After a hot, dry period, the first drops of water fall to the earth and give off the smell of rain. This phenomenon was named petrichor (from the Greek pétros, stone + ichor, ethereal fluid or blood of the gods, as understood in Greek mythology) in 1964 by Australian scientists Isabel Joy Bear and Richard G. Thomas. The aroma, which is often associated with the smell of the earth, is caused by the oils released by some plants during arid and hot periods, which have accumulated on the dry earth and clay. When the first droplets of rain fall, the oils deposited on the earth are suspended in the air in microdroplets which, when inhaled, give us the smell of rain. This odour seems to set off and fill our sensoria, i.e. the part of the brain that is thought to be the common core of all sensations. It's like a call from the earth, which sometimes leads to introspection and recalling very old memories. It's a scent that reactivates and creates memories, and that comes to us through water: the rainwater that falls and hits the earth; the water that hydrates plants, that transforms sap and organic matter; the droplets suspended in the air filled with little bits of plants. The description of this chain of events is a simplification of what actually happens, but it introduces the idea of an aqueous fluid interface. We want to show places of communication, exchange, interaction/intra-action between types of water (in its various states) and between water and other agents, and to address the central role of water in the world. We want to emphasise the ubiquity of water, its presence and circulation in everything, everywhere, as a central element connecting all things. Water moulds everything, it is vital and without it, life would not exist. It can take many forms, manifesting them simultaneously. Water circulates within bodies and between animate and inanimate objects. We humans and more than humans, are connected by a common water flow, we share the same water that enters and exudes from our bodies and which, through biology, is transformed into other materials. Water circulating throughout the Earth, between flesh, plant and mineral matter, aqueous bodies that have shared the same water since the first spark of life millions of - years ago, specifically from water. Petrichor - the clouds, the earth and the sense of smell, the pores of the skin, the roots of lemon balm, the leaves of a holm oak tree, the mycelium below the forest floor, flowers, the aquaporins in cell membranes. These are all natural fluid interfaces, which can be added to by many other human-designed ones. Fluid interfaces such as artificial heart valves, diving helmets, plant rafts, ship traffic trackers, underwater vehicles for mapping underground aquifers, greenhouses, artificial flowers for feeding bees and other pollinating insects, systems for reusing water, calculators for cloning mining waters, synthesisers, sea grass caretakers, the use of bio-pigments. Petrichor's content was gathered along six lines based on the curatorial text for this edition of the Porto Design Biennale, Being Water: How we flow together and shape each other. Fernando Brízio was born in Angola, and studied Design in Lisbon, where he currently lives and works. He has developed products for the industry sector, limited series, exhibitions, scenarios and spaces for companies and organisations like Droog Design, Amorim Cork, Experimenta Design, Nike, Adidas, Authentics, Fábrica Bordallo Pinheiro, Il Coccio, Arena Ensemble, O Som e a Fúria, Museu de Serralves, Cristina Guerra Contemporary Art, Galerie Kreo, etc. His work has been exhibited and published internationally, and is sometimes developed independently, blurring disciplinary boundaries. Brízio has taught at ESAD.CR since 1999, where he planned and coordinated several courses in the domains of product and space design. He was a professor at the Faculty of Fine Arts Lisbon-UL and a visiting professor at several institutions, like ECAL — École Cantonale d’Art in Lausanne, HFG — Karlsruhe University of Art Design and FCSH of the New University of Lisbon. He has participated in juries and lectures in Portugal and abroad. He has curated several projects and exhibitions, including SCool Ibérica and Paradisaea Lux Frágil 20 anos. His works are part of the permanent collection of MUDE — Museu DO Design e da Moda de Lisboa, and IMA — Museu de Arte de Indianapolis, among other collections. Currently, and in addition to his ongoing projects, Fernando Brízio is a researcher at Lida — Laboratory in Design and Arts of the Polytechnic of Leiria and at the College of Arts of the University of Coimbra.