Once the Correa project ended, Tanu notes how the second phase in her career began. She felt she needed to bring in a partner to help her take on the multitude of projects that were coming in, leading her to found the Research Unit for Planning with two other partners. Going forward, he notes the many notable interior projects that they worked on while also noting the many hardships they faced in trying to retrieve the financial support promised by a national agency that commissioned a project. Over the next 30 years from 1962-92, he talks about how a fatigued Hema Sankalia and the firm braced, soon after which she moved on to teaching. When the economy began doing well during the liberalization from the mid-1990s to the early 2000s, she spent more time with Contemporary Arts and Crafts (CAC). 

By 1995, she wound up her practice and solely focused on teaching and CAC. On her aspiration to own a country house, he talks about her journey in chasing that dream and then her journey as a teacher after. He talks about Chandigarh’s architecture and the symbolism that he felt might have inspired Hema. He also talks about how she was also an exponent of space planning and carried a client-facing approach that was pragmatic while running two different practices hand-in-hand. He notes the leaps the firm took on soon into the future, as well as the collaborations she took on during the journey. He also goes into much lesser-known detail about how Hema’s partner Ar. Pravina Mehta did not seem to get due credit for her work. Concluding, he talks about several of her collaborations with eminent practitioners on the mid-1980s projects and the mixed environment of the office and home space he often felt growing up.