The artist's paternal grandfather was an engineer by profession and constructed a functional dupilex house. Later, it was inhabited by artist's uncles in each portion. Its outlook got changed over the years with inhabition of different generations in the family. The artist visited this childhood home frequently to meet her cousins and resulted into many blissful — making this place feel like a Home.

This created an air of festivity even on ordinary days. The artist was always greeted with warmth and was pampered by elderly family members, as she waited for her favourite cuisines, watched them cooking in tiny kitchens located in sehans( open courtyard). Albeit listening to stories and neighbourhood gossips, this always created a sense of excitement for her.

The knitted facade with varied colours and elements show its layered incubation over several years. The lower level depicts mustard colour of facade, as contrast to upper brick masonary, which depicts an unfinished feature. Varied wooden coloured windows and black metal door further add to its diversity. The soul of the house is well represented as a woven folklore into a charpai (a four legged wooden and jute bed) which the artist and her family members cherished it while singing on it. A steel pigeon cage at roof and a hanging bucket from window, further enhance its connectivity to its surrounding. Knitted wedding tents of 80's trend hanging on each side of the building, create an enclosure and extends its domain onto street level. The roof shares the same character of fluidity likewise, House No.1. The woven kites floating or tangled up in the sky further strengthen its ties with other neighbourhood houses.