A blend of the cognitive and sensual is also characteristic of Scruton’s proposed “imaginative perception”—the notion that we may perceive the details of built structures in various ways, depending on directions that our imagination takes us. Scruton (1979/2013) takes this cognitive act—reminiscent of seeing-as and free play of the imagination—as crucial to architectural experience. We are at all turns required to make interpretative choices in parsing ambiguous or multiform aspects of the built environment. Scruton focuses on voluntary deployment of the imagination in perception at a macro-level, concerning such matters as whether we see a sequence of columns as grouped one way or another, or see pilasters as ornamental or structural. The voluntary aspect of this account is critical to Scruton’s emphasis on the importance of taste and discrimination to architectural aesthetics. In this, he loosely tracks Geoffrey Scott’s view of architectural experience as “sensuous perception” interpreted through attendant values (1914/1924).