The first of the particular arts with which, according to their fundamental principle, we have to begin, is architecture as a fine art. Its task lies in so manipulating external inorganic nature that it becomes cognate to mind, as an artistic outer world. The material of architecture is matter itself in its immediate externality as a heavy mass subject to mechanical laws, and its forms do not depart from the forms of inorganic nature, but are merely set in order in conformity with relations of the abstract understanding, i.e., with relations of symmetry. In this material and in such forms the ideal as concrete spirituality does not admit of being realised. Hence the reality which is represented in them remains contrasted with the Idea, as something external which it has not penetrated, or has penetrated only to establish an abstract relation.
For these reasons the fundamental type of the fine art of building is the symbolical form of art. It is architecture that pioneers the way for the adequate realisation of the God, and in this its service bestows hard toil upon existing nature, in order to disentangle it from the jungle of finitude and the abortiveness of chance. By this means it levels a space for the God, gives form to his external surroundings, and builds him his temple as a fit place for concentration of spirit, and for its direction to the mind’s absolute objects. It raises an enclosure round the assembly of those gathered together, as a defence against the threatening of the storm, against rain, the hurricane, and wild beasts, and reveals the will to assemble, although externally, yet in conformity with principles of art. With such import as this it has power to inspire its material and its forms more or less effectively, as the determinate character of the content on behalf of which it sets to work is more or less significant, more concrete or more abstract, more profound in sounding its own depths, or more dim and more superficial. So much, indeed, may architecture attempt in this respect as even to create an adequate artistic existence for such an import in its shapes and in its material. But in such a case it has already overstepped its own boundary, and is leaning to sculpture, the phase above it. For the limit of architecture lies precisely in this point, that it retains the spiritual as inward existence over against the external forms of the art, and consequently must refer to what has soul only as to something other than its own creations.
Lectures on Aesthetics / http://www.marxists.org/reference/archive/hegel/works/ae/index.htm