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.