Arguments for inclusivity include Carlson’s appeal (1999) to consider the class of architectural objects as of a continuum with the broader class of everyday designed objects, where everything admits of possible aesthetic appreciation. Then, contra Stecker, we can effortlessly count all built structures as architecture, though some such things—like garage doors or drainage ditches—will neither look like, nor be, art. Another line of attack is to respond to exclusivists that architects simply have intentions to create objects that are, in one aspect, art—and that they may fail as art is beside the point. Further, it may be that recognizing intentions is irrelevant to judging a built structure as architecture, as when we judge as architecture the vernacular structures of foreign cultures. In response to Scruton’s exaltation criterion, the inclusivist may note that for all artforms, there are typically innumerable objects in the domain with no such goals—and possibly no goals at all. Finally, inclusivism has its own commonsense justification: we standardly refer to a creator of a mundane built structure as the architect, which seems less a linguistic shortcut than recognition of the training and ethos attached to the creator of architectural objects.