Tommy Lindgren: “Architectural tools are not neutral – they influence what is ultimately built”

What is your research about?

“In my doctoral thesis, I examine the visual tools used by architects and designers and how they influence the design process and the progress of construction projects. I argue that architectural drawings do not merely present plans or convey the ideas of various parties, but rather actively contribute to shaping our built environment.

Architects do not design solely with the help of drawings, but also within the constraints they impose. Drawings, diagrams, and other design tools influence what can be presented in a project, what can be discussed and what kinds of solutions are considered feasible.

They also coordinate the activities of different parties, set limits on the design – and, on the other hand, enable new solutions. That is why it is important to understand how these tools work together and guide the direction of projects.

It is often thought that an architect forms a vision in their mind and presents it to others as drawings. In reality, however, design is not that straightforward. We do not create things in a vacuum, but always with the help of some tool that affects the way we work. Tools enable a certain kind of thinking and expression, but at the same time they limit what we are able to see and present.”

What is important in your research?

“My key argument is that the tools we use are not neutral; rather, they have their own inherent biases. They help us do certain things well, but at some point, they can also become obstacles. The choice of design tools can either support a project’s goals or hinder achieving them.

As a case study, I examined the Low2No neighborhood project in Jätkäsaari district in Helsinki, which began with ambitious sustainable development goals, but ultimately resulted in a more conventional outcome.

This case demonstrates that it is not enough for a project to have ambitious goals and good ideas. The right tools are also needed to align the objectives with the practical constraints of the project. These tools can also steer the project’s direction and help keep it on track toward its goals. If their impact is not recognized, the project may drift far from its original vision.”

What might follow based on your research?

“In addition to architects, also clients, developers and government officials should understand how drawings, plans and other documents guide projects and whether they truly serve the project’s intended goals. These tools should not be viewed merely as technical aids, but as an integral part of the design and decision-making process.

The key message of my research is that when design tools are better understood, they can be used more consciously to advance the project’s objectives. Visual tools should therefore be viewed as potential allies. Properly selected tools can help reconcile the practical demands of creativity, regulation and construction.

When we understand better how these tools influence projects, we can also develop practices that support sustainable urban development. A conscious choice of tools can also help engage a broader group of people in the design process. Not everyone knows how to interpret architectural drawings, and no single presentation method can capture everyone’s perspectives. That is why it is important to consider what kinds of tools help different stakeholders participate and articulate their own needs.

This same thinking should also be incorporated into architectural education. When students learn to recognize the possibilities and limitations of design tools, they can use them more consciously – and, if necessary, develop new ways of designing. In this way, tools can become allies of design rather than constraints.”

Lindgren’s doctoral thesis, Vibrant Figures. Visual tools as mediators within the actor networks of the development of the built environment will be examined at Aalto University’s School of Arts, Design and Architecture on November 5, 2026.