Revathi Kamath

Ayodh Kamath, Revathi Kamath’s son, talks about having accompanied his mother for field visits and projects such as the Anandgram one. He describes his educational journey and time spent dabbling  in disciplines across the arts and sciences while going over his career timeline. He talks about Revathi as  a mother and an architect and how both roles were carried on seamlessly and without much differentiation. Recalling  her many drawings and paintings, he talks about a specific few he especially liked, including a set of detailed drawings of their house. He recalls having observed her other hobbies such as birdwatching, recording and studying them and other species, and how that epitomised her unique view of the world around her and its translation into her work. He traces what he was told about her childhood, formative years, and the impressions her elders had of her. He recalls tense stories and pivotal moments from her young years. 
Discussing  the many professors they shared from their time at the School of Planning and Architecture (SPA), he recalls stories of her experiences with them. He notes how she had assessed the quality of education she had received as compared to his and why she felt the latter seemed lacking. She was pressured to do her masters abroad, which she refused to oblige. He also speaks further about the different factors which attracted foreign architects to join Indian projects in Revathi’s time as compared to now. He draws a timeline of Revathi and Vasant Kamath’s lives before they met to collaborate, and goes on to recall his observations from growing up around the time Vasant and Revathi were establishing and developing their architectural firm. Noting how his parents preferred to not distinguish their home and work, he speaks about learning about their work at a nascent age. He talks about how his early observations advised his educational decisions.

Ayodh Kamath introduces the work dynamics Vasanth and Revathi Kamath shared and how their unique strengths were balanced out. He reflects on their work habits, work personalities, and style. He notes how they rarely had professional disagreements, and  recalls the recognition that came where it was due and where it lacked in their work together. He reflects on many stories that exemplified their work styles and his professional relationship with them when he started to work with them. He makes observations on Revathi’s and Vasanth’s designs, the former avoiding geometry or symmetry while the latter seemed more ‘in order’ and legible. He recalls an article written by Supriyo Bhattacharjee in DOMUS magazine on The Bhopal Museum, and how it offered a misunderstood view of their design due to its level of complexity and ‘illegibility’. 
He talks more about the conscious decisions that Revathi and Vasant made on the scale of their firm’s growth and technology’s role in the process. However, he notes, Revathi preferred to be an outsider to technology. He draws how these were similarities she shared with western architects and how that affected his perspective of it in practice, and delves into her and Vasant Kamath’s relationship with any kind of technology. On how she used communication at work and justified herself, he recalls the ways in which she expressed herself and conveyed what she thought. On her being a woman practitioner, he speaks about how she navigated her male-oriented workspace. He recalls incidents that reflect the disadvantaged position she held as a woman architect in the field, where she has had to use Ayodh’s reassurance to convince people involved.

Ayodh Kamath introduces Revathi’s determined method of designing and executing her project. He goes into adverse experiences he recalls Revathi had faced with clients, such as a high attrition rate. He discusses the overall productivity of the architect couple, who were usually well aligned to the dynamics with their clients. He recalls an instance with a particular project with the Taj Group, that eventually never took off, that faced a few issues with Revathi Kamath and a related experience. He recollects an ‘Unbuilt India’ physical exhibition that shared half-done projects when he was in school. He recalls the many drawings that were worked on by their firm and hopes to archive them soon. 
Discussing Revathi Kamath’s idea of auto-biographing her works, he recalls  how she remarked it would be rather boring. He also shares her perception of being awarded, as well as concerns she faced with the Aga Khan Foundation’s Award Committee. He further lists some of the early awards that were granted for two projects, i.e., Nalin Kumar’s house in Hauz Khas Village, and the Akshay Pratishthan School. On Revathi’s media representation, he recalls her pronounced dislike for being labelled wrongly or overusing terms such as ‘green architect’, ‘mud architect’, and ‘traditional architect’ and why she felt so. She also thought that her identity as a woman architect was underplayed. Talking about her popular wardrobe choices, he recalls how they could not have been conscious style statements. He speaks about how she was never close with the architectural community, having never consciously sought out other women architects or such connections, beyond staying in touch with friends from college, as she was rarely social. He closes by saying she preferred to be working at all times or staying at home gardening, drawing, or painting when not working.
 

Ayodh Kamath introduces us to their house in Anandpur, designed by Revathi Kamath and Vasant Kamath while continuing to give a tour of the house. He reveals the story behind choosing the location, including how it was built on an abandoned sand mine, and details about the materials used with its sources. He recalls how Revathi Kamath worked hard in acquiring the land and ecologically restoring the house. He states how the house design was never drawn, and how the partner architects regularly communicated with contractors making the design more organic. He also reveals how there’s an exit in every room rendering the house insecure and why it was made so. On installing an air conditioner, he talks about how Revathi relented after much pressure since there was an integrated cooling technology, i.e. an evaporative cooling system  put in place. He recalls the story of the only ever measured drawing that was done of the house by students,  points at the fireplace and its functionality while moving on the materials used around, and discusses other challenges they have faced with certain functionalities of the house and evolving issues.
He recalls stories that impressed Revathi in her growing years, which heightened her passion for ecological restoration. Talking about a project Revathi participated in, he focuses on the high importance she placed on the Shadipur Depot and Anandgram projects. They began working on digital projects in the early 2000s, while the firm started in 1978-79 and thereby covered 22 years of designing projects by hand. He lists how all the furniture at home was usually prototypes for their projects and what belonged to which project. He points out the various plants planted on the top floor over waterproofed structures, which was also a prototype for a project. He speaks about the climatic issues the house faces and how these are  overcome  by using the technology of a chimney or a windcatcher. An integrated system was built to recycle any excess water from the irrigation and such. He notes how his parents probably were unaware of security needs. He talks about the courtyard space and the outdoor vegetation and the deliberate choices that made its landscape. 

Drawing  a timeline of their journey of moving houses, he speaks of converting one into an office, and then finally moving into their current house. He takes note of the water supply, electric supply, and sewage system they have in place at the house, including technology such as anaerobic wastewater treatment for sewage that Vasant Kamath built, making the house self-sustainable except for procuring electricity. However, he reveals the issues the hard water source is causing their house. He talks about the recent demolition orders that have been issued for villages in the same area since the location is ecologically protected. 
Since restoring the land, he notes how he has observed the insect biodiversity expand after Revathi ecologically restored the wasted mine for their home. He explains the topography of the land, directly related to the water table, and how often sand was sourced from the land and its aftermath while mentioning examples outside of the home with heightened resource consumption. He recalls the learnings that Revathi shared with him on ecological conservation, while he mentions a landscape project in Bhopal she undertook for which she implemented what she learned from regional and urban planning. He talks about his project aspirations, inspired by elements of the house. He also speaks about occupying as much as is only needed, a habit his parents encouraged and demonstrated while he grew up, through the land usage for the building. He notes how the flat surfaces are all built on a stone foundation, and other similarly designed projects, such as Lakshman Sagar in Rajasthan, a luxury hotel. He speaks of the slighter accessibility it poses for his maternal grandparents but how the material in each room is of a unique texture or pattern thereby setting each individual living space within the house apart.

Ambika Kamath introduces herself as Revathi Kamath’s daughter and begins to describe what she has heard of Revathi’s childhood. She recalls what Revathi said about her journey toward discovering and pursuing architecture and talks about Revathi’s relationship with her parents. She recalls a  point during Revathi’s architecture education, when she gained broadened exposure from stepping out from the comfort of her home during trips across the country. She notes how the film Dhara by Ein Lall captures her well. On the Anandgram project, she talks about how she realised that the project was monumental to Revathi even though it never got built. She mentions how she never learned of other first-generation women architects or their works from Revathi and how she held very  few as a source of inspiration. 
She goes into detail about her early memories of accompanying Revathi on field visits and  speaks of the high regard in which Revathi saw the craftspeople and masonry from the site and how she disregarded engineers. She notes how her mother could be uncompromising in her ways with her designs and on-site, and for what she saw were valid reasons. She speaks about Revathi’s feelings on bigger projects such as the Jindal project and why she did feel a certain way about them. She notes how it became interesting for her as she worked with newer materials like fly ash bricks and stainless steel. 
She recalls how the house Revathi finally built for the family was intended as foremostly an architect’s project, and then a home. She remembers the craftsperson who made the bathroom tiles of stone and lime plaster, and how his work made a mark on Revathi. She notes how she once struggled to find work with clients who shared her vision for architecture and further discusses Revathi’s relationship with her husband. She talks more about completed and incomplete projects, interactions, and individuals who resonated with her sensibilities, including details about her work on a Taj Hotel in Jaisalmer, and a competition for a Budhha statue, etc. She also recalls some of Revathi’s acquaintances and stories from the School of Planning and Architecture (SPA) she had heard her mention frequently. 

Ambika Kamath notes how since Revathi designed Nalin Tomar’s house, she gained public recognition, especially in the media which helped their outreach in the business. She talks about how her mother felt about her Aga Khan Award nominations and then goes into detail on her mother’s ethos and architectural vision, noting how Revathi gave  high importance to attaining harmony within the traditional, the crafts, and the natural surrounding of the site in her creations. While she explains that Revathi’s aesthetic sense was rooted in all of this, her father’s (Vasant Kamath) priority was aesthetic first, which drew inspiration from Delhi’s architectural landscape. 
She talks more about Revathi’s relationship with her peers and what she observed and learned from her approach on-site and in her workspace, as a woman architect. On Revathi’s contemporaries and influences, she names and describes a few architectural works of peers with whom Revathi was often found at odds, early influences like Le Corbusier and the couple’s interactions with his works, as well as her personal connections and their relationships in the later phases of her life. 
She talks about Revathi’s experience with teaching and how she felt about classroom education, presentations, and talks. She talks more about her parent’s long-standing relationship with their clients and the process Revathi enjoyed with each of their projects, as compared to their personal social life. She closes by talking about her personal journey and career choices and the impact that Revathi’s passion has had on Ambika and her brother’s life and work.

Rafiq Kidwai describes his first meeting with Revathi Kamath on their first day of college in 1972 and his observations from initial interactions with her, including their experience with the architecture entrance exams. He recalls how he began to learn about her background, parents, and upbringing, and remarks how it could have shaped her strong personality. He names their mutual acquaintances and the relationship she shared with them all. He talks further about what he learned from her work personality and design capability, and their collective experience of grappling with their initial years at architecture school. He recalls the courses they took in school and Revathi’s artistic talent in college. He describes how he observed Revathi’s personality and vision evolve from when she was in college to by the time her career took off, and shares details about how their friendship evolved and came to be. 
On his personal journey, he shares a brief overview of his career in architecture and what drew him to the field in the first place. On Revathi’s journey right after they graduated, he draws a timeline of her early career up until she met and partnered with Vasant Kamath. He describes the vision with which she designed and built her home, as well as other projects, and talks about how his relationship with Revathi changed since graduating college, also recalling his final interactions with Revathi up until her passing. From what he learned about her relationship with her parents, he describes observing a sense of spirituality that influenced her personal life and practice. He further describes her designs and the ideals that could have shaped them, and his observations from their shared experiences.

Rafiq Kidwai recalls memories of Revathi’s sense of style and personality from their years in college. He remembers the early work she had engaged in and the materials she became acquainted with early on. On Vasant’s passing, he recalls how Revathi coped and talked about the difficult period. He describes her critical side and how she viewed her own work and those of others around her. On Revathi’s relationship with her own team and her process of working, he draws from stories about clients and projects he had observed that exemplified her drive towards her craft. On her early inspirations and learnings from the time Revathi had been in college, he mentions architects and teachings she had seemed to enjoy or where she could draw parallels with her sensibility. He describes some of her projects, including a house for Nalin Tomar, mobile creches on-site for migrant workers who needed the facility for their children whom they had to bring to work, and the Kathputli Colony. He notes how all her projects conveyed her sensibilities and names a few architects such as Hassan Fathy, Laurie Baker, etc., whose work could have had an impact on hers. He talks about unfinished work and describes the Anandgram project and how she made these projects very personal creations. He recalls details about her team and her fascination with mud as well as her penchant for social commitment. He recalls his final interactions with her, noting how her work sustained her after the years of Vasant Kamath’s passing. On the disagreements they have had, he talks about how they differed in personality and opinions on most matters, yet got along well.

DP Singh provides his introduction and begins to map the relationship he shared with Revathi Kamath. He introduces the team that was involved with a building project on-site, in support of Revathi. He recalls the stories from site construction and the negotiations they had to navigate. 
Moving on, he goes into detail about the design details she worked on extensively and for which he has had to coordinate on-site to ensure its execution with her guidance. He goes into the dynamics they shared at work while he details the stories from behind the construction of many projects that they worked on together, including one in Vasant Vihar, the Jindal House, another mud house, etc. He talks about his experience working on her private residence and the various environmental design approaches and technology systems she introduced him to. On client negotiations she had to navigate, he notes how she worked her way through them by recalling some of the stories.

DP Singh dwells on the various design plans Revathi Kamath formed and he mentions some of the clients she worked with such as Jindal, Lal Mina, etc. He goes into the dynamics she shared with the up-scale clients and how the overall relationships were more or less always good. He notes how financial issues were very rare with these clients and the negotiations usually went well. Furthermore, on Revathi’s approach to working with the clients, he describes the way she navigated the work sphere, with incidents involving Revathi that stood out to him. In response to the team and office staff, he describes how she often interacted with them on a personal level. He mentions her close working relationship with Lavanya and the ways she would address her team and keep to her work relentlessly throughout the day. 
He moves on to talk about the work dynamics that Revathi and Vasant Kamath shared, and  notes how they worked together on many projects. On the craftspeople she employed to work on her projects, he notes her direct approach to communication and the aesthetic sensibilities she conveyed. He mentions stories of when she worked with other contractors. Moving on to the unique design capabilities of Revathi, he describes his impressions as compared to his experience of having worked with other architects. 
Further on her feedback system and how adjustment requirements were met between them on-site, he recalls how she approached it. In concluding, about the on-site teams that Revathi Kamath worked with, he talks about the roles that were involved with the projects and the negotiations between the client and the team on-site coordination.

DP Singh begins by talking about the selection and intricate technical process involved in working with mud and shares details of such particular materials that Revathi Kamathi worked with, including her vast knowledge of traditional set of materials as compared to her hands-on knowledge of alternative kinds. In response to the circle beyond her interactions with the staff on-site and at the office, he talks about her social circle of friends that also included clients. 
On her teaching career and her involvement with the Indian Institute of Architecture (IIA), he recalls his impressions of her rushed schedule. Moving on to the mud house they worked on together, he recalls the building space specificities and stories behind its construction as well as of other such projects. In response to newer and unique elements that Revathi employed in projects such as the Jindal House, he talks about the structural specifics of such elements. Discussing  other stories and conversations he shared with Revathi Kamath, he elaborates on some of them that especially stand out. In concluding, he talks about his close working relationship with Revathi Kamath for several years and how their relationship evolved and worked over many years.

Puran Bhat, a folk artist, introduces himself and his family, as well as his origins and nomadic background. He begins to introduce his involvement with the Shadipur Depot project by stating he has lived there for the past fifty years. He talks about the community-driven environment in the colony he joined around 2016. He talks about the failed promises of a home he and his family still expect from the builder and the government. 
Speaking of  the folk artists, he talks about the role Rajeev Sethi played in congregating the community, starting with his family. He recalls the beginning of the cooperative society and their introduction to the new concept. Recalling how the society was finally formed when Revathi Kamath and Daman stepped into the project, he states how he found out from Rajeev Sethi about the extensive involvement of Revathi’s efforts in its development. Meanwhile, he found out about how the Anandgram project went hand in hand which was also being designed by Revathi Kamath, and discussed what he understood were the reasons for its failure. He talks about the dispensary, the women’s committee, the community hall, and such initiatives that stand to this day – all of which Revathi took up for the artists’ community. He talks about his impressions of the architect duo, Vasant and Revathi Kamath through Rajeev Sethi’s work with them. From his experiences in learning about the support provided by NGOs, he criticises their flawed support systems and remarks how they have only taken from the artist community under the guise of providing help. He concludes by sharing his aspirations for the colony and their desire for a public platform over a house.

Santosh Bhai introduces himself and his background, while he moves on to talk about what he understood of Revathi Kamath’s involvement in the colony. He recalls his memories of her from when he was just 11 or 12 years old, memories which involved her detailing designs for furnishings. He mentions the Anandgram project that Rajeev Sethi brought together for the community. He goes back to the crafts work he and his father were involved in, remembering the furniture design templates they worked on such as ‘fold cut’, ‘diamond design’, etc. On how he trained and learned furniture crafting, he  talks about keeping the craft alive and the government support they receive for the purpose. He talks about the involvement that Revathi had in the project,especially in furniture designing. He talks about his relationship with the craft and the way his craft-making and workshops are going along with associations recently, as well as those done in Shadipur. He talks about the different architects he has worked with on and off and the extent to which Revathi provided support. Next, Nanji introduces herself and talks about her memories of Revathi Kamath’s involvement with her, her family, and the community. She talks about the various details in the craftwork that Revathi Kamath extended her support towards, and recalls her close interactions with the architect. Many others bring forward their impressions of her special interests in the indigenous forms of art, as well as her personality and sense of style that stood out to them.

Jayanthi Subramaniam begins by talking about her and her sister, architect Revathi Kamath’s small and sheltered ‘Tam-Bram’ family. She draws on the similarities between them and yet how far apart they were in almost all aspects. She grew up undertaking hotel management while Revathi pursued architecture. They come from a line of engineers from both parental sides, of whom members have contributed to instrumental state structures like the Hirakud Dam in Odisha). While their mother lived many years there, her sister spent her elementary years in Bhubaneswar surrounded by engineers, being exposed to concepts of construction and working with mud. Revathi, born in 1955 at home in Bhubaneswar, was six years older than Jayanthi. Revathi was brought up by her grandparents for two years around the time she was four. Growing up in Delhi after moving in 1967, Revathi was an instrumental part of theatre plays in school and she was rigidly conscious of the choices she made while never failing to question things along the way. 
She enrolled in architecture in 1974 after ranking well in the entrance exams. Jayanthi acknowledges that Revathi perhaps made ecologically conscious decisions in her designs 45 years before it became a fad. When she lost her husband, Vasant Kamath, whom she relied upon for much support, she could only find solace in her work. Jayanthi presumes that their mother (who had an eye for beauty with functionality) must have greatly inspired Revathi’s artistic pursuits. Jayanthi goes on to expand on instances from Revathi’s college years (during which their mother was diagnosed with cancer), which formed early proof of her dedication to architecture. Soon she began focusing on her M.Arch in Urban Planning.

Jayanthi Subramaniam remembers the names of those professors that Revathi may have mentioned in conversations often. One thing she is certain of is that she had a stronger opinion of certain architects than her professors. Moving onto critical projects, she names the Kiragandur Sugar Cane Factory project and Shadipur Depot. She recalls watching a Phad painter at work in their house while these projects would normally be under development. Anandgram is one of the other momentous projects she dwells on. Revathi designed her first house pro-bono, while she was still in college followed by many projects, few of which have gone off the record. A project that has stood out is the Jindal Steel Project, which was a step away from using her standard line of material; another being the Bhopal Museum. 
On how she made her creative decisions independently and set up ‘Kamath Design Studio’, she mentions how she sought her husband’s collaboration at many points in her career while heading the studio. She goes into the changes she went through after graduating and having to manage the many facets of her life as a woman professional, which was never without a fight and significantly moulded her persona. Vasant became an antidote to her assertive personality in running the office many times. In how the firm grew with further collaborations with many hand-picked architects, she describes what led to the journey and what followed. Sunil Subramaniam, Jayanthi’s husband, describes a mural she created at the house over a whole wall and the unique perspectives she gave to her visual art. They note how her ideas and designs during her pioneering practice began getting stolen and Revathi’s observations of the events. Sunil shares what Revathi explained were her convictions in mud architecture, especially in Indian architecture, which she pioneered starting about 40 years ago. They pick examples from how Revathi’s house exemplifies the concept’s ideology.

Sunil Subramaniam begins by dwelling on the beginnings of his journey and his relationship with Revathi Kamath. They discuss her little patience for imperfection and ill-temper, yet her compassionate relationship with her staff. They mention how even when computers became a necessity, she continued to prefer the laboured hand-drawn designs over the tech-driven ones. She travelled to many unique places to pursue her projects before Rajasthan became her forte. Her design structures were known to be monolithic mud constructions of many layers, like a Bebinka cake as Sunil describes it. She is quoted to have said that the structures should last a few decades after which if destroyed, they must merge with the earth. 
On Revathi’s designs being copied, they note how there was nothing she could do to stop them so she went unbothered in all cases. She was not bothered by the monetary losses they incurred, as long as she could continue with her work. She was never inclined to indulge in anything apart from her work, right from her childhood. She refused to believe in the pseudoscience of vaastu, saying she would always follow her natural instinct over rules. They describe the many paintings, utility creations, and so on that she poured her energy into making. Sunil recalls the many debates they have had over ideology differences and perspectives. 
On Revathi’s home and its green surroundings, they note how she utilised a used mine to reclaim ecologically restored life. They recall Vasanth and Revathi’s long working relationship and the designs the partnership yielded. Furthermore, they move on to discuss equitable urban development and planned cities. She enjoyed, especially, the bringing together of all the folk craftspeople essential to completing her design structures. Jayanthi concludes by fondly

On the recognition that Revathi received, Jayanthi notes that it made her feel good yet she made it clear that it was never about the money. Revathi had to muster strong will in having to deal with contractors and clients as a woman professional, especially in a male-dominated culture, such as in Rajasthan. In the process of breaking glass ceilings, she hardened up and Sunil and Jayanthi discuss when she became well connected after a prominent project, however, she never used the clout to her benefit. She once said that “the two types of professionals ethically bound from advertising themselves are doctors and architects.” They discuss Vasant’s and Revathi’s dynamic and responsibilities shared between them – the Ranthambore project being Vasant’s very few individual designs. They discuss her range in material usage and discuss the Jindal Steel Structure. On her earlier projects, including the Mandawa Resorts, Taragarh Palace, and Bhopal Museum, Jayanthi discusses Revathi’s early efforts and conversations revolving around them by mapping them over a timeline. She remembers Revathi carrying Ayodh Kamath, who was a baby then, to the Shadipur Depot site during work. They delve into the many reasons why the project failed to take off, touching on an evident crab mentality present in the field. In the many final conversations they shared revolving around her last projects, including the Gundicha Temple which went underway during the pandemic, Revathi spoke of the detailing often and the bottlenecks in working in the sudden isolation of the pandemic. Jayanthi concludes by discussing her responsibilities at home and the dynamic she shared with Vasant and her children at home. She recalls her immediate family’s last memories of her and how they coped with her sudden passing.

Swanzal Kak Kapoor introduces her journey and how she ventured into pursuing her practice with architecture. She describes how she became acquainted with Revathi Kamath. She recalls the time when she had just joined Revathi’s studio while still in college and the initial interactions she had with her. She talks about her learnings on the job under the guidance of Revathi and describes her design roles in projects like the Taj Jaisalmer. She recalls the methods that Revathi practised on the design table, that she soon picked up, such as extreme sensitivity to lines. She remembers the conversations she had with Revathi about her project Shadipur Depot, and the crafts skills involved. She follows up on her professional journey after her work with Revathi’s studio. She speaks about how her practice diversified from Revathi’s methods and practice ethos. On her ecological journey, she mentions the various initiatives she has been engaged with including the Aravalli Biodiversity Park, etc. She further talks about architectural spaces and their consumptive nature and offsetting through restoration, giving the example of Rhodesia House in Dharmaj. 
She goes into detail about her childhood and background, talking about her idea of her origins, family, and growing up in many different locations which shaped her worldview and sensibilities. She describes her experience and learnings from during her undergraduate years, peer and teacher interactions, and the environment, a few of which she has passed on to her students. She remarks on the importance of a powerful drawing in playing the role of a communication tool, which she learned from Revathi and Vasant’s practice.

She draws observations from her experience working at Revathi and Vasant Kamath’s studio and what she learned about her. She goes on to describe the work personality of Revathi, and speaks of her office dynamics with her over 1996-97. She also speaks of the dynamics that Revathi Kamath and Vasant Kamath shared at work and how it played out in their projects, drawing from stories and collective experiences from the office. She describes her notable work on various projects, such as a commercial project in Hauz Khas, the Taj Jaisalmer, etc. She talks about the research process and choice of material that went into the creative design and detail for the projects. She then speaks of the methods that Revathi allowed to use in the design process, explaining how it was a liberating exercise. She further talks about the limitations, diverse design details, and learnings from the Ogaan Extension in Hauz Khas. She goes into the factors and advantages that made the mud material integral and unique to an architectural structure. 
On Revathi’s method of surface application of mud against integral element usage, she explains what she understood from Revathi’s deliberate choices in material. She recalls some of the more personal details about Revathi’s life she later discovered while researching to write her memoriam, such as her engagement and learnings with the Bhakra village folk. On the aesthetic sense that Revathi brought into her practice, she explains what she felt were the motivations behind her practice. She talks about when she was introduced to Revathi’s practice of mud architecture, her choice of material, and its limitations.

Swanzal Kak Kapoor speaks about her interactions with Revathi Kamath after a long gap over a few occasions, one being when she was being felicitated with the Lifetime Achievement Award at the FOAID. She goes over the discussion she had with architect Gita Balakrishnan on Revathi while in the audience at Festival of Architecture and Interior Design (FOAID). She speaks about the project she presented at the festival and how she felt about the usage of mud in it and the limitations it posed for the project. She goes into detail about the usage of materials such as steel, concrete, and brick and what she observes should be the appropriate application of their unique structural properties. She mentions the Tribal Museum in Bhopal designed by Revathi Kamath as an example that she felt resonated with the site and its constituents as compared to the presented project. She recalls the project in depth, as she had viewed it at the presentation. 
She then goes on to describe in detail the projects she has contributed to interiors, detailing, complete fabrication, and furniture drawings, etc., like her work on a Taj retreat in Jaisalmer, and a boutique for designer Neeru Kumar. She recalls a conversation she had with Revathi on her observing community displacement at the time her father was engaged in constructing a dam. On Revathi’s methods, she remembers her conscious process of choosing collaborators and negotiating the crafts space in various contexts. She talks about the impressions that Revathi’s home in Anandpur had on her, including the design details and sustainable design mechanisms that impressed her. She also remembers stories from her visit to the site with Revathi and Vasant Kamath. On Revathi’s client relationships, she remembers the dynamics and dialogues they shared, along with the challenges that were involved.

In response to a question on the kind of understanding Swanzal Kak Kapoor developed that led her to move on to set up her practice, she talks about the events that preceded her exit from Revathi Kamath’s team. She talks about her relationship with the construction teams, contractors as well as her employees. She recalls the drawing quality of the studio and remarks how they were impeccable as one of the main mediums of communication with the construction team. 
She recalls how Revathi had a big heart and a short temper, which she carried through in her interactions with clients. Swanzal elaborates on what she observed of Revathi’s design approach, noting how she took a bodily approach rather than an intellectual one. She goes over awards and nominations, recalls their milieu and context, and how they were received in the media. Swanzal also reflects on Revathi’s awareness of the negative impact of her construction projects on the historical and environmental surroundings of the site. This led her to often cap the number of projects she took up in a particular zone. 
Moving on to projects that didn’t receive due recognition, she mentions the Tribal Museum in Bhopal. She moves on to her involvement with the Anandgram project and the impressions of the creative positioning of the elements of the space. Swanzal concludes on what she recollects of Revathi’s impressions of other architects, including her critical view of Rajeev Sethi’s work with Indian crafts. She closes by summarising her observations from her time working with Revathi Kamath and as well as her reflections. 

Nalin Tomar introduces his journey with Revathi Kamath and the story behind how he approached her to design his house. He describes the detailed design elements and concepts that Revathi came up with, including using girders and stone material for the ceiling, false ceiling of matkas to retain cool air, etc. He explains how their dynamics evolved over the period of discussing and designing his house. He recalls many moments and interactions he had with Revathi on-site with the rest of the team and hired skill, and her work process and attitude towards challenges. He talks about observing the dynamics that Vasant and Revathi Kamath shared. 
He talks about a study done at the School of Planning and Architecture (SPA) on light and air which featured the Red Fort and the house they designed, and talks further on the recognition it gained. He draws a timeline of the project starting from its inception in 1990 and the process that it took Revathi over the 2 years. He mentions the various projects that Revathi took up, which he had  visited, such as the Kohima Cathedral, Jindal Townships, etc. He remembers the brief he could provide her on designing his house on a small plot and more on the challenging site. He speaks about Revathi’s design solutions for the house’s electricity, water, and drainage needs that were in conjunction with the design vision. He talks about how Revathi’s design drew from his innate needs and persona. He talks about the house’s current occupants, accessibility concerns, and the property suiting his changing needs. He talks about the mark that Revathi’s practice has had on India’s architectural history, her unshakeable approach, and her method.

She talks about her long association with Revathi Kamath, first meeting in school and then at architecture college. She talks about losing touch but then again regaining connection over a college reunion. She talks about the inseparable threesome she was a part of in college which she fondly recalls was nicknamed ‘Teen Deviyan’.  She recalls her academic perseverance and her focus in school while describing her detailed drawings and thesis for a rural project, which she remembers in awe. She moves on to detailing the early projects that she felt were very avant-garde. She also remembers going on trips with Revathi in the late 1980s and then notes how she soon became a recluse for many years after, failing to keep in touch with many friends. She goes through how her personality took a turn through various phases in her life. 
She recalls talking about a landscape project she worked on in collaboration with her daughter who is a biologist. She speaks more about her office space and her home while describing her unconventional perspectives. Moving on to her lifestyle and the architectural explorations, she notes the impressions Revathi had on her, noting how it felt minimalist. She talks about the period during which she was very self-sustaining in caring for her ill husband. Furthermore, she talks about how she could not mince words and how she bluntly put her opinion forward which left its impressions. Moreover, she talks about her visible projects and the few later conversations they shared before she passed.