It's a different level of consumption and purpose. To make an analogy in your field, whilst most people today would prefer a nice Renaissance Revival pastiche, it is the Gehry train crashes that will make it to the history and coffee table books and be referred to as art, Roger Scruton notwithstanding*. This is not mind you to say that the art world can be devoid of classicism, it's just that the classic space is already taken and novelty has to be mined on the boundaries. If you want a prime example in the watch world look up Arnold Putra on Instagram.That engraving looks to my untrained-re-engraving eye very well done, but it also sadly reminds me of a time I was in the Ferrari factory, where I watched a custom order being readied for shipment. It was a beautiful Maranello 575M in blue...but...14 different effing shades of blue. It rendered the sublime into the hideous. Even the Ferrari person I was with said to me, "And this is evidence that just because one can...".
I'm aware my analogy is imperfect: where does one fit Foster + Partners? I guess you can do something more mainstream if you are yourself so established that the projects bring the meaning not through novelty but through their global identity, history and context (Reichstag) or once-in-a-generation scale (Millau). But this does not explain Santiago Calatrava.
* a long time ago I talked to the founding partner of a civil engineering firm, firmly in the Scruton camp, who pretended not to understand why a professional engineer would willingly work at a place like Arup when they could be lovingly crafting marble spiral staircases. He had to pay the bills so I think the 9th floor of their office was dedicated to skyscrapers and other "incomprehensible" projects. He drew an analogy with Beethoven 5 being built with just a few motives, but as a contemporary music composing and playing musician who hadn't yet read Scruton and his ilk, I couldn't help but think about how innovative and shocking Beethoven was for his time.