The architectural language thesis, in its various forms, is widely discredited in recent philosophy of architecture. To begin with, architecture features some qualities and exhibits some phenomena resembling those of natural language, but the parallels are neither comprehensive nor fully compelling. On the syntactic side, architecture may feature some brand of compositionality but different parts of architectural objects do not appear to function as do phrases or clauses (Donougho 1987). Syntactic “wholes” do no better, as there are no architectural assertions (Scruton 1979/2013). As regards semantics, no likely candidate for an architectural vocabulary regularly yields any specific class or instance of meaning. Whereas for Vitruvius the Ionic order connotes female sensibility, it has a scholarly or deliberative meaning for Renaissance architects, “gravitas” for Blondel (1675–1683), and good governance for the architects of New York’s City Hall. Nor are there truth conditions such as might supply the meaning of a well-defined architectural sequence (Taurens 2008). It’s not even clear that architectural communication is best understood as sequential; Langer (1967), for example, suggests that the symbolic communication of architectural objects is instead holistic. As for pragmatics, there is no clear parallel with implicature or related phenomena, hence architecture is incapable of the accuracy or concision of expression we associate with language (Clarke and Crossley 2000). Finally, relative to semiotics, not all—or even many—buildings signify and we would only want some to do so. 