The Fuego (Fire) finish emerged unexpectedly when we paused the hammering process on a copper piece. Seeing it at that stage before continuing further, we noticed a particularly compelling surface: the metal retained the marks of the hammer while beginning to reveal the effects of heat. We decided to preserve that moment and explore what might happen if, instead of continuing with the usual finishing process, we allowed the fire to complete the transformation of the copper.

This observation led to an exploration of fire as part of the finishing process. We noticed that each exposure to heat produced unpredictable variations across the surface nuances, gradations, and textures shaped by the intensity and duration of the heat, as well as by the way it reached the metal.

What began as an observation during the process gradually evolved into a material language. We began applying the finish to different types of furniture and objects, from totems and credenzas to lighting fixtures. Each new application allowed us to see how the fire responded differently according to the scale, geometry, and surface of each piece.

Over time, Fuego became more than a finish; it became a distinct way of working with copper—a collaboration between design and material in which part of the outcome remains open to the unpredictable. While the structure and form are carefully determined, the fire introduces a transformation that cannot be exactly replicated, making each piece a unique record of its own making.