In the negative camp, S. Davies (1994) argues that mere production of occasional artworks does not suffice to constitute an artform—crafts being a notable example—and the aim of architecture is frequently, or even typically, not the production of art but useful items that do not aim at artistic value. In the positive camp, Stecker (2010) responds that we can carve out a subclass of architectural objects that are art even if not all are. He adds, by way of historical argument, that architecture was included among the artforms, by early agreement among aestheticians. We might have grounds for dismissing architecture from the canonical list if the nature of architecture has changed, and in this vein Stecker notes a rising tide of building design that is functionally oriented without significant aesthetic investment. A further alternative is to say that architectural objects are all art works, or at least intended as such, within bounds. To make sense of the term “vernacular architecture” requires that we see architectural objects as typically art objects, while we make allowance for a broad class of architectural objects that are low-art rather than high-art. 