Alright – so today we’ve got the honor of introducing you to Junling Zhuang. We think you’ll enjoy our conversation, we’ve shared it below.
Junling, thanks for taking the time to share your stories with us today We’d love to hear about a project that you’ve worked on that’s meant a lot to you.
One of the most meaningful projects I’ve worked on is Nestwork – a design research initiative that reimagines how people interact with architectural design—making it more accessible, personal, and creatively collaborative through artificial intelligence.
At the core of this project is a computational pipeline that allows users to describe their ideal living space in natural language, and receive customized, fully furnished 3D house layouts in return. By integrating Large Language Models (LLMs) with graph-based generative models, the system emulates the cognitive process of human designers—translating lifestyle narratives and social needs into room adjacency graphs, and ultimately into spatial layouts.
But what truly sets this project apart—and makes it so meaningful to me—is its deep integration of design and engineering. This wasn’t just about technical implementation; it was a creative design challenge. We conducted user research with practicing architects to understand how AI could fit into their workflows without diminishing their creative control. From this, I led the design and development of an intuitive, AI-assisted, node-based interface that allows users to see, manipulate, and trust the AI’s generative logic. This interface was iteratively prototyped and refined through multiple testing rounds to ensure it not only worked, but also felt right for designers—balancing clarity, flexibility, and aesthetic coherence.
The project received a $2,000 grant in compute credits from the OpenAI Researcher Access Program, and was selected for the Ideation Lab at the 2024 Association for Computer Aided Design in Architecture (ACADIA)—one of the top international conferences in computational design. I had the honor of presenting it live in front of hundreds of researchers, designers, and technologists from around the world.
This project reflects the values I hold most closely: that good design is both emotional and systematic; that creativity and computation should enhance, not compete with each other; and that emerging technologies can be made not only functional, but empowering—when we design for people first.
It’s been one of the clearest expressions of my vision as a creative technologist: to build interfaces and systems where imagination, data, and human experience meet.
As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?
Hi, I’m Junling—a design technologist, software developer, and data visualization enthusiast with a deep passion for using research to guide creative practice. My work sits at the intersection of the built environment and human-computer interaction, which I see as an emerging form of digital media infrastructure. I’m particularly interested in how design and technology can come together to create more humane, inclusive, and responsive systems for the future.
I originally trained as an architectural designer, but through my academic and professional journey, I gradually shifted toward computational design and creative technology. I’ve always been curious about how systems work—whether spatial, social, or digital—and how we can build tools that truly serve people’s needs. This curiosity has led me to work across a wide range of mediums, from generative design and spatial computing to AI-assisted design, software development, and interactive data visualization.
My work spans both research and practice. I’ve presented research on human-computer interaction and AI-assisted design at conferences like ACADIA 2024, CAADRIA 2024, and CHI 2023. I’ve also contributed to art and design projects exhibited at Ars Electronica and the Elektra Virtual Museum. As a practitioner, I’ve been honored with MUSE Design Gold Awards, New York Product Design Awards and UX Design Awards for projects that push the boundaries of interdisciplinary design.
What sets my work apart is its commitment to both technological innovation and social impact. I aim to democratize access to emerging technologies—whether through building intuitive software tools, crafting interactive visualizations, or designing immersive spatial experiences. My goal is to make complex systems more accessible and valuable, not just for professionals, but for everyday people navigating an increasingly digital world.
More than anything, I want people to know that technology can be both powerful and personal. I’m proud of the work I’ve done so far, but even more excited about what’s next—creating thoughtful, adaptive systems that bridge art, design, and computation in ways that are meaningful and inclusive.
In your view, what can society to do to best support artists, creatives and a thriving creative ecosystem?
In my view, supporting a thriving creative ecosystem means moving beyond romanticized notions of “art for art’s sake” and instead creating infrastructures—educational, technical, economic—that enable artists and creatives to build sustainable, impactful practices.
First, we need to invest in accessible tools and platforms that allow creatives to experiment, prototype, and distribute their work without needing deep technical expertise or institutional backing. Whether it’s AI-assisted design, spatial computing, or interactive visualization, these technologies should be designed with creatives in mind—not as replacements, but as collaborators that extend imagination and agency.
Second, interdisciplinary support is essential. Many of the most forward-thinking ideas today emerge at the intersection of art, design, science, and engineering. Yet traditional institutions still tend to silo these disciplines. We should fund and create more spaces—residencies, labs, public programs—that encourage hybrid practices and long-term collaboration across domains.
Third, economic and policy frameworks need to catch up. This includes equitable funding opportunities, copyright systems that reflect digital creativity, and labor protections for creative technologists, independent designers, and cross-border collaborators. Many artists contribute deeply to culture and innovation yet fall outside conventional definitions of “creative labor.”
Finally, we must cultivate trust and literacy between creators and society. That means integrating arts and creative technology into public education, inviting communities into the design process, and acknowledging that creativity is not a luxury—it’s an essential mode of shaping our collective future.
For me personally, building humane technologies—interfaces, workflows, data systems—has always been about empowering others to create. A thriving creative ecosystem isn’t just about producing great work; it’s about making sure more people have the tools, language, and confidence to participate in making the world.
Is there a particular goal or mission driving your creative journey?
As I’ve grown, my understanding of diverse communities has deepened. I was born and raised on an island called Wenzhou in southern China—far from the affluent urban centers often associated with the region. Until 2006, the island had no bridge to the mainland, and while its people were kind, resilient, and hardworking, the area faced chronic educational underinvestment and a significant brain drain. I was part of that trend, leaving for the mainland city at a young age in pursuit of better opportunities—but always carrying the values and perspectives rooted in my hometown.
My lifelong training in the arts, coupled with the disorientation of moving between vastly different environments, led me to study architecture in college. I hoped that by designing something beautiful for my hometown, I might help shift its trajectory. Over time, I became deeply fascinated by the systems and structures that shape our cities. But during a field study in a small, struggling southern town, I came to a realization that would reshape my path: architecture alone couldn’t solve the deeply interwoven challenges I saw—aging populations, social isolation, infrastructure gaps, and systemic inequality.
This moment marked a turning point. I began to explore the intersection of design and technology as a way to respond to these complex realities with greater precision and empathy. I believe that everyone deserves tools, services, and environments tailored to their unique circumstances—not just beautiful spaces, but responsive, accessible systems that improve daily life.
This belief ultimately led me to Columbia University, where I completed a cross-disciplinary program in Design and Technology. It’s also what drives my current career path as a creative technologist and design engineer—working to build human-centered solutions that bridge design, data, and emerging technologies to serve diverse communities more meaningfully.
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