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.