The basic idea is to design the facade of the building is a living tissue that uses a parametric form on the right amount of sunlight has been formed.
Mathematical parametric and algorithmic procedures most often have proven far too rigid to productively engage the complex cultural, societal, economic, and political projects facing architects today. Designing buildings and cities using parametric and scripting design tools may often appear visually stunning, but for the most part, these designs tend to incorporate far too many blind assumptions to be able to respond with nuance to real-world situations.
Today, many leading designers who engaged in parametric design over the past ten to fifteen years would to some extent agree. Moving away from the delimiting input techniques used to derive building forms and urban typologies, the design vanguard has begun focusing more on the performative and affective qualities of architecture design and its practice.
(The limit to these parametric studies being pursued primarily by students and faculty at Columbia University, the Architectural Association, and other graduate schools—were the forms themselves, which appeared grossly inarticulate, undefined, and too difficult to construct. Besides Lynn and UN Studio, several architects began to deepen their research to engage a more detailed building scale: William Massie, Mark Burry, Mark Goldthorpe, Office dA, SHoP, Coop Himmelb(l)au, Asymptote, Jesse Reiser, Zaha Hadid, and Ocean North are only a few of the most original architects to pursue design and fabrication techniques that investigated ideas relevant to parametric systems.)