May 29, 2025 • 34 mins
This house is not a home...In this episode of Susto, Ayden shared the woeful history of La Casa de los Tubos (The House of Tubes), a unique architectural project in Monterrey, Mexico, that turned tragic.
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Want to hear your story on Susto? Fill out the Letters From the Beyond form or visit SustoPodcast.com to be shared on the show!
Become a Patron here!
Want to hear your story on Susto? Fill out the Letters From the Beyond form or visit SustoPodcast.com to be shared on the show!
Become a Patron here! Subscribe to Susto's YouTube channel!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:20):
A ghoolfriends, it's me Adrian or Aiden. Either way, I
am still your host and you are still listening to Sustal,
the podcast of paranormal folklore from Latin American and Hispanic cultures,
and thank you for doing so. By the way, if
you are a best girlfriend on Patreon, you already know
(00:41):
you get the video version of this episode, and all
patrons get episodes early and ad free, so I mean, hey,
right off the bath, feel free to check it out
because also speaking of, we do have a movie night
this weekend or a Susto virtual hangout. Still figuring out
what exactly we'll be doing. You know, sometimes we just
hang out and talk, we play games, so watch a movie,
a show something, so you know, all the details go
(01:02):
down on the Patreon, So if you're interested, feel free
to check that out. There not too many updates. I
will say I had a fun, fun time at the
Psychic and Spiritfest in San Antonio with the Curious Twins
at Victoria's Blackswan In if you made it out there.
First of all, to all of the presenters and the vendors,
especially the people that sat out there for the whole event,
bless your hearts and your souls for being out there,
(01:24):
for sticking out the heat. I did not table this year,
after all, I did go do my presentation, which hello
obviously smash hit. I had a great time with it.
It seemed to get a positive response from people, so
I will be posting the video of my presentation, of course,
also for patrons. But it was such a good time.
It was worth it to be out there, to see
all the really cool vendors, to listen to the other
(01:45):
presenters speak and share. I got my aura photo taken
and a psychic presented or read it to me, and
honestly she read me down to It was really interesting
for someone to see directly into my soul that way.
And Annabel the Doll was also there. I did not
get a chance to see her. The lines were very long,
and I didn't want to pull that card. I don't
(02:06):
even know if I could have. I'm saying this, but
I didn't want to be like, well, i'm a presenter,
let me just get ahead of the line. That probably
is not what would have happened either way, which is
why I said, you know what, I may regret it,
but I'm going to sit it out because again, lines
are so long, and it was very hot, and by
that point we had already been there for like half
of the day, so I was ready to kind of
(02:27):
get back home, shower and relax. But speaking of spending
the day in San Antonio, I did post a vlog
of me and Jeff's day over in San Antonio, so
if you like to check it out, we did a
couple spooky things, because what a beautiful segue me, good
job me, pat on the back. Susto is now available
on YouTube and YouTube Music, which means the podcast itself
(02:50):
is going to be published on YouTube as well. I
don't ask me why it took me so long, but
it did and it's finally there. So if you prefer
to listen on YouTube, by all means please it is
now available there. It's still available, of course on all
the other podcast platforms, but it's just another one it's
going to be on now and I will also be
making video content public video content that will be on
(03:13):
the YouTube. Of course, all the videos will be on
Patreon AD free, but they will be on YouTube for
the public as well, so make sure you go check
that out and subscribe to YouTube dot com slash at
Sustal podcast. It's got my cover art and there with
the hands and the crystal ball, so you can't miss it.
Please subscribe. Hope you all enjoy it. It's going to
be stuff that is Suster related, paranormal related, it may
(03:34):
just be random fun things. I think the most recent
one I posted was I was looking for boots for
a show that I went to. So again, you can
see all about those things by visiting YouTube dot com
slash at Sustal podcast. It's the same social media handle
across all platforms, So please subscribe. Like the videos and
I hope that you really do enjoy them. One final
update I have for you, I will be doing an
(03:55):
event with the Austin Public Library. I'm very excited. They
invited me to do a summer camp fire storytelling kind
of session. I've done this thing with them before and
it's very fun. It's very exciting, and it's free and
you can rs VP by visiting the sustolink tree, which
is linktr dot ee slash sustal and it's right at
the top Sustal at Austin Public Library. It's free to
(04:16):
go save your spot and this will be at the
Ruise branch of Austin Public Library. So you can go
visit that link and then save your spot and I
will see you there. It'll be very fun. Okay, that's
it for the updates. One final thing before we get
into today's story, Girlfriends, I do want to let you
know that there is mention of suicide in this story,
so as always, listener discretion is advised. Please care for
(04:37):
yourselves and do what you need to do without further ado,
we will get into today's story, which is the story
of La. In the nineteen seventies, at the edge of
(05:10):
Monterey Nouavouleon, something began to rise from the earth, something strange,
something not quite right. If you drive through the hills today,
you may think the house is another luxury home, But
it once stood abandoned, a cluster of hollow concrete tubes,
(05:31):
like giant gray bones, standing crooked and unfinished against the skyline.
But back then the locals called it La Casa de
los UBOs, or the House of Tubes, And what was
supposed to be a dream became a nightmare no one
could wake from. They were a quiet pair, a man
(05:53):
and his daughter. No one knew where they'd come from,
no mother, no family, just the two of them starting
over the father. Alejandro was a serious man, stern with
deep eyes that looked like they'd seen too much. But
with his daughter, Lucilla, something softened in him. She was
(06:14):
around nine or ten, sweet, thoughtful, and quiet. Lucia had
no mobility in her legs. She relied on a wheelchair
and more than that, on her father. They were each
other's world. One afternoon, standing on a quiet stretch of
land just outside the city, Alejandro met with a young
(06:36):
architect named Victor Aldama. In their meeting, Alejandro explained that
he wanted his daughter to navigate their home with complete freedom.
Victor assured him that it could be done. He had
a plan, unusual, but it could be perfect. He explained,
What if we built a house made entirely of connected tubes,
(06:59):
wide open, every floor connected with ramps instead of stairs.
The rooms would curve into one another, smooth lines, gentle slopes.
She could move through it without help freely. There would
be no corners to get stuck in or stairs to
hold her back. And we'd put in large windows so
she could see the skies of Nouvo Leon whenever she wanted.
(07:22):
Alejandro responded with joy as Victor sketched out the house. Yes,
Alejandro replied, that's what we need. Start as soon as possible.
I want her to see it. For the construction crew,
it was just another job site, a contract signed, equipment delivered,
dust kicked up in the outskirts of Monterey. At first,
(07:44):
the crew was intrigued. The layout was unique, ambitious, so
it promised steady work and higher wages. But as the
concrete frames began to rise, that excitement faded and the
workers started to complain. Everything's round, nothing lines upright. This
isn't how houses are built. How do you put a
(08:05):
door or a window in a round wall? And then
there were the reviews. Victor visited the site, constantly, inspecting
every line and curve with the intensity of a man possessed.
He corrected the workers harshly, with a precise and almost
obsessive focus. This house was going to be his opportunity
(08:25):
to build something truly unique. This ramp too steep, tear
it down, start again. These windows aren't aligned with the
axis of the hill. Fix it. This edge is sharp.
She must glide through this space. Alejandro would appear too,
not as often, but when he did he watched quietly,
sometimes with Lucia beside him. He never scolded, He only observed,
(08:51):
as if making sure that every beam, every bolt, was
worthy of her. The workers began to feel the weight.
Tensions rose. Fights broke out over minor mistakes, Tools went missing,
Blame passed like a virus. The workers began to feel
as if they were under constant watch, even when Victor
(09:12):
and Alejandro were not around. A plasterer swore he set
his toolbox down near one of the ramps, turned away
for a second, and it vanished. The toolbox was later
found on the third floor, in a spot he hadn't
touched in days. An electrician heard a voice call his name,
(09:33):
but when he followed it, no one was there. One man,
half asleep on a late shift, claimed he saw something
on the second floor, but he was alone as he
finished his work. Others dismissed these stories. Stress, maybe exhaustion.
The circular design messes with your head, they said, no corners,
(09:55):
no lines, just curves, but not everyone laughed. To ease
the growing friction, the workers planned a small get together
after hours. Drinks were passed around, and laughter slowly returned.
The house half built seemed to be listening, watching. The
crew was even talking about abandoning the work site, all
(10:19):
except one man, Alberto. Alberto was the kind of man
you barely notice, not because he wasn't important, but because
he didn't demand attention. Mid thirties, always on time, always quiet,
he kept his head down, did his work, and left
without a word. To most, he was just another pair
(10:40):
of hands mixing concrete, but he was precise with his
work and never cut corners. Some say he was building
his own house in his spare time, that he took
on jobs like the house of tubes to pay for materials.
Others said he had no family, no one waiting for
him at home. Either way, he was dependable, focused, a
(11:02):
man who didn't scare easy. That made what happened next
so much harder to understand. It was a Sunday morning.
A skeleton crew had come in early, just three men,
Alberto and two younger workers. The rest of the team
was still recovering from the night before. Another of their
alcohol fuel to gatherings meant to ease the tensions that
(11:25):
continued to grow. Alberto hadn't touched a drop. He said
little during the gathering and left early, muttering something about
irresponsible co workers. Now, with the sun barely up, and
the mountains still casting long shadows. He volunteered to go
up to the third floor, an unfinished area with narrow
(11:45):
catwalks and exposed reebar. He was up there for maybe
twenty minutes when the two men below heard a strange
sound like metal screeching, then came the screen. They dropped
their tools ran toward the stairwell, but before they could
even call his name, they found him sprawled in the
(12:06):
center of the main hallway, eyes wide open, mouth parted slightly,
like he was mid sentence, like he'd seen something and
hadn't had time to speak. But what they found even
more bizarre was that there were no broken railings, no
loose scaffolding, and when the scene was examined they confirmed
(12:27):
something chilling. There were no footprints, The dust where Alberto
had been working was undisturbed. It was as if he
hadn't tripped and fallen at all, but rather was thrown.
The crew was silent after that. No one wanted to
ask questions, no one wanted to say what they felt.
(12:48):
But one of the young workers present that day later
admitted something, something that alarmed even the hardest skeptics. He
said he looked up to the third floor, just seconds
after the screen, and for a moment he swore he
saw someone standing up there, not Alberto, someone taller, shadowed,
(13:10):
motionless watching. When he blinked, they were gone. From that
moment on, the sight was never the same. The air
felt heavier, the walls listened, tools moved by themselves, and something,
whatever had taken Alberto, was still there waiting. The weeks
(13:31):
that followed Alberto's death were heavy. The men worked quietly. Now,
they spoke less. The laughter stopped. Some quit, unable to
shake the feeling that something had gone terribly wrong in
that house, that it wasn't just an accident. But others stayed,
bills needed paying, and they convinced themselves it had just
(13:54):
been bad luck. Then came Ramon's turn. He was one
of the oldest on the site, a man who'd worked
every kind of build from Montere to Sartillo. One afternoon,
he was working alone in a narrow hallway on the
second floor. Most of the crew had taken lunch, and
only two others remained nearby, painting window frames down the corridor.
(14:19):
Ramon had just started stacking buckets of plaster mix when
he paused, sensing something a chill swept down his back.
He turned to look behind him, no one, and then
before he could move, a full rack of materials, wooden beams, rebar,
(14:39):
bags of cement, crashed down from the scaffolding overhead. It
was over in seconds. The others rushed to dig him out,
their hands shaking, shouting his name, but it was too late.
Ramon lay crushed beneath the weight of it all, his
eyes still wide open in disbelief. The beams had been secure,
(15:02):
the scaffold untouched, no one had been near it. Victor
and the other engineers reviewed it all. Nothing made sense.
The fall should have been impossible. But one of the workers,
pale and trembling, swore he heard Ramond speak just before
it happened. He said he heard him mutter the land
(15:23):
doesn't want us here. That day, half the crew quit. Still,
Alejandro pushed forward. He was desperate to finish it. He believed,
had to believe that once Lucilla lived in her new home,
it would all be worth it. A few weeks later,
with most of the structure complete, he brought her to
(15:43):
see it. Lucilla's eyes lit up. She explored the ramps
rolled down, the wide corridors, smiled for the first time
in months. No one saw when she slipped away. The
story goes that she wheeled herself higher and higher up
the unfinished ramps, following the light from the windows. No
(16:04):
one noticed until it was too late. Alejandro found her
body on the ground below the largest window on the
third floor. His world ended at that moment. All construction
was halted immediately, but Alejandro stayed. He began living in
the house alone, no furniture, no light, just bottles of
(16:28):
mescal and his grief. Neighbors said they saw him wandering
the halls at night, talking to no one, sometimes crying,
sometimes laughing, and then one day he was gone to
They found him in the main cylinder, beneath a skylight,
(16:48):
slumped over, still holding her favorite drawing in one hand,
a picture of the house they'd never lived in together,
and a gun in the other. The house stood empty
for years, a skeleton of sorrow against the hills of Monterrey.
Time weathered it, but nothing truly touched it. Locals called
(17:09):
it cursed, haunted, doomed. But then something changed. An ambitious
architecture firm, modern sleek, full of bright eyed designers, saw
the shell not as haunted, but as historic. They came
with cranes, steel glass, and confidence. They didn't believe in curses.
(17:30):
They completed what Alejandro had started, finished the ramps, recut
the windows, polished the concrete bones into a minimalist marvel.
It was reborn as a modern luxury home, open plan,
sunlight drenched, and painfully expensive. Today a family lives there,
wealthy and private. But the locals still talk. They say
(17:54):
that sometimes late at night they see shadows moving inside
the long glass windows. Too many shadows for just one family.
Some say they hear something the echo of a wheelchair
rolling across concrete, even though no one there uses one.
Others say they've seen a figure fall from the rooftop
(18:15):
in the dark, only for no body to be found.
A few workers from the remodel refused to ever return.
They said they heard voices, felt watched. They say the
house might look new, but what lives inside it is
still old, still waiting, still unfinished. Maybe it's just a house,
(18:36):
or maybe some things are never meant to be built.
(19:00):
Welcome back, Gohol friends, Thank you so much for tuning
in for that story. So we do have a couple
sources to go through, not a Ton. This was one
of those stories that is very specific to the region,
so there are not many variations of it. So again,
this is a real place, le Goasauvos. The House of
Tubes is a real house in Monterey. The lore, the
legend around it is only in that area, so of
(19:22):
course there's less opportunity for that story to morph. However,
we did take some creative liberties in putting the story together. Again,
this was a SUSTO original by Jeffrey and myself, so
in the people who passed away, the difference is here.
The first source that I want to go through is
from a website called scaryfour Kids dot com and the
entry is simply titled House of Tubes, published in twenty thirteen,
(19:43):
and all direct links to these sources will be in
the Susto Google doc on Patreon dot com, Sustal podcast.
But again Scary for Kids dot com House of Tubes.
So in this one, this story, and it's essentially the
same story, but here it says that the death, the
first one that happened was when the owner or the
person that was having the house built for his daughter
(20:04):
took her to visit it, and so she was there
when two workers passed away due to an accident. So
it says here on the day the girl went to
see the house, two of the architects who designed it
suffered a terrible accident and were killed by falling concrete. Already,
not even two of the construction workers. It was two
of the architects. I'm wondering if they're using that interchangeably,
(20:27):
if it's maybe it was two of the workers, two
of the I'm not sure, but two people died as
a result of an accident when the father took her
daughter to see the house. Right, it says the family
managed to hire another group of builders because the construction
crew that first one after that accident, they refused to
continue work, so they were able to hire another group
of workers, and the girl wanted to go back and
(20:47):
check on them. I'm guessing the little girl she just
wanted to go see this story. It seems like she's
more involved with it, right, versus the version that we told.
It's kind of centered around the dad's experience and his
involvement with it. It says here that she wanted to
go check it out, and so that she was exploring
the house like we said in the story, and that
she began to slide backward down a ramp. It seems
(21:08):
here like it was maybe a force that was pulling
her because she was unable to stop herself, and that
her wheelchair, it says here, came hurtling down the ramp,
going much too fast. The poor girl went flying out
the open window and fell to her death. And this continues.
Her grieving parents couldn't bear the thought of living in
the property that had caused their daughter's death, so all
construction was immediately stopped, never to resume again. As you
(21:30):
can hear from here, we say her grieving parents. So
again in this version of the story, she has both
her parents, and we focus more so on her dad
in the version that we tell. But this continues that
years later the building that it was half finished, it
was put on the market. There were not all the
people that were interested, but one wealthy family went to
see the house. It was two parents and I'm guessing
(21:51):
their young son. And while they were checking out the house,
the boy went off exploring on his own, and that
they heard him screaming. This says when they looked up,
they saw him struggling with a little girl. As they
watched in horror, The girl grabbed their son and tossed
him out of the window. The boy landed on the
ground below with a sickening thud. The young girl was
(22:13):
nowhere to be found. After this terrible tragedy, the authorities
fenced off the land and it was no longer available
to the public. They say the house is cursed and
it is haunted by the ghosts of the two children
who died there. This would kind of lead you to believe, like, oh,
the ghosts of the girl who died there, she attacked him.
Right then It's like, what if it was an attack,
what attacked those two construction workers and what attacked the
(22:35):
little girl. So I think it's maybe like it could
be an entity. If we wanted to flesh out this
idea of what is actually happening in the House of Tubes,
it could be an entity. I think maybe that's taking
different forms. So I'm not sure what form the construction
workers may have seen, if anything at all, or what
the little girl saw, But then it could possibly have
taken the form of the girl to get the little
(22:57):
boy that the other people saw. I don't know. Oh,
but this finishes it says it is said that at night,
the horrible sound of a young girl weeping can be heard,
and the ghostly apparition of a young boy has been
spotted playing the entrance. Some people claim to have seen
a young girl standing at the open window of one
of the upper floors and waving at passers by, again
with it's always for some reason to me, it's a
(23:19):
little creepier when it's kids, because you don't expect to
see you know, you expect people to live full lives.
That is always the hope and the goal. Right. And
also demons quote demons notoriously take shape of children, right
to kind of lure people in. They take the form
of something innocent, so that you're you're disarmed, right anyway.
(23:40):
This next source here is from Monterey secreto dot com
and this has a listical It says, these are the
most famous haunted places in Monterey. Did you already know them?
Have you visited them? Many of the places on this
list can be visited, But are you brave enough to
do it? I will also say, and you'll see pictures
of this throughout not only the video but on social media.
(24:00):
The house itself. Now it is finished. I want to
say it finished. Sometime in like the early two thousands.
It's a gorgeous house. It is truly like a luxury
you can tell an expansive house. But I don't believe. Yeah,
Like like we said in the story, the family lives there,
I don't believe it's open. I wish they would open
it up as like an Airbnb, because it's it's interesting.
(24:21):
It's like, it looks like this beautiful museum like almost thing,
but it has this kind of spooky history where it's like,
I feel like those things. Normally a haunted place looks
a certain way, right, but this is not this. It
really looks like a museum in some ways. This is
a short entry and it says the legend of this
house with a peculiar architectural style, tells that it was
a gift from a father to his daughter who suffered
(24:42):
from paralysis and could not walk. The house has this
shape because it was intended so that the girl could
move freely in her wheelchair. And so this is where
we got the idea of following just the father and
the daughter in the story. Right. This continues however, since
its construction, strange things began to happen, and the masons
and builders commented that as they progressed with the work,
they felt that they were being watched and some of
(25:04):
the tools disappeared and appeared in impossible places. So again
there's that detail of things being moved, which also we
oh my god, new theory. So maybe not an entity.
What if it was Dwendez because we know that dwends
can be mischievous and they can move things around. They
can also lead people to their deaths. They lure them away, right,
but typically they're like forest dwelling creatures. I'm not sure
(25:26):
this is like, this looks like a really it's it's
like a mountainside. So maybe they could be in this area.
I don't know. They said a girl, they could be.
They could have meant like a small girl, like a child.
I don't know. Hey, who knows. Okay, So so far
we have evil entity that can change forms, and now
we have Guendez. Right. Anyway, this continues. When they finished
the top floor, a brick layer was thrown out of
(25:49):
one of the windows and died. So a brick like
a person who lays bricks. Construction stopped to investigate the
cause of death, which was determined to be quote accidental death.
Shortly thereafter, construction resumed, and when the father took his
daughter to see his house. On one of the tours
of the mansion, the girl slipped down one of the
ramps and was thrown out of one of the windows
and died instantly. Shortly after the girl's death, the father
(26:12):
also died by suicide in this place in the in
the home, people who have visited the house have claimed
to have witnessed poultrygeist cases or poultrygeist activity. So this
was also mentioned in the story that the father did
die by suicide, and so of course obviously that's going
to add to like the haunting element. I feel like
in a movie, right, he would be able to be
(26:32):
with his daughter. But that's really really tragic and really
morbid to think of that as a solution. I don't know. Yeah,
this is really just truly a sad story. So this
next source is from a website called amazing architecture dot com,
because this is an amazing house and this was published
four years ago. It's titled The House of Tubes in Montee,
Mexico by Endriquelal by Grupo Urban. This says, what was
(26:56):
this published in four years ago? So twenty twenty one right,
and this says the Mexican architecture firm Stato by Grupo Urban,
led by Enrique Leal, has recently completed the House of Tubes,
a new residence project, integrating it into an existing structure
from the middle of the nineteen seventies, particular shapes and
volumes that made history in the southern part of the
(27:17):
city of Monterrey. So again, yeah, around twenty twenty, twenty
twenty one, this thing was completed, and there's an architecture
statement here. It says, this project seeks to find the
balance between the pre existing and the new. How can
it be adapted to something that was already there the
needs and wishes to a shape that does not present
a direct dialogue with them. The answer was complex. Demolishing
(27:39):
the house was the first impulse that made sense in
face of the challenge. Rescuing the structure and integrating the
necessities led us to a point where the analysis became
challenging and insinuating. We discovered that eradicating as well as replicating,
we're a language that didn't translate to the project. Okay,
and there's more to this architecture statement. So it's really
interesting to see how an architecture like this looks at
(28:04):
a building. You know, at the very base level, this
is a building, it's a structure, but to see how
someone thinks about it. And there are a ton of
pictures on this link itself, so you can really see
like all the details and it's just, I don't know,
it's really it's just cool to look at and see
how they managed to meld those two things. Because again
there's you can see why they called it the House
(28:24):
of tubes. It looks like these pipes sending up and
then there's you can see the structure that they added.
Almost looks like it's a separate thing, but they made
it work. I don't know, it's beautiful. But tod a
bit from this link. It says the property is located
within the Guadalupe Municipality, which is a part of the
metropolitan area of Monterre, Mexico, located in Serro de la Silla,
(28:44):
which is one of the most emblematic mountains in the
city and in Mexico. The whole property is located at
the foot of the mountain. It has a forty five
degree slope, which represents more than fifty percent of its surface.
This says a little bit later. The original property, which
has several cylinder shaped buildings, has had not been finished
since the beginning of the construction in the mid nineteen seventies.
(29:06):
The building is known amongst locals as La Gasa de
los Uvos. La Gasa de los Thuvos has captivated the
city's imagination. Its unique design and the fact that it
was never finished allowed space for some urban legends, so
they even mentioned that here. They do not get into
the specifics of the urban legends on this website, and
I wish they did, just because it's it's such a
professional presentation of this house. But that's probably why they
(29:30):
didn't get into it, because this is supposed to be
a professional representation of the house. But again, tons of
pictures that you also check out. It's literally like looking
at a museum, like I would be worried to live
in here. I'd be like, I can't touch anything. And again,
this is at Amazing Architecture dot Com, the House of Tubes.
There's even sketches here of the house when they decided
(29:51):
to do this modern kind of integration into it. It's
really cool. What I will say I think is an
interesting detail is at the center of both of the structure,
the original tubes and the modern kind of thing is
one of the tubes, and they have here in the
sketch and they said it's it's the pool. It's a
water joint element. That's kind of how they joined the
(30:12):
two things. And I don't know how intentional that was,
but the idea of water, which we know as a conduit,
is being used to meld past in the present or
the past in the future, and the water is the present.
You know, it's all like it's a pool, right you
look at it, It's like, oh, it's just a pool
in the house. But I don't know, it feels like
having it in that specific area in the center of
(30:35):
the house, in the center of these two things is
very intentional. Who knows. Maybe it was just aesthetically it
was the best choice, but I think spiritually, I think
it was a spiritual choice. And that is purely conjecture.
I do not know this architecture, this architect at all,
or this designer at also completely not up to me.
The last thing we have here is kind of a source,
(30:56):
but not really. I mean, they do talk about the home,
but they don't talk about the legend is a video
on YouTube and it's called the House of Tubes in
monter Mexico by Enrique Leal h Stato by Grupo Urban
and it's just a video of this house itself, So
if you don't want to scroll through the pictures, you
can watch this video and there's someone there's a voiceover
talking about the house and the architecture, and it's very
(31:18):
like moody and artsy, so I mean, it's beautiful. If
you're if hey, if you have millions of dollars and
you're looking for inspiration to build a home, watch this
video and also send me a dollar. Please. Welcome back, girlfriends.
(31:44):
Thank you so much for joining me for this episode
of Susto. I hope you enjoyed it. If you would
like to support the show, you can do so by
engaging with it wherever it is. So that means by
listening to the episode, liking, sharing, leaving positive ratings and reviews,
sharing with your own gool friends, following me on social media.
That's at sous to podcasts on every platform, which now
includes YouTube, so go ahead and subscribe on YouTube. Like
(32:07):
I said, I will be doing more public video content,
so feel free to let me know what you would
like to see on there as well. I will take ideas. Again,
it does not have to be Sustal specific or paranormal related.
I'll do just random fun things on there too. We
will see And as always, if you would like to
hear your own story on a Letters from the Beyond episode,
you can do so by visiting my website sustopodcast dot
(32:28):
com or by visiting the linktree that's linkdr dot e
slash Sustal and hitting that tell me a Story or
Submit a story button and then filling out the Letters
from the Beyond form you can write your story. You
can also send in pictures, videos, recording, any multimedia. You
can attach it to the form and send it to me.
And finally, you can consider joining the Patreon at patreon
dot com slash Sustal podcast, where you can get perks
(32:51):
like listening to these episodes early and ad free ad
free video content including the video versions of these episodes
depending on your tier, So free to check that out
Patreon dot com slash Susta podcast see which one works
for you. Speaking of thank you so so much to
this episode's patrons. Your support means the underworld to me,
and you are Liza Sadie, Rachel, Alejandra Luther, April, d Jose, Sam, Mandy, Jules, Laurie, Genie, Monica, Desiree,
(33:20):
See Ashes, Nedessa, Rachel, Asusena, Marlen, Chata, Laney, Desiree A,
Carla Archer, Gadlo, Vanessa, Maritza, Nievis, Moner, mal Iris, Mare
Floor and Selina. Thank you all so so much and
I will talk to you in the next one. Until
then nots bye. St
A ghoolfriends, it's me Adrian or Aiden. Either way, I
am still your host and you are still listening to Sustal,
the podcast of paranormal folklore from Latin American and Hispanic cultures,
and thank you for doing so. By the way, if
you are a best girlfriend on Patreon, you already know
(00:41):
you get the video version of this episode, and all
patrons get episodes early and ad free, so I mean, hey,
right off the bath, feel free to check it out
because also speaking of, we do have a movie night
this weekend or a Susto virtual hangout. Still figuring out
what exactly we'll be doing. You know, sometimes we just
hang out and talk, we play games, so watch a movie,
a show something, so you know, all the details go
(01:02):
down on the Patreon, So if you're interested, feel free
to check that out. There not too many updates. I
will say I had a fun, fun time at the
Psychic and Spiritfest in San Antonio with the Curious Twins
at Victoria's Blackswan In if you made it out there.
First of all, to all of the presenters and the vendors,
especially the people that sat out there for the whole event,
bless your hearts and your souls for being out there,
(01:24):
for sticking out the heat. I did not table this year,
after all, I did go do my presentation, which hello
obviously smash hit. I had a great time with it.
It seemed to get a positive response from people, so
I will be posting the video of my presentation, of course,
also for patrons. But it was such a good time.
It was worth it to be out there, to see
all the really cool vendors, to listen to the other
(01:45):
presenters speak and share. I got my aura photo taken
and a psychic presented or read it to me, and
honestly she read me down to It was really interesting
for someone to see directly into my soul that way.
And Annabel the Doll was also there. I did not
get a chance to see her. The lines were very long,
and I didn't want to pull that card. I don't
(02:06):
even know if I could have. I'm saying this, but
I didn't want to be like, well, i'm a presenter,
let me just get ahead of the line. That probably
is not what would have happened either way, which is
why I said, you know what, I may regret it,
but I'm going to sit it out because again, lines
are so long, and it was very hot, and by
that point we had already been there for like half
of the day, so I was ready to kind of
(02:27):
get back home, shower and relax. But speaking of spending
the day in San Antonio, I did post a vlog
of me and Jeff's day over in San Antonio, so
if you like to check it out, we did a
couple spooky things, because what a beautiful segue me, good
job me, pat on the back. Susto is now available
on YouTube and YouTube Music, which means the podcast itself
(02:50):
is going to be published on YouTube as well. I
don't ask me why it took me so long, but
it did and it's finally there. So if you prefer
to listen on YouTube, by all means please it is
now available there. It's still available, of course on all
the other podcast platforms, but it's just another one it's
going to be on now and I will also be
making video content public video content that will be on
(03:13):
the YouTube. Of course, all the videos will be on
Patreon AD free, but they will be on YouTube for
the public as well, so make sure you go check
that out and subscribe to YouTube dot com slash at
Sustal podcast. It's got my cover art and there with
the hands and the crystal ball, so you can't miss it.
Please subscribe. Hope you all enjoy it. It's going to
be stuff that is Suster related, paranormal related, it may
(03:34):
just be random fun things. I think the most recent
one I posted was I was looking for boots for
a show that I went to. So again, you can
see all about those things by visiting YouTube dot com
slash at Sustal podcast. It's the same social media handle
across all platforms, So please subscribe. Like the videos and
I hope that you really do enjoy them. One final
update I have for you, I will be doing an
(03:55):
event with the Austin Public Library. I'm very excited. They
invited me to do a summer camp fire storytelling kind
of session. I've done this thing with them before and
it's very fun. It's very exciting, and it's free and
you can rs VP by visiting the sustolink tree, which
is linktr dot ee slash sustal and it's right at
the top Sustal at Austin Public Library. It's free to
(04:16):
go save your spot and this will be at the
Ruise branch of Austin Public Library. So you can go
visit that link and then save your spot and I
will see you there. It'll be very fun. Okay, that's
it for the updates. One final thing before we get
into today's story, Girlfriends, I do want to let you
know that there is mention of suicide in this story,
so as always, listener discretion is advised. Please care for
(04:37):
yourselves and do what you need to do without further ado,
we will get into today's story, which is the story
of La. In the nineteen seventies, at the edge of
(05:10):
Monterey Nouavouleon, something began to rise from the earth, something strange,
something not quite right. If you drive through the hills today,
you may think the house is another luxury home, But
it once stood abandoned, a cluster of hollow concrete tubes,
(05:31):
like giant gray bones, standing crooked and unfinished against the skyline.
But back then the locals called it La Casa de
los UBOs, or the House of Tubes, And what was
supposed to be a dream became a nightmare no one
could wake from. They were a quiet pair, a man
(05:53):
and his daughter. No one knew where they'd come from,
no mother, no family, just the two of them starting
over the father. Alejandro was a serious man, stern with
deep eyes that looked like they'd seen too much. But
with his daughter, Lucilla, something softened in him. She was
(06:14):
around nine or ten, sweet, thoughtful, and quiet. Lucia had
no mobility in her legs. She relied on a wheelchair
and more than that, on her father. They were each
other's world. One afternoon, standing on a quiet stretch of
land just outside the city, Alejandro met with a young
(06:36):
architect named Victor Aldama. In their meeting, Alejandro explained that
he wanted his daughter to navigate their home with complete freedom.
Victor assured him that it could be done. He had
a plan, unusual, but it could be perfect. He explained,
What if we built a house made entirely of connected tubes,
(06:59):
wide open, every floor connected with ramps instead of stairs.
The rooms would curve into one another, smooth lines, gentle slopes.
She could move through it without help freely. There would
be no corners to get stuck in or stairs to
hold her back. And we'd put in large windows so
she could see the skies of Nouvo Leon whenever she wanted.
(07:22):
Alejandro responded with joy as Victor sketched out the house. Yes,
Alejandro replied, that's what we need. Start as soon as possible.
I want her to see it. For the construction crew,
it was just another job site, a contract signed, equipment delivered,
dust kicked up in the outskirts of Monterey. At first,
(07:44):
the crew was intrigued. The layout was unique, ambitious, so
it promised steady work and higher wages. But as the
concrete frames began to rise, that excitement faded and the
workers started to complain. Everything's round, nothing lines upright. This
isn't how houses are built. How do you put a
(08:05):
door or a window in a round wall? And then
there were the reviews. Victor visited the site, constantly, inspecting
every line and curve with the intensity of a man possessed.
He corrected the workers harshly, with a precise and almost
obsessive focus. This house was going to be his opportunity
(08:25):
to build something truly unique. This ramp too steep, tear
it down, start again. These windows aren't aligned with the
axis of the hill. Fix it. This edge is sharp.
She must glide through this space. Alejandro would appear too,
not as often, but when he did he watched quietly,
sometimes with Lucia beside him. He never scolded, He only observed,
(08:51):
as if making sure that every beam, every bolt, was
worthy of her. The workers began to feel the weight.
Tensions rose. Fights broke out over minor mistakes, Tools went missing,
Blame passed like a virus. The workers began to feel
as if they were under constant watch, even when Victor
(09:12):
and Alejandro were not around. A plasterer swore he set
his toolbox down near one of the ramps, turned away
for a second, and it vanished. The toolbox was later
found on the third floor, in a spot he hadn't
touched in days. An electrician heard a voice call his name,
(09:33):
but when he followed it, no one was there. One man,
half asleep on a late shift, claimed he saw something
on the second floor, but he was alone as he
finished his work. Others dismissed these stories. Stress, maybe exhaustion.
The circular design messes with your head, they said, no corners,
(09:55):
no lines, just curves, but not everyone laughed. To ease
the growing friction, the workers planned a small get together
after hours. Drinks were passed around, and laughter slowly returned.
The house half built seemed to be listening, watching. The
crew was even talking about abandoning the work site, all
(10:19):
except one man, Alberto. Alberto was the kind of man
you barely notice, not because he wasn't important, but because
he didn't demand attention. Mid thirties, always on time, always quiet,
he kept his head down, did his work, and left
without a word. To most, he was just another pair
(10:40):
of hands mixing concrete, but he was precise with his
work and never cut corners. Some say he was building
his own house in his spare time, that he took
on jobs like the house of tubes to pay for materials.
Others said he had no family, no one waiting for
him at home. Either way, he was dependable, focused, a
(11:02):
man who didn't scare easy. That made what happened next
so much harder to understand. It was a Sunday morning.
A skeleton crew had come in early, just three men,
Alberto and two younger workers. The rest of the team
was still recovering from the night before. Another of their
alcohol fuel to gatherings meant to ease the tensions that
(11:25):
continued to grow. Alberto hadn't touched a drop. He said
little during the gathering and left early, muttering something about
irresponsible co workers. Now, with the sun barely up, and
the mountains still casting long shadows. He volunteered to go
up to the third floor, an unfinished area with narrow
(11:45):
catwalks and exposed reebar. He was up there for maybe
twenty minutes when the two men below heard a strange
sound like metal screeching, then came the screen. They dropped
their tools ran toward the stairwell, but before they could
even call his name, they found him sprawled in the
(12:06):
center of the main hallway, eyes wide open, mouth parted slightly,
like he was mid sentence, like he'd seen something and
hadn't had time to speak. But what they found even
more bizarre was that there were no broken railings, no
loose scaffolding, and when the scene was examined they confirmed
(12:27):
something chilling. There were no footprints, The dust where Alberto
had been working was undisturbed. It was as if he
hadn't tripped and fallen at all, but rather was thrown.
The crew was silent after that. No one wanted to
ask questions, no one wanted to say what they felt.
(12:48):
But one of the young workers present that day later
admitted something, something that alarmed even the hardest skeptics. He
said he looked up to the third floor, just seconds
after the screen, and for a moment he swore he
saw someone standing up there, not Alberto, someone taller, shadowed,
(13:10):
motionless watching. When he blinked, they were gone. From that
moment on, the sight was never the same. The air
felt heavier, the walls listened, tools moved by themselves, and something,
whatever had taken Alberto, was still there waiting. The weeks
(13:31):
that followed Alberto's death were heavy. The men worked quietly. Now,
they spoke less. The laughter stopped. Some quit, unable to
shake the feeling that something had gone terribly wrong in
that house, that it wasn't just an accident. But others stayed,
bills needed paying, and they convinced themselves it had just
(13:54):
been bad luck. Then came Ramon's turn. He was one
of the oldest on the site, a man who'd worked
every kind of build from Montere to Sartillo. One afternoon,
he was working alone in a narrow hallway on the
second floor. Most of the crew had taken lunch, and
only two others remained nearby, painting window frames down the corridor.
(14:19):
Ramon had just started stacking buckets of plaster mix when
he paused, sensing something a chill swept down his back.
He turned to look behind him, no one, and then
before he could move, a full rack of materials, wooden beams, rebar,
(14:39):
bags of cement, crashed down from the scaffolding overhead. It
was over in seconds. The others rushed to dig him out,
their hands shaking, shouting his name, but it was too late.
Ramon lay crushed beneath the weight of it all, his
eyes still wide open in disbelief. The beams had been secure,
(15:02):
the scaffold untouched, no one had been near it. Victor
and the other engineers reviewed it all. Nothing made sense.
The fall should have been impossible. But one of the workers,
pale and trembling, swore he heard Ramond speak just before
it happened. He said he heard him mutter the land
(15:23):
doesn't want us here. That day, half the crew quit. Still,
Alejandro pushed forward. He was desperate to finish it. He believed,
had to believe that once Lucilla lived in her new home,
it would all be worth it. A few weeks later,
with most of the structure complete, he brought her to
(15:43):
see it. Lucilla's eyes lit up. She explored the ramps
rolled down, the wide corridors, smiled for the first time
in months. No one saw when she slipped away. The
story goes that she wheeled herself higher and higher up
the unfinished ramps, following the light from the windows. No
(16:04):
one noticed until it was too late. Alejandro found her
body on the ground below the largest window on the
third floor. His world ended at that moment. All construction
was halted immediately, but Alejandro stayed. He began living in
the house alone, no furniture, no light, just bottles of
(16:28):
mescal and his grief. Neighbors said they saw him wandering
the halls at night, talking to no one, sometimes crying,
sometimes laughing, and then one day he was gone to
They found him in the main cylinder, beneath a skylight,
(16:48):
slumped over, still holding her favorite drawing in one hand,
a picture of the house they'd never lived in together,
and a gun in the other. The house stood empty
for years, a skeleton of sorrow against the hills of Monterrey.
Time weathered it, but nothing truly touched it. Locals called
(17:09):
it cursed, haunted, doomed. But then something changed. An ambitious
architecture firm, modern sleek, full of bright eyed designers, saw
the shell not as haunted, but as historic. They came
with cranes, steel glass, and confidence. They didn't believe in curses.
(17:30):
They completed what Alejandro had started, finished the ramps, recut
the windows, polished the concrete bones into a minimalist marvel.
It was reborn as a modern luxury home, open plan,
sunlight drenched, and painfully expensive. Today a family lives there,
wealthy and private. But the locals still talk. They say
(17:54):
that sometimes late at night they see shadows moving inside
the long glass windows. Too many shadows for just one family.
Some say they hear something the echo of a wheelchair
rolling across concrete, even though no one there uses one.
Others say they've seen a figure fall from the rooftop
(18:15):
in the dark, only for no body to be found.
A few workers from the remodel refused to ever return.
They said they heard voices, felt watched. They say the
house might look new, but what lives inside it is
still old, still waiting, still unfinished. Maybe it's just a house,
(18:36):
or maybe some things are never meant to be built.
(19:00):
Welcome back, Gohol friends, Thank you so much for tuning
in for that story. So we do have a couple
sources to go through, not a Ton. This was one
of those stories that is very specific to the region,
so there are not many variations of it. So again,
this is a real place, le Goasauvos. The House of
Tubes is a real house in Monterey. The lore, the
legend around it is only in that area, so of
(19:22):
course there's less opportunity for that story to morph. However,
we did take some creative liberties in putting the story together. Again,
this was a SUSTO original by Jeffrey and myself, so
in the people who passed away, the difference is here.
The first source that I want to go through is
from a website called scaryfour Kids dot com and the
entry is simply titled House of Tubes, published in twenty thirteen,
(19:43):
and all direct links to these sources will be in
the Susto Google doc on Patreon dot com, Sustal podcast.
But again Scary for Kids dot com House of Tubes.
So in this one, this story, and it's essentially the
same story, but here it says that the death, the
first one that happened was when the owner or the
person that was having the house built for his daughter
(20:04):
took her to visit it, and so she was there
when two workers passed away due to an accident. So
it says here on the day the girl went to
see the house, two of the architects who designed it
suffered a terrible accident and were killed by falling concrete. Already,
not even two of the construction workers. It was two
of the architects. I'm wondering if they're using that interchangeably,
(20:27):
if it's maybe it was two of the workers, two
of the I'm not sure, but two people died as
a result of an accident when the father took her
daughter to see the house. Right, it says the family
managed to hire another group of builders because the construction
crew that first one after that accident, they refused to
continue work, so they were able to hire another group
of workers, and the girl wanted to go back and
(20:47):
check on them. I'm guessing the little girl she just
wanted to go see this story. It seems like she's
more involved with it, right, versus the version that we told.
It's kind of centered around the dad's experience and his
involvement with it. It says here that she wanted to
go check it out, and so that she was exploring
the house like we said in the story, and that
she began to slide backward down a ramp. It seems
(21:08):
here like it was maybe a force that was pulling
her because she was unable to stop herself, and that
her wheelchair, it says here, came hurtling down the ramp,
going much too fast. The poor girl went flying out
the open window and fell to her death. And this continues.
Her grieving parents couldn't bear the thought of living in
the property that had caused their daughter's death, so all
construction was immediately stopped, never to resume again. As you
(21:30):
can hear from here, we say her grieving parents. So
again in this version of the story, she has both
her parents, and we focus more so on her dad
in the version that we tell. But this continues that
years later the building that it was half finished, it
was put on the market. There were not all the
people that were interested, but one wealthy family went to
see the house. It was two parents and I'm guessing
(21:51):
their young son. And while they were checking out the house,
the boy went off exploring on his own, and that
they heard him screaming. This says when they looked up,
they saw him struggling with a little girl. As they
watched in horror, The girl grabbed their son and tossed
him out of the window. The boy landed on the
ground below with a sickening thud. The young girl was
(22:13):
nowhere to be found. After this terrible tragedy, the authorities
fenced off the land and it was no longer available
to the public. They say the house is cursed and
it is haunted by the ghosts of the two children
who died there. This would kind of lead you to believe, like, oh,
the ghosts of the girl who died there, she attacked him.
Right then It's like, what if it was an attack,
what attacked those two construction workers and what attacked the
(22:35):
little girl. So I think it's maybe like it could
be an entity. If we wanted to flesh out this
idea of what is actually happening in the House of Tubes,
it could be an entity. I think maybe that's taking
different forms. So I'm not sure what form the construction
workers may have seen, if anything at all, or what
the little girl saw, But then it could possibly have
taken the form of the girl to get the little
(22:57):
boy that the other people saw. I don't know. Oh,
but this finishes it says it is said that at night,
the horrible sound of a young girl weeping can be heard,
and the ghostly apparition of a young boy has been
spotted playing the entrance. Some people claim to have seen
a young girl standing at the open window of one
of the upper floors and waving at passers by, again
with it's always for some reason to me, it's a
(23:19):
little creepier when it's kids, because you don't expect to
see you know, you expect people to live full lives.
That is always the hope and the goal. Right. And
also demons quote demons notoriously take shape of children, right
to kind of lure people in. They take the form
of something innocent, so that you're you're disarmed, right anyway.
(23:40):
This next source here is from Monterey secreto dot com
and this has a listical It says, these are the
most famous haunted places in Monterey. Did you already know them?
Have you visited them? Many of the places on this
list can be visited, But are you brave enough to
do it? I will also say, and you'll see pictures
of this throughout not only the video but on social media.
(24:00):
The house itself. Now it is finished. I want to
say it finished. Sometime in like the early two thousands.
It's a gorgeous house. It is truly like a luxury
you can tell an expansive house. But I don't believe. Yeah,
Like like we said in the story, the family lives there,
I don't believe it's open. I wish they would open
it up as like an Airbnb, because it's it's interesting.
(24:21):
It's like, it looks like this beautiful museum like almost thing,
but it has this kind of spooky history where it's like,
I feel like those things. Normally a haunted place looks
a certain way, right, but this is not this. It
really looks like a museum in some ways. This is
a short entry and it says the legend of this
house with a peculiar architectural style, tells that it was
a gift from a father to his daughter who suffered
(24:42):
from paralysis and could not walk. The house has this
shape because it was intended so that the girl could
move freely in her wheelchair. And so this is where
we got the idea of following just the father and
the daughter in the story. Right. This continues however, since
its construction, strange things began to happen, and the masons
and builders commented that as they progressed with the work,
they felt that they were being watched and some of
(25:04):
the tools disappeared and appeared in impossible places. So again
there's that detail of things being moved, which also we
oh my god, new theory. So maybe not an entity.
What if it was Dwendez because we know that dwends
can be mischievous and they can move things around. They
can also lead people to their deaths. They lure them away, right,
but typically they're like forest dwelling creatures. I'm not sure
(25:26):
this is like, this looks like a really it's it's
like a mountainside. So maybe they could be in this area.
I don't know. They said a girl, they could be.
They could have meant like a small girl, like a child.
I don't know. Hey, who knows. Okay, So so far
we have evil entity that can change forms, and now
we have Guendez. Right. Anyway, this continues. When they finished
the top floor, a brick layer was thrown out of
(25:49):
one of the windows and died. So a brick like
a person who lays bricks. Construction stopped to investigate the
cause of death, which was determined to be quote accidental death.
Shortly thereafter, construction resumed, and when the father took his
daughter to see his house. On one of the tours
of the mansion, the girl slipped down one of the
ramps and was thrown out of one of the windows
and died instantly. Shortly after the girl's death, the father
(26:12):
also died by suicide in this place in the in
the home, people who have visited the house have claimed
to have witnessed poultrygeist cases or poultrygeist activity. So this
was also mentioned in the story that the father did
die by suicide, and so of course obviously that's going
to add to like the haunting element. I feel like
in a movie, right, he would be able to be
(26:32):
with his daughter. But that's really really tragic and really
morbid to think of that as a solution. I don't know. Yeah,
this is really just truly a sad story. So this
next source is from a website called amazing architecture dot com,
because this is an amazing house and this was published
four years ago. It's titled The House of Tubes in Montee,
Mexico by Endriquelal by Grupo Urban. This says, what was
(26:56):
this published in four years ago? So twenty twenty one right,
and this says the Mexican architecture firm Stato by Grupo Urban,
led by Enrique Leal, has recently completed the House of Tubes,
a new residence project, integrating it into an existing structure
from the middle of the nineteen seventies, particular shapes and
volumes that made history in the southern part of the
(27:17):
city of Monterrey. So again, yeah, around twenty twenty, twenty
twenty one, this thing was completed, and there's an architecture
statement here. It says, this project seeks to find the
balance between the pre existing and the new. How can
it be adapted to something that was already there the
needs and wishes to a shape that does not present
a direct dialogue with them. The answer was complex. Demolishing
(27:39):
the house was the first impulse that made sense in
face of the challenge. Rescuing the structure and integrating the
necessities led us to a point where the analysis became
challenging and insinuating. We discovered that eradicating as well as replicating,
we're a language that didn't translate to the project. Okay,
and there's more to this architecture statement. So it's really
interesting to see how an architecture like this looks at
(28:04):
a building. You know, at the very base level, this
is a building, it's a structure, but to see how
someone thinks about it. And there are a ton of
pictures on this link itself, so you can really see
like all the details and it's just, I don't know,
it's really it's just cool to look at and see
how they managed to meld those two things. Because again
there's you can see why they called it the House
(28:24):
of tubes. It looks like these pipes sending up and
then there's you can see the structure that they added.
Almost looks like it's a separate thing, but they made
it work. I don't know, it's beautiful. But tod a
bit from this link. It says the property is located
within the Guadalupe Municipality, which is a part of the
metropolitan area of Monterre, Mexico, located in Serro de la Silla,
(28:44):
which is one of the most emblematic mountains in the
city and in Mexico. The whole property is located at
the foot of the mountain. It has a forty five
degree slope, which represents more than fifty percent of its surface.
This says a little bit later. The original property, which
has several cylinder shaped buildings, has had not been finished
since the beginning of the construction in the mid nineteen seventies.
(29:06):
The building is known amongst locals as La Gasa de
los Uvos. La Gasa de los Thuvos has captivated the
city's imagination. Its unique design and the fact that it
was never finished allowed space for some urban legends, so
they even mentioned that here. They do not get into
the specifics of the urban legends on this website, and
I wish they did, just because it's it's such a
professional presentation of this house. But that's probably why they
(29:30):
didn't get into it, because this is supposed to be
a professional representation of the house. But again, tons of
pictures that you also check out. It's literally like looking
at a museum, like I would be worried to live
in here. I'd be like, I can't touch anything. And again,
this is at Amazing Architecture dot Com, the House of Tubes.
There's even sketches here of the house when they decided
(29:51):
to do this modern kind of integration into it. It's
really cool. What I will say I think is an
interesting detail is at the center of both of the structure,
the original tubes and the modern kind of thing is
one of the tubes, and they have here in the
sketch and they said it's it's the pool. It's a
water joint element. That's kind of how they joined the
(30:12):
two things. And I don't know how intentional that was,
but the idea of water, which we know as a conduit,
is being used to meld past in the present or
the past in the future, and the water is the present.
You know, it's all like it's a pool, right you
look at it, It's like, oh, it's just a pool
in the house. But I don't know, it feels like
having it in that specific area in the center of
(30:35):
the house, in the center of these two things is
very intentional. Who knows. Maybe it was just aesthetically it
was the best choice, but I think spiritually, I think
it was a spiritual choice. And that is purely conjecture.
I do not know this architecture, this architect at all,
or this designer at also completely not up to me.
The last thing we have here is kind of a source,
(30:56):
but not really. I mean, they do talk about the home,
but they don't talk about the legend is a video
on YouTube and it's called the House of Tubes in
monter Mexico by Enrique Leal h Stato by Grupo Urban
and it's just a video of this house itself, So
if you don't want to scroll through the pictures, you
can watch this video and there's someone there's a voiceover
talking about the house and the architecture, and it's very
(31:18):
like moody and artsy, so I mean, it's beautiful. If
you're if hey, if you have millions of dollars and
you're looking for inspiration to build a home, watch this
video and also send me a dollar. Please. Welcome back, girlfriends.
(31:44):
Thank you so much for joining me for this episode
of Susto. I hope you enjoyed it. If you would
like to support the show, you can do so by
engaging with it wherever it is. So that means by
listening to the episode, liking, sharing, leaving positive ratings and reviews,
sharing with your own gool friends, following me on social media.
That's at sous to podcasts on every platform, which now
includes YouTube, so go ahead and subscribe on YouTube. Like
(32:07):
I said, I will be doing more public video content,
so feel free to let me know what you would
like to see on there as well. I will take ideas. Again,
it does not have to be Sustal specific or paranormal related.
I'll do just random fun things on there too. We
will see And as always, if you would like to
hear your own story on a Letters from the Beyond episode,
you can do so by visiting my website sustopodcast dot
(32:28):
com or by visiting the linktree that's linkdr dot e
slash Sustal and hitting that tell me a Story or
Submit a story button and then filling out the Letters
from the Beyond form you can write your story. You
can also send in pictures, videos, recording, any multimedia. You
can attach it to the form and send it to me.
And finally, you can consider joining the Patreon at patreon
dot com slash Sustal podcast, where you can get perks
(32:51):
like listening to these episodes early and ad free ad
free video content including the video versions of these episodes
depending on your tier, So free to check that out
Patreon dot com slash Susta podcast see which one works
for you. Speaking of thank you so so much to
this episode's patrons. Your support means the underworld to me,
and you are Liza Sadie, Rachel, Alejandra Luther, April, d Jose, Sam, Mandy, Jules, Laurie, Genie, Monica, Desiree,
(33:20):
See Ashes, Nedessa, Rachel, Asusena, Marlen, Chata, Laney, Desiree A,
Carla Archer, Gadlo, Vanessa, Maritza, Nievis, Moner, mal Iris, Mare
Floor and Selina. Thank you all so so much and
I will talk to you in the next one. Until
then nots bye. St
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