An alternate take on linguistic phenomena in architecture appears in Goodman’s proposal (1968) that we think of notational systems or schemes for the arts as symbolic systems with potentially language-like features. Goodman suggests that architecture is a borderline case of an allographic artform, as its notational schemes—in the form of plans—are intended to guarantee that all objects as are compliant are genuine instances of the work. (Said intention, Goodman proposes, is not fulfilled.) That an object instance the work just when compliant with the notation would indicate the notation’s satisfaction of syntactic and semantic criteria providing requisite grounds for identity across instances, and signal a corresponding insignificance of historical context and conditions of production to the object’s identity. Goodman, for his part, balks at taking architecture to be truly allographic given the core role of history and context in generating particular structures, and notational ambiguity that marks the analog medium of traditional plans. Digital design may well resolve the ambiguity problem, however, and allow indexing for history and context, rendering architecture allographic per Goodmanian criteria (S. Fisher 2000b). The term “architectural language” then takes on a different—and more plausible—sense.