In response to a question on the influence that Chandigarh had on the freshly graduated Hema Sankalia, Tanu lays out the detailed architectural technologies and design that must have had a heavy influence on her early thinking. He notes how Ar. Piloo Mody must have also influenced her thoughts through the methods she brought from her alma mater, the University of California Berkeley. Later on, he talks about the eminent architects she was exposed to from Delhi and South India. He recalls one of her big projects and accompanying her on a trip for the Jeevan Bharati School project in 1971. While speaking of the Gujarati community they were a part of in Bombay by way of his father’s origin, he talks about the influence it may have had on her creative thoughts as well. Moving on to impactful projects that must have had a strong effect on Hema’s thoughts, he brings up examples including Charles Correa’s Sabarmati Ashram from the 1960s in Ahmedabad and the project’s influences. Eventually, he talks of how they began to work together and moves on to talk about her interest in vernacular architecture. 

Going back to her life experiences from when she was a school student, he brings up how she used to be self-deprecating about her performance in school, mentioning how she admitted to  not being very studious, but that she was always very honest about her abilities. Speaking of  her family’s influence on her education and how she viewed her profession and professional education in a largely male-dominated society, he talks about how she found it difficult to navigate the social milieu at the time. About the conversations they shared on his career, he describes his mother’s first reaction of disapproval of his initial choices and the instrumental role that Hema had in helping him make his later choices. Discussing the visibility that her projects began to gain, he recalls the time and concludes by describing her time doing international tours and engaging in foreign architecture styles.