A painter’s sketch is a purely personal document; his brush stroke is as individual as his handwriting; an imitation of it is a forgery. This is not true of architecture. The architect remains anonymously in the background. Here again he resembles the theatrical producer. His drawings are not an end in themselves, a work of art, but simple a set of instructions, an aid to the craftsmen who construct his buildings. He delivers a number of completely impersonal plan drawings and typewritten specifications. They must be so unequivocal that there will be no doubt about the construction he composes the music which others will play. Furthermore, in order to understand architecture fully, it must be remembered that the people who play it are not sensitive musicians interpreting another’s score–giving it special phrasing, accentuating one thing or another in the work. On the contrary, they are a multitude of ordinary people who, like ants toiling together to build an ant-hill, quite impersonally contribute their particular skills to the whole, often without understanding that which they are helping to create. Behind them is the architect who organizes the work, and architecture might well be called an art of organization. The building is produced like a motion picture without star performers, a sort of documentary film with ordinary people playing all the parts.
Compared with other branches of art, all this may seem quite negative; architecture is incapable of communicating an intimate, personal message from one person to another; it entirely lacks emotional sensitivity. But this very fact leads to something positive. The architect is forced to seek a form which is more explicit and finished than a sketch or personal study. Therefore, architecture has a special quality of its own and great clarity. The fact that rhythm and harmony have appeared at all in architecture–whether a medieval cathedral or the most modern steel-frame building–must be attributed to the organization which is the underlying idea of the art.
– Steen Eiler Rasmussen, Experiencing Architecture pps. 12-14