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