A second candidate reason that architecture is a social art is that processes of making architecture are thoroughly and ineluctably social phenomena, constituted by interactions of social groupings created and governed by social conventions and arrangements. On this view, the social nature of architecture consists in the status of the discipline as shaped by social convention—where such convention is designated by, and guides actions of, architects and other relevant agents. (This reason directly links the social nature of architecture to its social impact—hence to sociology of architecture; see §8.2.) Architectural phenomena are social, then, because they occur as a result of contracts, meetings, firms, charettes, crits, juries, projects, competitions, exhibitions, partnerships, professional organizations, negotiations, workflow organization, division of labor, and myriad other conventional and agreement-bound purposive actions and groupings of architects and other architectural stakeholders. One might object that, on an institutional theory, all artforms are social in just these ways. However, as played out in art worlds, institutional theories tell us what counts as an art object rather than how such objects are constituted to begin with. Proponents of this candidate must rule out a naïve architecture scenario, the possibility of a lone architect who has no socially significant engagements such as shape her creations.