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.