《模式导向软件架构》第五卷版权与授权概览

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《面向模式的软件架构：卷五》是一本由弗兰克·布斯曼（Frank Buschmann）、凯尔文·亨尼（Kevlin Henney）和道格拉斯·C·施密特（Douglas C. Schmidt）三位作者合著的专业书籍。该书是Pattern-Oriented Software Architecture系列的第五卷，主要探讨了设计和构建软件系统时所使用的模式以及模式语言的概念。作者们在书中结合了他们在软件开发实践中的经验和理论洞察，提供了对软件架构模式的深入理解和应用指导。本书的核心内容围绕着以下几个方面： 1. **模式与模式语言**：作者首先阐述了模式的定义，它们是解决特定问题的可重用解决方案，适用于软件设计和开发过程中常见的场景。模式语言则是一个集合，包含一组相关的模式，这些模式共同构成了解决特定领域或技术问题的标准框架。 2. **软件架构模式**：书中详细介绍了多种软件架构模式，如工厂模式、观察者模式、单例模式等，这些模式有助于提高代码的可维护性、可扩展性和模块化。作者不仅给出了模式的定义，还通过实例和应用场景来解释模式的用途和工作原理。 3. **模式的应用实践**：作者分享了他们在实际项目中的经验，如何在软件开发过程中有效地识别和应用模式，以及如何通过模式驱动的设计过程来改进软件架构。 4. **版权和许可**：由于本书是英文版，因此特别强调了版权保护，指出未经版权所有者约翰·威利父子有限公司（John Wiley & Sons Ltd）书面许可，不得任何形式复制、存储或传输该出版物的内容。读者如有需求获取许可，应通过出版社提供的联系方式联系。 5. **出版信息**：《面向模式的软件架构：卷五》由约翰·威利父子有限公司出版，地址位于英国西苏塞克斯郡奇切斯特，提供电话、电子邮件和网站等联系方式以便读者查询和购买。《面向模式的软件架构：卷五》是一本深入浅出的指南，适合软件工程师、架构师和研究者阅读，帮助他们掌握软件设计的最佳实践，提升软件系统的质量。通过学习和应用书中的模式，读者可以更有效地应对复杂的软件开发挑战。

Foreword by Richard P. Gabriel xv

patterns and pattern languages naturally—as a result of seeing them

every day, working in them, and helping build them as children. In

this sense the inverse model is well established: the image in the

head is not unlike the barn next door, and the steps to build it are

known with perhaps only modest modification. A pattern language

(implicit or explicit) can guide the designer/builder along, and the lit-

tle adjustments that are always needed are just building as usual.

This leads to Thompson’s second design metaheuristic:

Inverse model is not tractable, but forward model is

: In this

case, we can predict the influence of variations upon the objective

values, but the system is not tractably invertible so we cannot de-

rive in advance a sequence of variations to bring about a desired

set of objective values. This implies an iterative approach, where

variations carefully selected according to the forward model are

applied in sequence. This kind of iterative design-and-test is a

common component of traditional approaches.

Design a little, build a little, reflect a little—this is how I explain this

heuristic. It is the essence behind the agile methodologies, I think,

evolutionary design/programming, and Alexander’s ‘Fundamental

Process.’ From the Agile Manifesto:

Welcome changing requirements, even late in development. Agile

processes harness change for the customer’s competitive advan-

tage.

Deliver working software frequently, from a couple of weeks to a

couple of months, with a preference to [sic] the shorter timescale.

…

The best architectures, requirements, and designs emerge from

self-organizing teams.

—http://agilemanifesto.org/principles.html

Alexander’s ‘Fundamental Process’ is how he describes designing and

building in

The Nature of Order

. In this massive four-volume book, he

talks about how

centers

—places of interest and attention in space—

are structured to create

wholeness

. Here are steps 1, 2, 4, 6, and 8:

1. At every step of the process—whether conceiving, designing,

making, maintaining, or repairing—we must always be concerned

with the whole within which we are making anything. We look at

this wholeness, absorb it, try to feel its deep structure.

fbetw.fm Page xv Wednesday, March 21, 2007 11:14 AM

xvi Foreword by Richard P. Gabriel

2. We ask which kind of thing we can do next that will do the most

to give this wholeness the most positive increase of life.

4. As we work to enhance this new living center, we do it in such

a way as also to create or intensify (by the same action) the life of

some larger center.

6. We check to see if what we have done has truly increased the

life and feeling of the whole. If the feeling of the whole has not been

deepened by the step we have just taken, we wipe it out. Otherwise

we go on.

8. We stop altogether when there is no further step we can take

that intensifies the feeling of the whole.

Pattern languages are used like this, both by Alexander and by soft-

ware developers. Such usage reflects, merely, the realization that the

first design metaheuristic applies only to cases in which designs are

being (mostly) repeated. In such cases, there are often models that

can be used to simulate the design-a-little / build-a-little pattern the

‘Fundamental Process’ describes. Either there is literally a model—

physics and mathematics and science—that is the boss of the design,

and pretend designs can be tried out, or else we fool ourselves into

thinking that large steps in the fundamental process—releases of ver-

sion 1, then version 2, then version 3—are each actually full-blown

designs. We are fooled because we don’t want to zoom out to the larger

scale. Alexander’s ‘Fundamental Process’ is also a good description of

the various agile methodologies, although one would expect refactor-

ing to be more explicitly mentioned.

The book you either are about to read, are reading, or have finished

reading—the one in which this foreword is embedded—is about pat-

tern languages largely in this context.

The thinking one does before

building

can be described by steps 1, 2, & 4. In this context, design

really is a sort of problem solving. As Jim Coplien says:

Design is a process of intentional acts to the end of moving from

some conception of a problem to the reduction of that problem. A

problem is the difference between a current state and desired

state.

This seems to miss two aspects that seem (to some) central to de-

sign: beauty and newness. A very fine wine glass is both functional

and beautiful, it is made from an exquisite and exotic material, its

fbetw.fm Page xvi Wednesday, March 21, 2007 11:14 AM

Foreword by Richard P. Gabriel xvii

shape—each type of wine has a preferred wineglass shape to concen-

trate the aroma best, to direct the wine to the best part of the mouth

for its flavor components, to prevent too much warming from the

hands—presents the wine to its best effect, while also pleasing the

eye with its elegance and line. Instead of ‘newness’ I almost wrote

‘novelty,’ but ‘novelty’ implies an intellectual or academic newness

that misses the point. It isn’t that the design is an invention full of

brand new workings, it’s the pleasure and surprise of seeing some-

thing you've never seen before. I’m thinking about the Cord Model

810 automobile introduced in 1936:

The body design of the Cord 810 was the work of designer Gordon

M. Buehrig and his team of stylists that included young Vince

Gardner. The new car caused a sensation at the 1936 New York

Auto Show in November. The crowds around the 810 were so

dense, attendees stood on the bumpers of nearby cars to get a

look. Many orders were taken at the show…

—Wikipedia

People had never seen a car like this before—coffin-shaped nose, head-

lights hidden, exhaustpipes (one per cylinder) chromesnakes jutting

out the sides, the smooth curved shelf at the front—it even was

engineering, and user experience were the recessed headlights and the

fact that the transmission came out the front of the engine, so that the

floor of the passenger compartment could be lower and flatter than was

usual at the time. Some say the design of the Cord 810 remains the

most distinctive of the twentieth

century. In 1996, American Heritage

magazine proclaimed the Cord 810 sedan ‘ The Single Most Beautiful

American Car.’

For example.

I find it hard to say that the Cord is the result of the reduction of a

problem to a final outcome: something else is happening. Rebecca

Rikner names this ‘something else’:

Design is not about solving a problem. Design is about seeing the

beauty.

fbetw.fm Page xvii Wednesday, March 21, 2007 11:14 AM

xviii Foreword by Richard P. Gabriel

Many would guess I’m done with Thompson’s metaheuristics, but

there’s a third. And it’s the third which is the topic of his research.

Neither forward nor inverse models are tractable

: There is nei-

ther a way of discerning which variations will give improvements

in the objective values, nor a way of predicting what will be the ef-

fects of variations upon the objective values. Without evolution all

is lost.

—

Notes on Design Through Artificial Evolution: Opportunities and Algorithms

Evolution!

Thompson’s work includes the design of an analog circuit that can

discriminate between 1kHz and 10kHz square waves using a field-

programmable gate array designed using a genetic algorithm.

The

result is described as ‘probably the most bizarre, mysterious, and

unconventional unconstrained evolved circuit yet reported,’ in large

part because the researchers were unable, in the end, to understand

how the circuit works. It’s not important to understand the details of

the following remarks from their paper—just take a look at the expres-

sions of incredulity:

Yet somehow, within 200ns of the end of the pulse, the circuit

‘knows’ how long it was, despite being completely inactive during

it.

This is hard to believe, so we have reinforced this finding through

many separate types of observation, and all agree that the circuit

is inactive during the pulse.

Research in genetic algorithms, genetic programming, neuro-evolution,

neural nets, and statistical/aleatoric methods all demonstrate sur-

prising results—some of them displaying a puzzling illusion of design,

like the antenna designed and tested by NASA and designed by artifi-

cial evolution. The size of an infant’s hand, the elements bend off in a

crazy cryptosymmetry like a small black bush half-frozen after a frost.

It doesn’t look like something a person would design, but it has better

antenna-crucial characteristics in some ways, and so it is a good

design—in terms of

reducing a problem

1. Adrian Thompson et al,

Explorations in Design Space: Unconventional Electronics

Design Through Artificial Evolution

fbetw.fm Page xviii Wednesday, March 21, 2007 11:14 AM

Foreword by Richard P. Gabriel xix

But do we

feel

that it is a good design? What do we make of this evo-

lution stuff? How does artificial evolution work? In short, a population

is subjected to artificial reproduction in which some characteristics

from one parent are combined with others from another. The resulting

characteristics are subjected to a small amount of random mutation,

and the resulting population—which can include the original parents

in some algorithms—is tested for fitness against a fitness function.

Assuming the characteristics are related to aspects of design, this

reduces to taking some design elements from one not-so-bad solution

and combining them with design elements from another not-so-bad

solution, making some small changes, and seeing how that goes.

Aside from the random part, this doesn’t sound so random.

If you take it from me that some of the things ‘designed’ this way have

interesting characteristics, we need to ask whether this approach is a

form of design. Some people would say that without a human design-

er, there can be no design, that the ‘intentional’ in Coplien’s charac-

terization and the ‘mind’ in the OED definition are essential features.

Where are the ‘instructions based on knowledge’? If Pierre Menard

Pierre Menard, Author of The Quixote

, by Jorge Luis Borges. In this story, a twentieth

century writer (Menard) puts himself in a frame of mind to rewrite, word for word, part

of Cervantes’

Don Quixote de la Mancha

, but not as a transcription, but as a coinci-

dence. Enjoy:

It is a revelation to compare Menard’s Don Quixote with Cervantes’. The latter, for

example, wrote (part one, chapter nine):

…truth, whose mother is history, rival of time, depository of deeds, witness of

the past, exemplar and adviser to the present, and the future’s counselor.

Written in the seventeenth century, written by the ‘lay genius’ Cervantes, this

enumeration is a mere rhetorical praise of history.

Menard, on the other hand, writes:

.…truth, whose mother is history, rival of time, depository of deeds, witness

of the past, exemplar and adviser to the present, and the future’s counselor.

History, the mother of truth: the idea is astounding. Menard, a contemporary of

William James, does not define history as an inquiry into reality but as its origin.

Historical truth, for him, is not what has happened, it is what we judge to have

happened. The final phrases—exemplar and adviser to the present, and the

future’s counselor—are brazenly pragmatic.

The contrast in style is also vivid. The archaic style of Menard—quite foreign, after

all—suffers from a certain affectation. Not so that of his forerunner, who handles

with ease the current Spanish of his time.

fbetw.fm Page xix Wednesday, March 21, 2007 11:14 AM

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《模式导向软件架构》第五卷版权与授权概览

Wiley.Pattern.Oriented.Software.Architecture.Volume.5

Pattern.Oriented.Software.Architecture.Volume.4.2007

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