At its essence, interior design is an exercise in empathy. It is not defined by objects, finishes, or passing trends, but by people's movement, rituals, and the way they experience space. For Godwin Austen Johnson (GAJ), interiors are conceived as an inseparable extension of architecture. The process is holistic and collaborative, grounded in context and the lived realities of the end user. A successful interior, in this view, is one that accommodates needs, anticipates behaviours, and supports wellbeing.
“Human-centred design is visual, physical, and emotional,” says Interior Architect Pankti Adani. “I’m always asking: What do I want someone to feel when they walk in here? Calm? Inspired? Energised? It’s about marrying how people want to interact with a space with practical benchmarks and a clear design narrative.”
Education and Hospitality
This approach has informed projects across sectors. At Ladybird Early Learning Centre, GAJ worked closely with educators and behavioural specialists to understand how children learn through light, movement, and sensory engagement. Spatial decisions such as lowering ceiling heights to create a sense of security, using tactile finishes to encourage exploration, and specifying adaptable furniture for collaborative play were directly influenced by these insights.
In hospitality, the same principles apply. The WB Abu Dhabi balances immersive, thematically rich public areas with calm, restorative guest rooms. The design creates contrast and moments of vibrancy followed by moments of stillness, ensuring visitors are guided so they won't be overwhelmed.
For Interior Designer Vidhya Kalarikkal, this is central to the discipline:
“Human-centred design means keeping the user as the central focus and ensuring each person feels at ease. It’s about creating spaces that work for people on a physical and emotional level.”
Collaboration as Process
At GAJ, interiors are embedded into the design process from the outset. Architects, interior designers, lighting consultants, and MEP engineers work in parallel to ensure that environmental systems, acoustics, and circulation patterns are considered alongside materiality and furniture layout.
“Early collaboration with technical teams makes the design more connected and often more creative,” notes Pankti. “Sometimes the constraints of other disciplines lead to more inventive outcomes.”
Material and Tactility
Material choices are guided by cultural, climatic, and functional appropriateness. For Vidhya, this includes elements such as tactile paving:
“It’s not only a wayfinding tool for those who need it, but also an interactive element that adds character and accessibility.”
Pankti points to natural light and greenery as enduring priorities:
“They make a space feel lighter, alive, and more positive, supporting mental wellbeing in a way that’s timeless.”
Beyond Aesthetics
For GAJ, the success of an interior is not measured by aesthetics alone, but by its ability to support mental clarity, physical comfort, and emotional connection.
“Interior design is not about decoration,” says Vidhya. “It’s about creating a safe space for each user in it.”
Pankti adds: “I hope people find the spaces I design intuitive, with something they can connect to something that leaves a lasting impact.”
In an era where the boundaries between home, work, learning, and leisure are increasingly fluid, GAJ’s interiors prioritise empathy over spectacle, designing spaces that are inclusive, adaptable, and deeply human. As our lives become more hybrid, designers must respond not with louder gestures, but with deeper understanding. This leads us back to a central question: Are we designing rooms, or are we designing experiences?
At GAJ, we choose the latter and invite our peers to do the same.