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.