PB04 doing good fazer bem doing well ONLINE PREVIEW

DESIGN, CRAFTS, EMPOWERMENT OF WOMEN

DOING GOOD FAZER BEM DOING WELL

Doing Well, Doing Good

Some Reasons and Some Notes

DOING WELL, DOING GOOD Terrafoundation

Fazer Bem is a programme created by Terrafoundation. Its main objective is to promote the social inclusion of women through educational processes in the areas of design, craftsmanship and visual arts, contributing to their sustainability and economic independence, aiming at gender equality and female empowerment. Fazer Bem also proposes the introduction of contemporary design and creativity as a vector for innovation in handicrafts, and stimulates the creation of products with their own cultural identity and values through the use of natural and sustainable materials.

It was initiated in June 2022 as part of an international project, FORWARD: Fashion, Design and Crafts for Women Empowerment. Portugal, Italy and Romania joined forces as partner-nations in this social impact project, winning an application to the Erasmus+ programme to bring the force of fashion, design and crafts in service of the empowerment of women. The initiative promoted social and cultural integration for women from disadvantaged backgrounds, as well as movement toward economic stability on the basis of their own skill, talent and ingenuity. Although the projects in the three countries shared the same goals and were focused on adult education, they were completely independent and took different paths.

In Portugal, designers and craftswomen came together with a group of eight women from Grândola, Melides and Carvalhal, selected and invited with the support of local institutions. For three weeks the participants, designers and artisans worked together, and the women received free training in project design, strategic design, social design, communication design, and in two specific types of handicraft: bulrush and reed. From June to August 2023 the workshops for the women continued in a rhythm of one day per week.

Fazer Bem was also born as a programme for the innovation of handicrafts. In this sense, for this first project, we brought together the creativity of a contemporary product designer and the artisanal expertise of the craftswomen, in a collaboration for the creation of new pieces.

To share the work developed during the first half of 2023, showcasing the pieces made by the women participants as well as those developed by the professional contemporary designer, Fazer Bem opened two exhibitions in 2023: one in Carvalhal in August, and another in Grândola in October. Alongside the first exhibition in August we published this book as a means of dissemination and sharing of knowledge, accessible to aficionados of design, social innovation and craftsmanship, as well as to broader audiences. Here we tell the stories that define the individual paths of the participants, before and during Fazer Bem, and show the processes and images that characterized the project so far. Proceeds from book sales will support the continuation of Fazer Bem into the future.

And what will the future look like?

Given our impact so far, Fazer Bem will evolve to become a permanent creative and social hub dedicated to women’s empowerment through design and crafts, operating in the geographical arc between Tróia and Sines, with a base in the village of Carvalhal. It will be a permanent laboratory and training space where artisans, designers and other creative professionals can explore the confluences between tradition and innovation, between local and global, and between economy and culture.

SOME REASONS AND SOME NOTES

Guta Moura Guedes

I am what is around me.1

Let’s begin at the beginning, right here, with women and their empowerment.

I am writing in 2023 and we still talk about this. Oh yes, we do. We still have billions of human beings in disadvantaged situations just because their gender is female. Women are still paid less, valued less, integrated less, and have fewer opportunities. They are marginalized. They exist within societies, our own and around the world, societies not yet designed as they should be, where equality among genders – whatever those genders are – should be the rule, and will be.

And we lament that this is so, and we reverberate our lamentation in colorless gestures. It’s not enough, to lament. It is necessary to create equality and justice. We must change what surrounds us, that makes us what we are. There is at least one thing to do: force the speed of change. Leverage, accelerate.

And trust in the potential of positive contamination.

Looking is more than seeing. It is a decision in itself. Seeing is just a physical reaction: it is light building an image by way of a lens, part of a biological structure that we humans have in common with other animals. We see with our eyes, but we look with everything that we feel, everything we think, and everything we know. We look with the words we have been taught, with the stories we have heard and experienced, with the choices we make, with the wisdom we have and the wisdom we don’t have.

Looking is a cultural act.

By looking, we force ourselves to belong.

To think, to understand.

Many women carry their injustice in a silence so invisible that we can pass them by without ever looking at them. They have little social voice, these women; they are soundless women. They are non-existent, women whom we can see and do see, all around us, but whom we do not look at.

On ne voit que ce qu’on regarde.2

We only see what we look at.

Acceleration

- the increase in a thing’s speed, or its ability to go faster

- the increase in the speed at which something happens

Bulrush

Any of the annual or perennial grasslike plants constituting the genus Scirpus, especially S. lacustris, in the sedge family, which bear solitary or clustered spikelets. Bulrushes grow in wet locations such as ponds, marshes, and lakes.

experience, or something produced using skill and experience

- to make objects, especially in a skilled way; generally refers to conditions of small-scale or artisanal production, rather than large-scale or industrial production

Community

- the people living in one particular geographical area

- people who are considered to be united (or consider themselves to be united) because of their common interests, ideology, nationality, or other characteristics (regardless of physical proximity)

Design

- a discipline of study and practice focused on the interaction between a person – a ‘user’– and the man-made environment, taking into account aesthetic, functional, contextual, cultural and societal considerations; as a formalised discipline, design is a modern construct

- a plan or drawing produced to show the look and function or workings of a building, garment, or other object before it is made

- purpose or planning that exists behind an action, fact, or object

Craft

- skill and experience, especially in relation to making objects

- a job or activity that needs skill and

- to decide upon the look and functioning of a building, garment, or other object, by making a detailed drawing of it

- creation

© Susana António

EIGHT WOMEN WALK INTO A ROOM AT A PARISH COUNCIL HALL

They are almost never asked to be themselves. They are almost never told to think about how much they’re capable of. They are almost never asked to teach something while they are learning. Throughout their lives they have almost never heard that yes, they are capable. Instead, they have heard many times that it’s not worth dreaming big; that when you are born in certain circumstances or life takes certain turns, you can’t dream big, because it’ll just lead to more disappointments. From an early age, they were also accustomed to prioritizing the dreams of others – the dreams of their husbands or children or grandchildren – and to do this, they often had to sacrifice their own dreams.

In the main room of the Parish Council of Carvalhal, eight women meet every day for three weeks. They are of different ages and have different stories. It could be another one of those situations where women who have nothing in common with each other come together, in an effort to give them hope of some kind when hope has been lost. But the eight women who have nothing in common with each other discover that they are mothers or they are daughters, and that they have been through similar situations; they discover that they all have stories of dreams that have not come true, and dreams that they know all too well will not come true. They discover that, even so, they all have illusions.

As they work with their hands, braiding materials that seem fragile but turn out to be strong, they remember how they have used their hands so many times in other contexts. Or they remember other women in their homes who also braided materials together, or sewed or molded them in some way. It was a matter of everyday utility, but not without the satisfaction of shaping something the way they wanted it – unlike so many things in their lives.

While they work with their hands, they talk, and that’s how they realize they have things in common. While they work with their hands, they sing. While they work with their hands, in a small room in a parish council – the kind of room where you think nothing important will happen – the world outside presents itself more as it is: difficult, but not impossible to conquer.

While they work with their hands and talk to each other and sing, they don’t know if it’s the material coming from nature that does them good. Or perhaps the thing that does them good is seeing this material take shape into a concrete object by applying collective knowledge and individual creativity. Or maybe it’s mainly the voices of the others that do them good.

But they do know that these days they’ve spent together have already begun to make changes to their biographies.

LESSONS IN HOW TO LOOK taken in a few days at the workshops in Carvalhal

Look again

Look again. Look more closely. After all, they had all seen it before. It’s not about seeing bulrush baskets or objects made of reeds in a market, for sale. They had all seen these objects before they were objects. Some had seen grandparents or parents or other relatives doing the whole process until the object existed, and then got dropped into the house as if it hadn’t taken so much time and work. Some had seen these fibers, plants, rods and sticks – which can eventually turn into objects – so many times that they didn’t even notice them.

But to do it ourselves, we have to look again. As if we haven’t seen it so many times.

Look with your hands

At certain moments, it seems like a game. At certain moments, it feels like when you are a child and a small task frustrates you because you haven’t mastered it, even though it seems simple to an adult. At certain moments, it feels like your hands have their own intelligence, that they have learned faster than your brain – just from watching other people do it – and that they know perfectly well what idea they have.

Look outward

They work from 10 a.m to 3:30 p.m. When they come home in the evening, they take exactly the same route as they did in the morning, in the same van provided for the purpose – but they certainly look at the landscape a little differently. And, from day to day, the landscape is more beautiful and has more potential.

Look inward

They wrote a few sentences. Put like that, it sounds too simple. They thought of sentences. And they didn’t write them down. They drew them. As if the sentences were an extension of their body and not something ex-

© Susana António

© Susana António

© Susana António

© Ricardo Gonçalves

© Ricardo Gonçalves

REED

Coruche, June I Junho 2023

A PLACE FOR AN EXHIBITION UM LOCAL PARA UMA EXPOSIÇÃO

Finding a place to present the Fazer Bem exhibition in Carvalhal was an act of creativity and strategic design, in and of itself. There are no exhibition rooms in this village. There are no indoor public spaces available that could be used to showcase these results. A deeper look revealed two early possibilities: first, the exhibition was in the summer, and could possibly be outdoors; then, if there were no public spaces, why not use a private location which was not in use?

So it was. The Fazer Bem exhibition was shown in front of an open field, on a private land overlooking the rice plantations, which opened to the public during August 2023. An unexpected, temporary use, demonstrating the potential of spaces that might have some kind of function for the community while they remain in disuse.

Conseguir um sítio para a primeira exposição do Fazer Bem no Carvalhal foi em si uma operação de design estratégico e de criatividade. Não existem salas de exposição nesta aldeia. Não existem espaços públicos interiores disponíveis que pudessem ser utilizados para mostrar estes resultados. Um olhar mais aprofundado revelou duas primeiras possibilidades: primeiro, a exposição era no Verão, e podia, eventualmente, ser ao ar livre; depois, se não existiam espaços públicos, porque não usar um local privado que não estivesse em uso?

Assim foi. A exposição Fazer Bem foi mostrada em frente ao campo, num terreno privado sobre os arrozais que se abriu ao público durante o mês de Agosto de 2023. Um uso inesperado, temporário, provando o potencial dos espaços que, enquanto ainda não são nada e sendo eles públicos ou não, podem ter alguma função comunitária.

EDUCATIONAL AND CREATIVE TEAM EQUIPA EDUCATIVA E CRIATIVA

Cristina Fonseca

Born in Lisbon and based in Sintra, Cristina Fonseca has been a basket weaver since 1984. She started by dedicating herself to utilitarian and decorative basketry, mainly lampshades made with the pith of reeds. In 2012 she began to produce small series and unique pieces, exploring traditional weaving materials such as bulrush, chestnut and esparto, and sometimes incorporating less traditional materials, such as leaves, twigs, and other objects from the forest. She regularly promotes workshops and training courses for public and private entities, integrating the group of trainers of CEARTE, IEFP. Her work has been included in several national and international exhibitions and, in 2022, she also curated an exhibition on Portuguese Popular Basketry in Salt, Catalonia, Spain.

Natural de Lisboa e residente na zona de Sintra, Cristina Fonseca é cesteira desde 1984. Dedicou-se inicialmente à cestaria utilitária e decorativa, sobretudo abat-jours em medula de junco. A partir de 2012 começou a elaborar pequenas séries e peças únicas, explorando outros materiais como o bunho, o castanho e o esparto, por vezes com incorporação de outros materiais, como por exemplo desperdícios florestais.

Promove regularmente workshops

e acções de formação para entidades públicas e privadas fazendo parte da bolsa de formadores do CEARTE, IEFP. O seu trabalho já integrou várias exposições nacionais e internacionais e foi também curadora em 2022 da exposição sobre Cestaria Popular Portuguesa em Salt, Catalunha, Espanha.

Dília Silva

With a degree in recreational tourism, Dília Silva is a professional artisan who works mainly with reed weaving. Her husband’s family introduced her to this material, and she collaborated with him to create JUNCUS, a craft brand that seeks to modernise and diffuse the art of reedworking, particularly in the fashion sector. Currently, Dília and her husband are transforming an old primary school into a local arts and crafts school, where they plan to welcome people in excursions, study visits and workshops designed to share their knowledge of craft techniques.

Formada em animação turística,

Dília Silva é uma artesã profissional que trabalha maioritariamente com a teceria de junco. Ficou a conhecer este material através da família do seu marido, com quem colaborou na criação de JUNCUS, uma marca artesanal que procura modernizar e difundir a arte de trabalhar

com o junco, nomeadamente no sector da moda.

Actualmente, Dília e o seu marido estão a transformar uma antiga escola primária numa escola de artes e ofícios locais, onde pretendem receber pessoas através de excursões, visitas de estudo e workshops para partilharem os seus conhecimentos sobre técnicas artesanais.

Renate Graf

Austrian photographer Renate Graf has been acclaimed for her body of work, described as a form of poetic documentation, in which the image oscillates on the threshold of language. In fact, it was a passion for literature and poetry that led Renate Graf to devote herself to photography. The writing of authors such as Fernando Pessoa, Rainer Maria Rilke, Tagore, T. S. Eliot, Edmond Jabès, Paul Valéry, and Hermann Broch created images in Graf’s mind, which she then sought to capture through photography. Renate Graf works mainly with analogue black and white photography. Initially, she started by creating travel diaries composed of images, to which she associated handwritten texts of the authors that inspired her. This process became increasingly present, giving rise to publications of a larger format, hand-bound by the artist herself. It is during this process and in this context that she felt the need to create larger images in the laboratory, using conventional printing techniques. Today, Renate Graf’s work is recognised for its chimerical quality and a formal austerity of image composition. Her work is part of prestigious private and public collections

all over the world, and most recently she integrated the exhibition Bestiary: artefacts, allegories, representations in Athens, 2023. She currently lives between Paris and Carvalhal.

A fotógrafa austríaca Renate Graf tem sido aclamada pelo seu corpo de trabalho, descrito como uma forma de documentação poética em que a imagem oscila no limite da linguagem. Na verdade, foi a paixão pela literatura e poesia que levou Renate Graf a dedicar-se à fotografia. A escrita de autores como Fernando Pessoa, Rainer Maria Rilke, Tagore, T. S. Eliot, Edmond Jabès, Paul Valéry, e Hermann Broch criavam imagens na mente de Graf, que depois procurava captar através da fotografia. Renate Graf trabalha principalmente com fotografia analógica a preto e branco. Inicialmente, começou por criar diários de viagem compostos por imagens, aos quais associava textos dos autores que a inspiravam, escritos à mão. Este processo tornou-se cada vez mais presente, dando origem a livros de maior formato, encadernados à mão pela própria artista. É durante este processo e neste contexto que ela sente a necessidade de criar imagens de maior formato em laboratório, utilizando técnicas convencionais de impressão. Hoje, o trabalho de Renate Graf é reconhecido pela sua qualidade quimérica e pela austeridade formal da composição de imagem que caracteriza as suas obras. O seu trabalho faz parte de prestigiosas colecções privadas e públicas em todo o mundo, e recentemente integrou a exposição Bestiary: artefacts, allegories, representations em Atenas 2023 . Vive actualmente entre Paris e o Carvalhal.

Susana António

Social designer and activist Susana António combines design with traditional knowledge and social innovation to create impact in the lives of local communities in Portugal and abroad. In 2013 she founded the Fermenta NGO to promote the social and cultural valorization of local communities and organizations, through responsible design. A Avó Veio Trabalhar, a creative hub for elders aged 60 and above, is an outstanding example of one of these community organizations. Susana has worked with several important Portuguese entities, such as Calouste Gulbenkian Foundation, Cascais City Hall, Lisbon City Hall, Chapitô, Experimentadesign, Santa Casa Misericórdia, Beta-i, Thinkpublic Service Design Agency, Service Design Lab, IDROPS, European Develop Institute, and Sonae, among others. She is a guest assistant professor at the Escola Superior de Artes e Design of Politécnico de Leiria, where she teaches Human Factors.

A designer social e activista Susana António, combina o design com conhecimento tradicional e inovação social para criar impacto nas vidas das comunidades locais em Portugal e lá fora. É fundadora desde 2013 da ONG Fermenta, que promove a valorização social e cultural das comunidades locais e organizações, através do design responsável, sendo A Avó Veio Trabalhar, uma Hub criativa para 60+, um desses exemplos. Já trabalhou com diversas entidades, como a Fundação

Calouste Gulbenkian, Câmara Municipal de Cascais, Câmara Municipal Lisboa, Chapitô, Experimentadesign, Santa Casa Misericórdia, Beta i, Thinkpublic Service

Design Agency, Service Design Lab, IDROPS, European Develop Institute, Sonae. É professora assistente convidada na Escola Superior de Artes e Design, do Politécnico de Leiria, onde lecciona Factores Humanos.

Susana Moreira Marques

Susana Moreira Marques is the author of the non-fiction books Agora e na hora da nossa morte (translated to English, French and Spanish), Quanto tempo tem um dia, and more recently Lenços pretos, chapéus de palha e brincos de ouro. Her writing has appeared in Granta, Tin House and Literary Hub, among other publications. As a journalist she has worked for the BBC World Service, Público, Jornal de Negócios and Antena 1, and has won several prizes, including the UNESCO ‘Human Rights and Integration’ Journalism Award (Portugal). She has been awarded fellowships by the Gabriel García Márquez Foundation (Colombia), the Jan Michalski Foundation (Switzerland) and Art Omi (US), among others. She also writes for television and film. She lives in Lisbon with her two daughters.

Susana Moreira Marques é autora dos livros de não-ficção literária Agora e na hora da nossa morte (traduzido para inglês, francês e espanhol), Quanto tempo tem um dia e, mais recentemente, Lenços pretos, chapéus de palha e brincos de ouro. O seu trabalho tem sido publicado em revistas como a Granta, Tin House ou Literary Hub. Como jornalista, trabalhou para a BBC World Service, Público, Jornal de Negócios, Antena 1, e ganhou vários prémios, incluindo o Prémio de Jornalismo ‘Direitos Humanos e Integração’ da

UNESCO (Portugal). Recebeu fellowships e bolsas da Fundação Gabriel García Márquez (Colômbia), Fundação Jan Michalski (Suíça), Art Omi (EUA), entre outras. Escreve também para televisão e cinema. Vive em Lisboa com as duas filhas.

Yves Béhar

Design entrepreneur Yves Béhar believes that product, digital and brand design are cornerstones of any business. Yves is known for spearheading design for good projects that bring solutions to education, health and environmental organizations such as Verbien in Mexico, The Ocean Clean-up and One Laptop Per Child.

In 1999 Béhar founded fuseproject, an award-winning San Francisco-based multidisciplinary design firm focused on industrial design, digital design, strategy, branding and innovation.

Béhar’s collaborators include brands like Herman Miller, Samsung, L’Oreal, Puma, SodaStream, Issey Miyake, and Prada, as well as co-founded start-ups such as August Home, Canopy Space and Forme Life. In addition to receiving international acclaim for his contributions to the design field, Béhar’s works are included in permanent museum collections worldwide including the MoMA, Centre Pompidou, V&A and SFMOMA. Béhar frequently speaks on topics including design, technology and sustainability.

soluções para a educação, saúde e organizações ambientais, como Verbien, localizado no México, The Ocean Clean-up e One Laptop Per Child.

Em 1999, Béhar fundou a fuseproject, uma empresa premiada de design multidisciplinar sediada em São Francisco, especializada em design industrial, design digital, design de estratégia, de identidade de marca e inovação.

Os colaboradores de Béhar incluem marcas como Herman Miller, Samsung, L’Oreal, Puma, SodaStream, Issey Miyake e Prada, bem como startups co-fundadas por si como August Home, Canopy

Space e Forme Life. Para além de ser aclamado internacionalmente pelas suas contribuições no campo do design, as obras de Béhar estão incluídas em colecções permanentes de museus em todo o mundo, incluindo o MoMA, Centre Pompidou, V&A e SFMOMA. Béhar é convidado frequentemente para falar sobre design, tecnologia e sustentabilidade.

Empreendedor e designer, Yves Béhar acredita que o design de produto, o design digital e o design de identidade de marca são os pilares fundamentais de qualquer negócio. Yves é conhecido por liderar projectos de design que trazem

Terrafoundation is a collaborative cultural platform working to balance the relationships amongst humans, and between humanity and planet Earth. It is driven by the conviction that living culture is the path to deep and lasting transformation for the collective good. Rooted in Portugal, Terrafoundation is a catalyst for change without borders.

A Terrafoundation é uma plataforma cultural colaborativa centrada no reequilíbrio das relações entre seres humanos, e a relação entre a humanidade e o planeta Terra. Tem como convicção que a cultura é o caminho para uma transformação profunda e duradoura do bem colectivo. Enraizada em Portugal, a Terrafoundation é um catalisador para a mudança, sem fronteiras.

Terrafoundation Team I Equipa

Co-Founder and Artistic Director I

Co-Fundadora e Directora Artística:

Guta Moura Guedes

Co-Founder and CEO I Co-Fundador e CEO:

João José Raimundo

Head of Production, Research and Development I Coordenação de Produção, Pesquisa e Desenvolvimento:

Joana Morais

Senior Producer I Produção Sénior:

Mariana Ferreira

Production Assistant I Assistente de Produção: Francisca Aires Mateus

Communication | Comunicação:

Joanna Hecker

Communication Assistant | Assistente de Comunicação: Santiago Simões

Graphic Design | Design Gráfico:

Nuno Luz, Santiago Caiado

Financial Assistant | Assistente

Financeira: Madalena Madeira

Assistant to the Board | Assistente à Direcção: Merícia Camacho

Public Relations | Relações Públicas: Alex Sousa

Brand Identity | Identidade Gráfica: Studio Frith

www.terrafoundation.pt

Terrafoundation

Terrafoundation Community I Comunidade

as of 30 June 2023 I a 30 de Junho de 2023

Atlantic Collective Founders I

Fundadores Colectivos

Dentsu

Grupo Your

Hotel Quinta da Comporta

JLM&A

OTIIMA

Vanguard Properties

Vieira de Almeida

Atlantic Individual Founders |

Fundadores Individuais

Alain Carrier, Babett Carrier

Esmeralda Swartz

Ekaterina Lebedeva, Zach Mecelis

Renate Graf

Founding Partners | Parceiros

Fundadores

AMAG PUBLISHER

Artworks

Câmara Municipal de Grândola

Centre Européen de Musique

Junta de Freguesia do Carvalhal

Le Dimore del Quartetto

Quinta do Cardo

Studio Frith

Sublime Hotels

Project Patrons I Mecenas do Projecto

Esmeralda Swartz

Ekaterina Lebedeva

Luso Impress

Local Partners I Parceiros Locais

Câmara Municipal de Grândola

experimentadesign

Junta de Freguesia do Carvalhal

Hotel Quinta da Comporta

Support I Apoio

AMAG PUBLISHER

Quinta do Cardo

Acknowledgments | Agradecimentos

Alexandra Gonçalves, Alexandra Storari, Ana Leal, Astrid Suzano, António Figueira Mendes, Carina Batista, Cristina Chert, Cristina Fonseca, Dília Silva, Elena Corinne, Elisabetta Renzoni, Ekaterine Lebedeva, Esmeralda Swartz, Fátima Pereira, Francisco Almeida, Maria Conceição, Marta Braz, Miguel Câncio Martins, Nelson Lourenço, Nuno Carvalho, Riccardo Ceccherini, Romana Santos, Susana António, Susana Moreira Marques, Susana Pereira

We extend special thanks to Renate Graf and Yves Béhar, who so generously offered their time and expertise to Fazer Bem.

Agradecemos especialmente à Renate

Graf e ao Yves Béhar que generosamente contribuíram pro bono para o Fazer Bem.

Fazer Bem 2023

Livro | Book

Doing Good Fazer Bem Doing Well

Credits I Ficha Técnica

Concept and Direction |

Conceito e Direcção: Guta Moura Guedes

Interviews and Central Texts |

Entrevistas e Textos Centrais:

Susana Moreira Marques

Texts | Textos: Guta Moura Guedes, Susana António

Editorial Coordination | Coordenação

Editorial: Joana Morais, Mariana Ferreira

Translation and Revision |

Tradução e Revisão: Joanna Hecker, Susana Moreira Marques

Graphic Design | Design Gráfico:

Margarida Vilhena, Nuno Luz

General Collaboration | Colaboração Geral: Santiago Simões

Photographic Essay | Ensaio Fotográfico:

Renate Graf

Photography | Fotografia:

Ricardo Gonçalves, Susana António

AMAG PUBLISHER

Editor | Editora: Ana Leal

Editorial Team | Equipa Editorial: Filipa Figueiredo Ferreira, João Soares

All images have reserved publication rights | Todas as imagens têm direitos de publicação reservados.

Esta publicação foi escrita ao abrigo do antigo acordo ortográfico.

August| Agosto 2023

1000 Copies | Cópias

Tipografia | Typography: Patron

Paper | Papel: Coral BookIvory1.5, Munken Lynks

Production | Produção: AMAG PUBLISHER

Printing | Impressão: Luso Impress

ISBN: 978-989-53906-4-9

Legal Deposit| Depósito Legal: 519365/23

Limited and numbered edition | Edição limitada e numerada

This book tells the story and stories of the first project of Fazer Bem, a programme created by Terrafoundation to promote female empowerment through educational processes coming from the areas of design and craftsmanship. It also talks about the introduction of contemporary design and creativity as a vector for innovation, stimulating the creation of products with their own identity and cultural values through the use of natural and sustainable materials. It talks about eight women, and how you can do so much when you decide to do good.

Este livro partilha a história, e as histórias, do primeiro projecto do Fazer Bem, um programa criado pela Terrafoundation para promover o empoderamento feminino através de processos educativos vindos das áreas do design e do artesanato. Fala também sobre a introdução da criatividade e do design enquanto elementos de inovação através da criação de artefactos com identidade e valores culturais próprios, estimulando o uso de materiais naturais e sustentáveis. Fala de oito mulheres e de como se consegue fazer tanto quando se decide fazer bem.

Cristina Fonseca — Cristina Pereira — Dília Silva — Isabel Repolho

Lourdes Pinela — Maria Teresa Lima — Mariana Lucas — Natacha Nunes

Tatiana Garcia — Valéria Borges — Renate Graf — Susana António

Susana Moreira Marques — Yves Béhar