DESIGN BRIEF: Urban-fusion Warli fails the moment a bus queue looks like tarpa dancers holding hands — the catalog constraint for this entry is explicit: queue line, NOT dance. Harvest-procession symmetry borrows the left-to-right figure chain Warli artists use for harvest carriers, spice walkers, and market processions, then freezes it into a waiting line under a shelter grid so the narrative reads as stillness directed toward arrival, not circular celebration. I refused chauk-central sacred square and any concentric spiral because neither belongs on a Delhi transit panel; the only geometry at centre is the shelter roof rectangle and the repeating triangle-dot frieze beneath the figures — procession border grammar without ritual enclosure. Smartphones become flat rectangles beside triangle torsos; the bus-stop sign is a circle on a pole with a bus icon inside, not English typography; the bus itself stays a partial triangle-and-rectangle profile at the right margin so the queue remains hero. Light density keeps ochre sky and ground margins open — airy wall-panel breathing room, not Madhubani-packed fill.