Gordon Pask’s “The Architectural Relevance of Cybernetics” argues that architecture must be understood not as the production of static objects, but as the design of dynamic systems composed of people, environments, communications, controls, and feedback loops. Cybernetics, for Pask, is not merely a technical repertoire of scheduling methods or computer-aided design tools; it is a metatheory capable of explaining architecture as an evolving relation between structures and human behaviour . His critique of “pure” architecture rests on its historical dependence upon stylistic codes and fixed metalanguages, which proved inadequate once modernity introduced railways, exhibitions, cities, universities, aerospace facilities, and other problems requiring systemic intelligence. The essay’s central development lies in architectural mutualism: a building serves its inhabitants, yet also regulates, stimulates, and transforms them. Gaudí’s Parque Güell becomes a revealing case study because, although physically static, it produces a symbolic dialogue through surprise, feedback, guided exploration, and sensory engagement. Pask extends this logic into responsive environments, imagining architectural systems that learn from occupants, alter their behaviour, and become simultaneously controller and controlled. His design paradigm therefore involves underspecified goals, programmable invariants, adaptive materials, and evolutionary principles rather than finalised forms. The architect becomes neither authoritarian planner nor mere stylist, but a catalyst, memory, arbiter, and designer of control systems. Ultimately, Pask’s cybernetic architecture anticipates contemporary computational, interactive, and participatory design by defining design itself as “control of control”: the shaping of environments capable of shaping themselves with human life.