Independently, and at the same time, Clive Bell argued in his 1914 book Art that all art work has its particular 'significant form', while the conventional subject matter was essentially irrelevant. This work laid the foundations for the formalist approach to art.  In 1920, Fry argued that "it’s all the same to me if I represent a Christ or a saucepan since it's the form, and not the object itself, that interests me." As well as being a proponent of formalism , he argued that the value of art lies in its ability to produce a distinctive aesthetic experience in the viewer. an experience he called "aesthetic emotion". He defined it as that experience which is aroused by significant form. He also suggested that the reason we experience aesthetic emotion in response to the significant form of a work of art was that we perceive that form as an expression of an experience the artist has. The artist's experience in turn, he suggested, was the experience of seeing ordinary objects in the world as pure form: the experience one has when one sees something not as a means to something else, but as an end in itself. 
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On the other hand, other people think that designs decided by governments could not be that accurate and may not solve the actual purpose of the building. For example, many government buildings in India frequently need alteration in design due to lack of clear purpose of that office, which eventually increases the cost of the construction. By giving the free hand on design to the owners of the building, they could build the building in the desired way and more economically. This example makes it clear why people think that construction of a new building should be taken care by those who finance it.