Proponents of exclusivity (S. Davies 1994, Scruton 1979/2013) are eager to protect architecture as the preserve of just those objects in the built environment with abundant, apparent, and appreciable aesthetic qualities; clear creator’s intentions to generate art; or the panache of high art and engagement with art historical trajectories. Stecker (2010) offers a putative variation, allowing that as a broader creative medium architecture has an inclusivist character—though, as an artform, architecture is exclusivist. Scruton, for his part, identifies a specific intent to exalt: architecture as a pursuit has lofty goals or purposes, such that architectural objects do as well. One commonsense justification for exclusivity overlaps with an institutionalist perspective: laymen and connoisseurs alike can differentiate between the striking work of an architect and the humdrum, cookie-cutter building design of a draftsman.