This housing project materializes a kind of contemporary archaeology of popular dwelling, where the deep red hue—burnt earth, dried blood, sacred clay—functions not as ornament but as a strategy of identity, memory and belonging, merging the rationalism of modernist social housing with a literary sensitivity to cultural landscape, evoking both the standardized typologies of OUD and the spectral atmosphere of Rulfo’s Comala, that ghostly town suspended between life and death; the seriality and modular repetition suggest echoes of interwar Dutch experiments, yet the decisive twist lies in the curving wall that undulates along the street with a Barragán-like softness, subverting linear rigidity and injecting urban fluidity, turning regulation into resonance through the emotional charge of color and form; above, white volumes pierced by small openings allude to vernacular perforated screens or light boxes, balancing the grounded mass below with abstraction and air, creating a dialectic between ancestral adobe and modernist cube; in this case, color operates not as surface decoration or mere symbolic code, but as a performative agent, constructing a shared atmosphere, anchoring collective imagination, and converting each wall into a territorial, affective gesture, an act of architectural storytelling that marks place with emotional density; this is not housing as repetition, but housing as ritualized geometry, where typology reclaims myth and the urban grid becomes a legible narrative field; here, modern housing is poeticized, grounded in place, pigment and memory.
