The design of a space can be either static or dynamic, decided by the form’s distortion. Designers in the past have treated static design as a devotion to basic and simple shapes, and have treated dynamic design as tweaked and distorted shapes; both design styles have had their functions throughout history. The function of these designs depends on the various imprints or experiences of an audience, thereby changing how users interact with a space. Many times, a design concept, or the lack of one, can overwhelm a structure or space, thereby altering an audience’s perception. This paper will study the volumetric experience and dynamic structure of these perceptual changes through designers’ reinterpretations of nature used to create internal structures. This study’s primary purpose is to provide examples of how interior design spaces are perceived and how that perception is received through alterations in human scale, affecting human response. An example would be the translation of an historically perceived static space, specifically a Museum of Natural History, and how using new forms through parametric design can interactively engage the gap between the real world and museum models; perception is then changed through these new dynamic, volumetric experiences. These perceptions will be explained through Gestalt theory and comparisons to the Rorschach Test that analyze spatial cognition. In order to explore the effects of parametric design in older spaces, the work of Daniel Libeskind is also applied to this research. Libeskind bisects historical buildings and the glass and steel common in parametric design to create new perceptual experiences for audiences. Additionally, an interview was generated to gather fundamental and other practical information about the natural history museum space, specifically the site’s mimicry of nature, from museum staff. The interview will include information regarding how audiences circulate through the natural history museum space and