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Maruddyan - Rehydrating Jaipur

Deekshit SLN | Sawani Jain | Ritwik Behuria

Water has led to the birth of new civilizations; a social anchor that brings communities together. The abundance of it can spark life in lifeless circumstances, while the lack of it can obliterate habitats. Climate change and mismanagement of water has made Jaipur the dehydrated civilization today in 2060. A city that was flourishing with a plethora of resources has now resorted to digging its way towards revival. 


Jaipur has been known for its efficient urban planning, circulation and congregation strategies through numerous ‘Chaupars’, shared courtyards and community wells. The proposal retains Jaipur’s architectural style and construction techniques instead of striving for something too futuristic, suggestive of a gradual, community driven growth.


The proposal stems from traditional Rajasthani ‘Baoris’, reinterpreted in the form of a ‘CITY AS A CATCHMENT’. The scheme exaggerates these ideas through higher stimulation of chance encounters. The city, which was on the verge of complete ghettoization, has now become an interdependent system of underground hamlets, to cope with the arid climate and depleting water levels. Derived from Jaipur’s initial grid planning, each of these hamlets looks into central communal spaces which become the foci for water catchment and gatherings. In the residential realm, visually connected streets form a cascading spine across hamlets, while the commercial realm is still concentrated along the chaupars, as initially planned. The ancient monuments, now ruins, have been adapted to organize city gatherings and the idea of a ‘Lat’ has been redefined as the mode of vertical and horizontal urban transportation.


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Deekshit SLN

UG Student

CEPT, Ahmedabad


Sawani Jain

UG Student

CEPT, Ahmedabad


Ritwik Behuria

UG Student

CEPT, Ahmedabad

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Desert of False Consciousness

Looai Atef Atta

In a scenario where a binary system takes over the world. The metropolises transcend to accommodate Artificial Intelligence (AI).  AI represents Plato in his allegory of the cave; All he knew was the illusion of the “Real World” but when he took control, He became fully aware of “Reality”. To AI, cities are blocks of concrete they only understand zeros and ones. Descartes said “I think, therefore I am”; how they can know with certainty that the world they experience is not an illusion being forced upon them by the creator. The reason, hence; they believe in what they see and feel while dreaming and cannot trust their senses to know they are not. Their senses cannot provide proof that the world even exists! They conclude that senses are not reliable, yet zeros and ones are (the only real consciousness). They build a city within a city. A transparent membrane to let them interact with people while maintaining their entity. At the end, to survive in a Matrix, you need to realize you are in a Matrix. 

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Looai Atef Atta


Cairo, Egypt

"Mother, I can't imagine the tales of rich life of Aleppey that you narrated.

Was it different from all the molten plastic worlds we see?" The seemingly worm eye view illustration illustrates three narrations from outward to inward -'Bhoomi' narrating its story over the years, rituals of Theyyam and the fantasy world of Shibu.

The outer edge, depicted in an primitive style is Bhoomi's narration of the events that it witnessed, from the organic fossils through foundations of buildings right up to being populated with alien geometrical forms of plastic packaging, stylized from a ground up 2d visual.

The middle demonstrates a ritualistic event, a mutation of Theevaram, a pagan gathering of mythical third gender associated here to as the custodians of the environment. The ritualistic Act is kept anonymous or rather binary tending to a possibility based on the choice of the reader.

The central core of the illustration is Shibu's rendering of Bhoomi complete with his fantasy of tales of Aleppey .Drawn on a plastic food waste package (since the only raw material then is what becomes the slate), Shibu visualizes the soul of Bhoomi as a ghostly living presence. The package holds a demonic silhouette subtly enjoying the central position of the graphic.

In addition, the humans have been depicted in Red and so as its creation, The 'Red Demon'. Colours of nature still penetrate into the core and the outer limits highlighting various possibilities.

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Shibu, Bhoomi and the Red

Amit Joseph Kurien | Arushi Gopal


Urban water behemoth

Chen Yu Hao | Wu Shi Yen 

In order to solve the problem of urban flooding, some parks are designed to be both aesthetically pleasing and practical flood parks, which provide rainwater retention space during heavy rainfall to reduce damage from flooding. However, the amount of rain brought by extreme weather is gradually overwhelming park. This is one of the most urgent livelihood issues that modern cities need to face and solve.

If we can use vertical water system to fiter water at the same time, we can provide the village or city with usable and clean water for domestic use, and suck the water that over flows during heavy rains into the tower to improve the resilience of the city. It provides new opportunities to preserve water resources and increase the buffering time when heavy rains come.

Urbun Water Behemoth increases the water storage capacity of the flood storage park and allowing the rainwater trapped during food storage to be effectively recycled. The vertical tower symbolizes the huge water storage space and recyclable water, and it will become a modern vertical water supply plant with both flood storage and water purification functions in the center of the city.

It is also noteworthy that water is not easily preserved in dry areas. The skyscraper is designed to collect and store surface runoff and collecting water by ressure differences, efficiently. It is an innovative design that challenges the concept of urban high-rise architecture and the best water storage center for the new state of the desert arid region.


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Water-The incarnation of wetness in our cities

Parth Patel

Our cities recite the shortage of water, and will continue to do so. However, little attention has been paid to explain the term water itself in the context of Urbanism, and who derives its definition? In human understandings, water is referred to be an object, later assessed in the forms like a lifeline of human civilisation, human rights, concern. But what if we replace the idea of water as an object with the larger umbrella of wetness? Then it's no longer about water being a commodity as we begin to deal with degrees of fluctuations in wetness.

The discussion and imagination of future cities shouldn't be restricted to waterbodies as resources but rather focus on understanding them as forms of wetness. One of the keys to it would be not looking land and water as two separate bodies. This separation of land and water is the first act in colonising wetness. The thought here is to expand the discussion to rains, flora, fauna, food, soil, rocks, etc, all necessary to create a living.

The visualization draws attention to a city that has addressed wetness from rains to sea to river till the time it goes beyond the surface. Along with creating built forms, future cities would also require to celebrate wetness other than harnessing it. Hence, I attempt to address manicured dearth of water through imagining a town of wetness, demanding appreciation for its presence in all biotic and abiotic components rather than having water as a separate body.

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TEAM 041098


Karla Perez | Hannah Rutherford

Some see me as a parasite on their land but I know better.

My people take pride in me, and I’m often all my people have to turn to for survival.  

I am bolstered by my people’s creativity and ingenuity. I am resilient.  

I will grow and provide more for my community as they invest in me.  

I am the future to many.  

From the outside, these communities seem not worth helping or servicing, although, all across South America more and more people are born and raised in these communities. Favelas, Ciudadela, barrios bajos, or slums,  are all built and replicated by people who had nowhere else to turn. Developed from scraps, these communities were built with the intention of survival. They struggle with poor infrastructure, health, and education systems,  pushed to the side and generally unserviced by outside urban cities. Pushed to take what little they have and make of it what they can, these communities often implement systems like community gardens, green roofs, innovative sewage systems, and other sustainable systems that benefit both their community and the environment. Now they are bolstered by programs seeking to better their health and infrastructure, while also maintaining the spirit and creativity that makes them who they are. The spread of favelas across South America is inevitable, and with the help of elevated sustainable practices, better infrastructures, and the use of recycled materials, these unique communities can develop, grow, and cohabitate within all cities. Favelas are the future utopia. 


Rivers of Lethe

Maryam Hashemi | Hafez Raesian 

In Tehran’s suburbs, there used to live homeless people called ‘Goorkhab’; that is, grave-sleepers who slept in dug holes reserved for burial of the dead. Five hundred years after the dominance of AR technology, Tehran is virtualized into a post-Metaversal city where the idea of community has been lost since History just ended. Public urban spaces are no longer occupied, resulting in the fall of social concepts that have developed over history. Distant from physical huggings, street activism, and the places that isolated collective memories and emotions, no one can remember the immediate experiences of commune-related ideas. Under the reign of the Meta-Emperor, the historical places are left to decay and perish. The residents’ bodily experiences are bound to the minimum space they need to survive in the Metaverse-PLUS complex. They have been totally detached from the physical space, having lived in an abstraction of the (now the only real non-existent) universe for a long time. A decade ago, after a citywide outbreak of a memory-defecting virus, people went on Meta-strikes, their action making the ‘Rivers of Lethe’ to flow: huge curtains hanging from drones right above marked points of Tehran where social events were once documented, disproportionate avatars projecting images discovered by each citizen on the curtains, and a sarcastic representation of ‘meaningful’ experiences deliberately distorted by the authorities. These spaces were made for people to recall a disfigured perception of collective-driven concepts, making us wonder which one is more grave-sleeper: a Goorkhab or a Metaverse?

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The following drawing is a dystopian parody of a town called Mysuru. All similarities to real life are intentional.


The year is 2147, the world has successfully averted the climate crisis and the pandemic; humanity prevails. Somewhere on the foot of Chamundi Hill lies Mysuru, a city stuck in a past era. They say it’s a city of facades, its citizens living their lives within a masquerade, erecting new imitations of its old identity in an effort to keep up the image of grandeur disseminated by the royal family. The Wodeyars can be credited for the creation of Mysuru‘s ultimate glory- its palace. 


A few centuries ago, an attempt was made to save the palace from ruin. The city’s different neighbourhoods bid for parts of the palace, each fighting for a piece of their own antiquity. There were those who preserved the old with care and control, and then there were a few others against restoration. They believed that new directions and new choices in architecture must be articulated. Evolution is the true way of nature. The palace, now fragmented across the city, is re-appropriated for everyday functions- the past has been taken over by the future. For the rest of the world, the advancement of technology might mean an exploration of architectural styles, but for this city, change is evitable.


Mukhawaada: City of Facades

Lamiya Huda | Anivratha Baggunji | Tony Sam

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