmental Design Center. "Everything was about freeing up the body, designing away constraints."
It was there where Stumpf, working with specialists in orthopedic and vascular medicine, conducted extensive research into ways people sit—and the ways they should sit. In 1974, Herman Miller commissioned him to apply his research to office seating. Two years later, the Ergon chair was introduced.
During his lifetime, Stumpf—a key figure in Herman Miller's transformation into a research-based, problem-solving innovator—received numerous awards for this work. He was named the winner of the 2006 National Design Award in Product Design, an award presented posthumously by the Smithsonian's Cooper-Hewitt, National Design Museum.
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Burkhardt Leitner .
In 1964, at only 20 years of age, Burkhardt Leitner founded his first company. After 40 years, he created a name that is the synonym for constructive systems for trade fairs and exhibitions. Continuing the Bauhaus and Ulm School of Design tradition, he created the parameters for the functional aesthetics of design for fairs.
With an endless curiosity, he has not only been working in new types of architecture systems, but has also been dedicated to promote international design. Among others, he is member of the jury of the Mia-Seeger-Stiftung and of the German Design Council, where he is the first designer representing the segment of fairs and exhibitions.
In 1993 he founded Burkhardt Leitner Constructiv in the format it has today, with 30 qualified professionals including designers, planners, engineers, technicians and commercial staff. Everybody works in teams that are composed according to the projects' characteristics and needs, prioritizing communication to solve complex problems with simple solutions. It is through this "constructive" cooperation that the company has achieved the status it enjoys today.
Burkhardt Leitner’s team is responsible for the design of the Clic and Pila Petite products, produced under license and exclusively in Brazil, by Securit.
Charles & Ray Eames .
A chair that looked like a potato chip. Another that resembled a "well-used first baseman's mitt." A folding screen that rippled . . .
With a grand sense of adventure, Charles and Ray Eames turned their curiosity and boundless enthusiasm into creations that established them as a truly great husband-and-wife design team. Their unique synergy led to a whole new look in furniture. Lean and modern. Playful and functional. Sleek, sophisticated, and beautifully simple. That was and is the "Eames look."
That look and their relationship with Herman Miller started with molded plywood chairs in the late 1940s and includes the world-renowned Eames lounge chair, now in the permanent collection of the Museum of Modern Art in New York.
Charles and Ray achieved their monumental success by approaching each project the same way: Does it interest and intrigue us? Can we make it better? Will we have "serious fun" doing it?
They loved their work, which was a combination of art and science, design and architecture, process and product, style and function. "The details are not details," said Charles. "They make the product."
A problem-solver who encouraged experimentation among his staff, Charles once said his dream was "to have people working on useless projects. These have the germ of new concepts."
Their own concepts evolved over time, not overnight. As Charles noted about the development of the Molded Plywood Chairs, "Yes, it was a flash of inspiration," he said, "a kind of 30-year flash."
With these two, one thing always seemed to lead to another. Their revolutionary work in molded plywood led to their breakthrough work in molded fiberglass seating. A magazine contest led to their highly innovative "Case Study" house. Their love of photography led to film making, including a huge seven-screen presentation at the Moscow World's Fair in 1959, in a dome designed by their friend and colleague, Buckminster Fuller.
Graphic design led to showroom design, toy collecting to toy inventing. And a wooden plank contraption, rigged up by their friend, director Billy Wilder for taking naps, led to their acclaimed chaise design.
A design critic once said that this extraordinary couple "just wanted to make the world a better place." That they did. They also made it a lot more interesting.
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Christopher Sykes .
The English designer Christopher Sykes has an office specialized in corporate furniture design, with the head office in Australia, and he is responsible for products of worldwide success such as the Element and Network lines.
A Graduate from the Royal College of Arts, instead of simply creating design pieces, Skyes developed a concept of holistic furniture systems, with adaptable components that help in life, in flexibility and in the easiness of use.
He is considered a revolutionary of design because with simple ideas he has created new concepts that broke the boundaries of conventional thought.
Especially with the Element system, he was able to add his experience of more than 2 decades to unconventional methods and create what is now considered the system that is most flexible and most compatible with the world’s technological advances.
Chris Sykes continues to strongly impact the furniture universe with innovative ideas and designs.
Products manufactured under license and exclusively by Securit: Element, Network, Casewall, File Cabinets, Lynx, Stand 50, Stand 25 and Alpha 4.
David Rowland .
Born in Los Angeles in 1924, David Rowland studied in the Art Academy of Cranbrook and worked with renowned European and American designers since the beginning of his career. This combination allowed him to develop a unique and sophisticated style that joins the European avant-garde design and the American technical know-how.
He became one of the most important chair designers, and the 40/4 line is his trade mark, one of the most famous and functional chairs of the XXth century. It is a super compact chair, comfortable, versatile, which became a classic of international design, a worldwide prizewinner. Launched in 1964, it won the prestigious Milan Triennial Award on the next year. Today, it is part of the permanent collection of Museums such as the Paris Le Palais du Louvre and the New York Metropolitan Museum of Art, for the simple reason of being exceptional in all aspects.
The 40/4’s differential is the small cart on which 40 chairs can be stacked up to 1.20m high. It is ideal for schools, offices, conference rooms, meeting rooms, restaurants, public agencies and others. For more than 20 years, the 40/4 chair is exclusively produced in Brazil by Securit.
Don Chadwick .
Don Chadwick isn't one of those designers who say that their "real" studio is in their mind. Chadwick's real studio is in Santa Monica, thank you, and anyway, he prefers to call it "an experimental lab". "We're set up to get dirty and take chances," he says.
His lab apparatus includes saws and grinders, lathes and drill presses and vises—and not one computer-numerically-controlled anything. Computer technology, Chadwick allows, is great for some things, but when he hears someone suggest that a new chair could have just as effectively been designed by computer, he says, politely, "You're out of your mind!"
"The only way to be sure a chair is comfortable is to actually sit in it and make changes along the way," Chadwick says. "A computer can't deal with the subtleties of chair design. Good chairs are too complex."
Too complex? Yes, and not just for computers.
"Most industrial designers don't take furniture design seriously," he says. "They're not trained to get into that kind of detail. It's too personal, too much like surgery. And besides, you have to be in love with this kind of work."
Chadwick's love for furniture design goes back to his childhood, when his cabinetmaker grandfather taught him how to use the tools of the trade—hand tools that required skill, precision, and patience. Later, unlike the other industrial design students at UCLA in the mid-1950s, he focused on furniture. And after hearing a Charles and Ray Eames lecture there, Chadwick was convinced: Furniture offered designers, even industrial designers, the chance to use materials in new, innovative ways—and to make a "real difference" in people's lives.
He attributes at least some of this optimism to the "LA recklessness" he's experienced as a lifelong resident of Southern California. "There's less fear of failure out here, so people are more apt to take risks. It's fertile ground for innovation."
For over two decades now, Chadwick has had a partner in recklessness. "Herman Miller isn't afraid to take chances on new ideas. That's why the company's been successful for so long, and that's one reason why it's challenging to work for them."
The Santa Monica-Zeeland connection continues, the experimental lab whirling with the sounds of belt sanders and power saws. That, after all, is what real design studios do.
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Jeff Weber .
As a kid, Jeff Weber was fascinated by the way things worked. "I was always tinkering—either building things or tearing them apart," he says. Watching his mechanical talents develop, his grandfather suggested that he consider becoming an industrial designer. Once he learned more, "I never really thought about doing anything else," recalls Weber.
Today he uses his considerable talents to improve the human condition by designing products that enhance people's lives—at home and at work. "There should always be a human benefit associated with whatever it is we're designing," he explains. "It's all about the experience, stimulating a person's senses in a positive or beneficial way."
While Weber's work includes a wide spectrum of products, he became interested in furniture design when he teamed up with Bill Stumpf, who worked with Herman Miller for 30 years. "Bill's design spirit will inspire all my future work," says Weber. One example is Stumpf's "uni-part" theory. "It says that all components of any given object must have a functional purpose as well as an aesthetic one," says Weber. "It's a fundamental principle we employ every day."
In the studio, that philosophy means the design of an object, a building, or a service "is the connective tissue between people and the world. The quality of that design really dictates the quality of the user's experience and thus defines our existence."
With an emphasis on results, an integral and important aspect in his design process is research. When designing Herman Miller's Embody chair, for example, Weber and the Herman Miller team spent nearly two years talking with experts in various fields of medicine, from specialists in upper-extremity conditions to optometrists and neurologists. It was all in an effort to gain a real understanding of what it takes "to support a body in space in a healthful way and enable motion at the same time," he says.
"The human body is a constant source of inspiration for me," he continues. "Workplace demands and responsibilities may change, but the human element remains relatively the same. My challenge is always, 'How can I produce something that will actually improve that condition?' Comfort and health are like love and peace: can we ever have enough?" he ponders.
Weber says the most satisfying part of his work is watching someone enjoying the final outcome of his efforts. "Seeing someone sitting in a chair and appreciating the logic and rationale behind it is very gratifying."
He says he's finding this stage of his career to be especially energizing. "I've always believed that good design is a blend of art and science," he says. "To use that combination in ways that positively impact how people live and work is really exciting to me."
Jerome Caruso .
At 12 years old, Jerome Caruso discovered his career when a friend of his father introduced him to industrial design—and he heard about a General Motors contest for futuristic car concepts. "I worked in the basement every day after school for months," Caruso remembers, "developing a clay model for the car, transferring the design to a block of wood, and carving it out by hand. That was when I realized what I wanted to do—especially after winning an award."
Caruso refined his design sensibilities in Europe in the 1960s. While a graduate student at the University of Copenhagen, he also worked at that city's premier design office. "There was a sensitive approach to European design that made an indelible impression on me," he recalls.
Deciding to go it alone, he lined up projects in Scandinavia; at age 26 he opened a practice in Brussels with clients in Belgium, England, France, and Germany. Later he returned to the U.S. and again established a one-man studio. His diverse projects ranged from spearheading Motorola's entry into the manufacture of LCD watch modules to designing and engineering the first completely machine-produced stack chair for the U.S. contract market (now in the American Arts collection at the Chicago Art Institute).
Caruso is most noted as Sub-Zero's first and only designer for more than 20 years, responsible for their entire line of sophisticated refrigeration icons and industry-leading firsts, including winestorage units. He invented Sub-Zero's revolutionary drawer-and-cabinet system, named one of the 10 best products of '95 by Timemagazine. For the 2002 debut of Wolf, Sub-Zero's corporate companion, he designed 25 new cooking appliances within 18 months.
With more than 75 design patents to his credit, Caruso takes a hands-on approach and enjoys doing it all—concepts, drawings, prototypes, and engineering. "The bigger the challenge, the more fun it is to work out the solution," he says. He's especially intrigued with chairs and vividly recalls the challenge of Herman Miller's high-performance, award-winning Reaction chair, which he designed with his son, Steven.
But Herman Miller's Celle chair, he smiles, was the "Mt. Everest of fun. At the beginning, I imagined a highly engineered, 'intelligent' surface that could be the ultimate in seating comfort. I envisioned hundreds of tiny 'cells'—each one consisting of a pad with spring-like loops that would both support and respond to different anatomical areas." And after years of development and experimentation, the Celle chair closely follows that original concept.
Today, from his spacious, sky-lit studio in Lake Forest, Illinois, Caruso continues to enjoy the design process as much as he did when he first discovered it as a boy. "My goal has always been to bring function and art together in products that perform superbly and look great," he says.
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Pier Ugo Boffi .
The internationally renowned Boffi brand, a symbol of high standard kitchens, is part of the life of Pier Ugo Boffi, who together with his two brothers, Dino and Paolo, raised kitchens to the excellence of design.
Responsible for the Boffi company’s production engineering until 1986 and together with the best Italian designers, Pier Ugo took an active part in all Boffi kitchens’ developments.
Until 1990 he assisted Securit, previously licensed by the Boffi company and cooperated intensively in the design of the PUB's kitchen and in Securit's return to the residential segment in 2009.
Studio 7.5 .
Burkhard Schmitz, Claudia Plikat, and Carola Zwick began their partnership in 1992. They were looking for the freedom to work on projects that interested them. And for the freedom to do so without bosses and titles.
And that's pretty much how they've operated ever since. "Everybody does everything," says Burkhard, speaking for the group that now includes Carola's brother Roland Zwick. "That's how we cultivate ideas and maintain our openness and curiosity."
The group's name—Studio 7.5—comes from an early idea to rent a 7.5-ton truck, put a model shop in it, and drive from one project site to another. Obviously, freedom of movement is a big deal for these designers. They move freely—and smartly—when designing products for their clients.
Going from concept stage to the model shop, sometimes within a day or two, they begin to create rough prototypes. And like kids let loose with a pile of clay, this is their favorite activity.
You really have to work in three dimensions when designing products," notes Claudia. "So we don't spend much time on fancy renderings. Computer drawings just don't give you the feel, the touch, the smell."
And they love designing furniture. "What's so interesting about designing furniture as opposed to, say, a tape recorder, is that the designer who designs the recorder comes in last in the chain of command," explains Roland. "It's just the beautification or 'packaging.' With furniture, it's far more holistic."
They find designing office chairs in particular to be the most rewarding. One reason is their experience working with Herman Miller on their award-winning Mirra chair and their newest design called the Setu chair. "We define not only how the chair looks but how it performs," says Carola. "We're very involved with its physical behavior, because beauty is not only what you see, it's also what you feel."
Yves Behar .
Yves Béhar is a thinker. And one thing he thinks about a lot is the future. You can see it in his designs--from his reflective red-lacquered laptop for Toshiba to his elegant closed-toe Footprints for Birkenstock to his refined Aliph Jawbone Headset for cell phones. "I believe design's purpose is not only to show us the future, but to bring us the future," he states.
The founder of fuseproject ("dedicated to the emotional experience of brands through storytelling"), Béhar has been exploring the design world since his childhood in Switzerland. "In Europe, it is double nature to evaluate objects based on how they work and how they look," he explains.
Béhar grew up in a bicultural home, influenced by his East German mother and Turkish father. "One is functional and modernist and the other, expressive and poetic," he says. "I always try to marry the two in my projects."
For a relatively young designer, he has had a remarkable career. A graduate of the Art Center College of Design, he started out working with high tech Silicon Valley clients such as Apple and Hewlett Packard, eventually gravitating into the sport, apparel, technology, and furniture arenas.
One of the countless magazine articles written about Béhar called him "the multi-disciplinary designer of our time." His long list of awards includes the prestigious National Design Award from the Cooper Hewitt Smithsonian National Design Museum, where his work is part of their permanent collection.
In 2004 he had two solo exhibitions, one at the San Francisco Museum of Modern Art and the other at the Musee de Design et D'arts Appliques Contemporains in Lausanne, Switzerland.
"When working with clients, my philosophy is to connect emotionally through ideas and content rather than style," says Béhar. "It's less about this or that aesthetic and more about meaningful conversations where people come to agreement in terms of approach and direction."
His collaboration with Herman Miller came about through one such conversation. An admirer of Charles and Ray Eames, Béhar decided he wanted to do something for the company himself. "Design is very much at the center of Herman Miller's culture," he says. "So one day I just picked up the phone, called them, and said, 'Let's work together.'"
Four years later, Herman Miller introduced his two brilliantly innovative lighting products, Leaf and Ardea.
Given the wide range of products he works on, it would seem that Béhar might have a hard time escaping thoughts of design. Not at all, he says. "I have many outside interests that keep me balanced. For example, I love surfing, windsurfing, and snowboarding. So I spend a lot of time in the natural world, too."
As for his future, Béhar says he's very content designing products for companies who are "looking for departure, change, transformation. I'm continually excited working with people who want to move forward into the future and onto the next generation."
From all indications, this is the man who can take them there.
With a distinguished business culture, Securit is a technology and quality oriented company, and its factory, located in Guarulhos - SP, translates these concepts into practice.
250 employees and a constructed area of 25,000 m2 on a 100,000 m2 land lot. Securit, with continuously updated technology, counts on a Research and Product Development team aligned with the world furniture development trends and highly specialized labor force.
The company responsible for the production of furniture systems for offices, panels, desks, cabinets and files under the Securit brand, is Synthesis, and three other companies complete the group: Residence, responsible for the commercialization of the residential line, Tecnogeral, responsible for the commercialization of the brand for specific customers and Interni, in charge of the installation and customer services.
Constantly investing on the refinement of its products and on the launching of new ones, Securit aims at providing its clients with what is best in furniture, considering not only Brazil’s existing standards, but also national and international standards ruling quality, security and ergonomics.
Securit invites customers, architects, suppliers and partners to visit its Show Room, which features the main corporate and residential lines.
Rua Melo Alves,184, São Paulo.
Architecture Project: Arch. Marcelo Couto
Lighting: Gustavo Franco (Franco & Fortes)
Visual Identity: João Carlos Cauduro (Cauduro & Associados)
Graphic Design / Textures: Carine Canavesi (Canavesi Design)
Website: Gustavo Figueiredo (zinga)