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Respect. (from the lat. respectu) n. 1. respect; 2. consideration; high regard; 3. deference; compliance; veneration; 4. honour; worship; 5. relation; refererence...
We believe that everyone should be respected for their work, for their attitudes, opinions and options.
Rigor. (from the lat. rigore) n. 1. harshness; strength; 2.fig., severity; punctuality; accuracy.
There is no "more or less levelled", "more or less upright”, "more or less clean" or "more or less safe", but rather “levelled”, "upright”, "clean” and “safe". The rigour is reflected in our procedures, in time and in the rules to follow. In the light of moral and principles, being severe means being rigorous.
Passion. (from the lat. passione) n. 1. intense and usually violent feeling (affection, joy, hate, etc.) which hinders the exercise of impartial logic; 2. derived from a feeling; 3. great predilection; 4. partiality; 5. great grief; immense suffering...
Under the sign of passion – a text of the Portuguese poet Regina Guimarães – is our icon. Passion is to reveal great enthusiasm for something, favourable encouragement or opposite to something.
It is the sensibility transmitted by an architect or engineer through work.
Passion is the dedication to a project. Passion is a state of warm soul.
Loyalty. (from the lat. legalitate) n. the quality of being loyal; fidelity; sincerity.
Respect for the principles and rules that guide the honour and probity. Faithfulness to commitments and agreements undertaken, staunch character.
To remain loyal to the business partners because we depend on them and they depend on us.
Being trustworthy for being loyal.
Solidarity. (from the lat. solidare) n. 1. the quality of being solidary; 2. reciprocal responsibility among the members of a group, namely social, professional, etc.; 3. sense of sharing another’s suffering.
Being solidary is being a friend, offering our hand with genuine generosity and bringing joy and human warmth to those who, somehow, are marginalized. Being solidary is being more human. A solidary company is recognized as a fair and non-selfish company. A solidary company is a preferred choice in business. It is a more competitive company. Volunteering is a vehicle to solidarity. It is modern, fair, cultured, friend, it is a noble gesture of moral elevation.
Courage. (from the lat. coraticum) n. 1. bravery facing danger; intrepidity; to have audacity; 2. moral force before a suffering or setback; 3. [fig.] to input energy when performing a difficult task; perseverance...
Courage is essential in our life. Courage to face less pleasant situations when complex issues come up, not expecting random resolutions.
It is a value that we must highlight as opposed to the fearful, cowardly and laziness.
The courage to react to criticism not with an attitude of demotivation or sadness, but rather to search for the means and the action to overcome its own reason. This kind of courage, which is also an intellectual courage, is highly recommended.
Ambition. (from the lat. ambitione) n. 1. vehement desire of wealth, honours or glories; 2. expectation about the future; aspiration; 3. lust; greed…
Vehement desire to achieve a particular goal. Ambition not to resign ourselves. Ambition to take the best potential from ourselves. Ambition to deserve ourselves. Ambition to be athletes in our top-level competitive jobs. Ambition to beat our brands. Ambition to get the best deals with the maximum value, due to the high levels of proficiency and efficiency.
Esthetics. ESTHETICS (from the Greek aisthetiké, "sensitive") n.f. 1. Philosophy branch of philosophy that studies the beauty and nature of artistic phenomena; 2. author's own style, time, etc.; 3. harmony of shapes and colors, beauty; 4. set of techniques and treatments that aim to beautify the body.
We decided to build the company's economic foundations under a cultured, cosmopolitan and cool image. Because it is a charming state of being. Good taste because we are sustainable and we respect the planet. Good taste because we are sensitive. Good taste just because.
Responsibility. (from the lat respondere) n. the trait of being answerable to someone for something or being responsible for one's conduct; a form of trustworthiness.
We must be certain that, before a choice, we chose what is best for both of us and not just the best for each one. Each employee is responsible for his negotiated activity and co-responsible if the co-worker does not fulfil his own task, thus preventing the common goal. A team is a set of individuals - is a whole. In the business game, as in social or family contexts, everyone must comply with their own relative position and we shall not permit that one of ours fails to be in our team.
Público Brasil
A beautiful exhibition that also calls out violence against women
An exhibition by Zélia Mendonça, an artist from Minas Gerais, will open to the public at Guimarães Family Court on Wednesday. Her work speaks out against the abuse faced by women.
Exploring a theme more topical – and urgent – than ever, violence against women, Minas Gerias-based artist Zélia Mendonça, aged 68, opens her exhibition Segunda Instância: Estórias de Violência, Abandono e Perdão (Second Instance: Stories of Violence, Abandonment and Forgiveness) at Guimarães Court of Appeal this Wednesday (02/04). Featuring 25 works, some of them previously unseen, 10% of proceeds from sales of the artist’s creations will go to the Portuguese Victim Support Association (APAV).
“The project came about in March this year, through an invitation by Zet Gallery, in partnership with Guimarães Court of Appeal (court of second instance). This provided the opportunity to collaborate with APAV to develop a project that engages with themes of Justice, memory and care, values central to the association and my own artistic practice”, she states.
She highlights the importance of APAV, which celebrates its 35 anniversary in 2025. The voluntary, not-for-profit organisation protects and supports people who have suffered some form of crime or violence. “They work with exemplary dignity, offering free, welcoming and professional support to victims of violence, in particular women, frequently even surpassing that of private houses and institutions that provide this type of service. It is a model that should be replicated in Brazil, where so many people live similar experiences and lack this kind of meaningful, respectful assistance”, she asserts.
Though originally from Minas Gerais, the artist has a longstanding connection to Portugal. For the last ten years, she has been crossing the Atlantic whenever her diary permits. “I have many dear friends and emotional bonds that connect me deeply to the country. I am currently in the process of applying for Portuguese citizenship, as I feel that this link has become part of who I am,” she reflects.
Art with meaning
Having trained in psychology, though she never practiced, Zélia worked as a designer. She designed the furniture for her factory in Minas Gerais, with stores in her home state, São Paulo and New York. "I have always had a close affinity with design and hands-on creation. In a way, I believe that this sensitivity to human beings and all of their complexities ended up informing my output over the years", she explains.
At the age of 57, Zélia decided to devote herself to what she loved most: art. "It was like rediscovering myself, my memories and everything that moves me most deeply. I chose to give voice to my experiences and transform them into poetic material", recalls the artist.
In truth, the move into visual art was a return, an act of listening to myself and of liberation”, confesses the self-taught artist. “Though I have taken a few art courses over the years, which have helped broaden my perspective and technique, I have always had a great deal of curiosity and a natural impulse to experiment with materials, shapes and languages. My approach has always been hands-on learning”, stresses the artist whose works appear in the permanent collections of the Joana Vasconcelos Foundation in Lisbon and the Bienal de Cerveira Foundation in the North of the country.
Over her 10-year career, she has already won second place in an exhibition at the Carousel du Louvre in Paris, in 2015, with Infância Perdida. “This piece, which will appear in this exhibition, speaks of the transformation of modern childhood, spanning memories, attachments and also absences”, she explains.
Segunda Instância: Estórias de Violência, Abandono e Perdão, curated by Helena Mendes Pereira, is on display until 15 July at Guimarães Court of Appeal, which also celebrates its 23rd anniversary this Wednesday. “The selection is intended to create a dialogue between the works and the themes of the exhibition”, explains Zélia, who harnesses the “versatility of textiles”, such as traditional Brazilian fabric flowers known as fuxicos, crochet and woven pieces, in her work.