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This study examines the Cárcamo de Dolores (1941-1951), a hydraulic complex within Mexico City’s Lerma System, as a cultural landscape merging engineering, art, and heritage. Designed to supply water during the city’s mid-century population boom, the Cárcamo integrates architecture (Ricardo Rivas), hydraulic engineering (Eduardo Molina), and mural art (Diego Rivera). Rivera’s submerged mural « El agua, origen de la vida en la tierra » (“Water, Origin of Life in the Earth”) finished in 1951 —painted with experimental polymer techniques—synthesizes scientific (Oparin’s theories), mythological (Tláloc), and historical narratives of water, transcending its utilitarian function. Adopting an interdisciplinary lens (art history, hydraulic technology, industrial heritage), the research traces the Cárcamo’s evolution from operational infrastructure to museum (1993). It analyzes how its material and symbolic layers reflect Mexico’s relationship with water: from pre-Hispanic systems (chinampas, aqueducts) to 20th-century modernization. The site emerges as a "memory device" bridging technical knowledge, political conflicts, and cultural imaginaries, framed through Actor-Network Theory (Latour) and heterotopia (Foucault). The study also assesses its heritage value, advocating for UNESCO recognition not only for Rivera’s mural but as a testament to Mexico’s hydraulic culture. The Cárcamo thus becomes a nexus for contemporary debates on water management, art restoration, and industrial heritage preservation.