#concept Design is a special mode of production that comprises of three moments of _[[authorship]]_ : making of a _[[model]]_ (object, thing, a set of rules, constraints and relations within an object-like entity), (constructing of) a premise of the _real_ (problem, context, environment, brief, task, platform), and ultimately the making of the _metaphor_ that will relate the two (narrative, story, pitch, presentation). This of course, happens simultaneously, and not orderly. The most important premise for this text is that all three of these are fictions, in other words, constructed notions. Traditionally, only the first one was though to be made, the second one was always real, and the third one was always laminating the first to the second while implying authenticity. Our interest can be broken down into 3 entangled questions: precisely how are they constructed (method), what unstated premises the construction method hides/reveals ([[Worldview]]), and most importantly, what role does a medium (technological substrate) play in the construction ([[default]]). Since the late 80s, early 90s, the digital tools have served as platforms to produce primarily the model, which is then to be placed in the context of the real. The narrative was always about the real and how it produces and situates the model. etc.. It is important to make a distinction between the digital understood as a simulation of an older authorship model (simulating an older medium) and a fully fledged digital production that explores the specificity and takes advantage of things that only software can do - [[Simulation]] as a mode of production. The digital has since the beginning presented designers with a new toolbox for invention and imagination. In this sense, digital design refers to a practice that mines the software platform for qualities otherwise unavailable, and not to a practice that uses software in order to work within a traditional design paradigm (ex. collage) with more efficiency. Similarly, the post-digital refers to a practice that incorporates a self awareness of the aesthetic and political aspects of software within the work, and not to a practice that reverts back to pre digital methods done digitally. We are here interested in the idea of software specificity, meaning, what can software do that is its own, that could not have been done before. Form making algorithms comprise the core of software specificity, and they are generally used in two ways: for making space, and for making surfaces. The important notion of _novelty_ is a crucial term to understand here. We will address both of these and examine the novelty claims. My work explores software as a format and an extension of traditional architectural mediums of representation. Software is in this way understood as a default platform for the design of architecture, a platform that collapses all previous mediums and regimes of production. [[Worldmaking]]