The houses, with their small boundaries, are conceived and constructed as a microcosm. The term "inscribed," borrowed from geometry, led us to discover new formal, tectonic, and sustainability qualities. The constraints imposed by the narrow and deep boundaries of the party walls, far from being perceived as a negative quality, enhance the shapes and bodies on the exterior, conferring upon them the quality of being unlimited and, consequently, making them infinitely manipulable on the interior. Discrete spaces, where container and content establish dialectical relationships that result in the creation of infinite sequential border spaces. These reproduce the continuity of the upward journey from the outside, allowing us to enjoy the nuances of light through the windows that create almost monochromatic environments. The relationships between the folding windows in motion, the habitable spaces, and the patio offer us fragments of the exterior, natural lighting, and ventilation. Each element plays a specific and significant role, from Panama Street to the deepest room, allowing us to pass through the hallway, patio, corridors, and slits. Telescopic houses, inscribed within each other. We find a dialogue to formalize the tensions encountered between the exterior and the deep interior; this allows us to draw a vertical sequence of twists, windows where light slides, and more expressive shadows throughout the day. We turn the only recognizable façade into a changing game of origami, with folds and unfolds, manipulating the thickness of the windows.