El contenido del curso incluye como mínimo:
Arquitecturas de software orientado a objetos.
Patrones de análisis y diseño. Criterios y evaluación
del
diseño orientado a objetos. Refactorización.
Diferencias entre las metodologías OMT y RPM. Ingeniería
de software orientada a componentes. Manejo
de riesgos en el desarrollo. Elementos del trabajo en
equipo (teamwork). Programación Java.
El avance adicional del curso dependenderá del nivel de los estudiantes inscritos en la asignatura.
En la próxima asignatura de la cadena se enfatizará los tópicos de pruebas (testing), programación e integración.
[La descripción anterior es una descripción impersonal, llena de términos pesados que aunque exactos producen tedio. Sigue una forma alternativa de motivar el curso].
¿Cuáles son los factores más críticos para el desarrollo exitoso de software? [Dejar que propongan 5]
Espero que tomen un producto de 8KLOC, lo mejoren y extiendan a un producto de aprox. 12-15 KLOC. Lo importante no es el tamaño del nuevo código, sino su funcionalidad y calidad --si son exitosos al final de la cadena podríamos ver la instalación de su software de manera piloto en varias Coordinaciones de la USB.
El software a extender es un prototipo usado por la Coordinación de Computación, que ha generado interés en Colombia, España y Argentina (vía www).
"Pei has often been criticized for his grandiose style, but
his designs have always been appropriate to individual sites, and user
needs have always been the first and foremost concern. A genuine, lively
and very personable figure his main concern is public acceptance of his
works.
"Pei has a strong belief that geometry is the key to all architecture. With the use of simple geometric shapes. Pei molds his designs like a piece of sculpture. The interlocking of the simple forms have become one of Pei's trademarks, another is the use of the glass pyramid. His work has always incorporated light and view, two important characteristics in an public venue [...] He is also interested very much in technology and is one of few that approaches a design with both creativity and engineering in mind [...]
"I.M. Pei has designed many great works, all of which show his appreciation for the simple form. His ideas for making the design user friendly is one of his greatest accomplishments. He has designed libraries, museums, federal buildings, and other public buildings. All of which incorporate his uncanny ability to make the building easy and fun to use. They offer space to come together, they offer space to be enjoyed by groups. His designs are almost always characterized by lively processional spaces. They are expansive in volume and the sum of the parts are much greater than the whole. "
[A]t his first presidential press conference, Mitterrand pledged
to "restore the Louvre Museum to its intended purpose" by evicting the
Finance Ministry from its palatial quarters in the nortern arm, the Richelieu
Wing, and converting it to galleries under an ambitious renovation of the
museum, which he would rebaptize Le Grand Louvre. It was to be the crown
jewel of his grands projets.
The Louvre's own curators had repeatedly urged just such an overhaul to rescue the museum from disorder. With its dark blond facade sprawling for half a mile above a fringe of sycamore trees, the Louvre still resembled an imposing palace. But inside its ornate walls lay an institution in shameful decay. As it neared its bicentennial, the Louvre had degenerated into the worst of the West's large museums and a disappointing stop on the compulsory tourist itinerary. Incredibly, only two restrooms were available to the public. Visitors overran the cafeteria. The guards were notoriously disdainful. Mounds of dust had accumulated on moldings and picture frames in dimgalleries. "Your lighting is impossible," Jack Lang told the director after attending his first official opening as minister of culture, "and your floors filthy."
Worst of all, the Louvre was confusing. After searching the perimeter for one of the narrow, poorly marked entrances-one curator said the most frequently asked question was "How do we get in?"-most of the 3.7 million annual visitors wandered among its labyrinthine corridors in search of three-star attractions: the Venus de Milo, the Winged Victory of Samothrace and, of course, theMona Lisa, who smiled at packed crowds through bullet-proof glass. Less prominent treasures required a marathon walk down dingy, unmarked corridors. Even then, weary art pilgrims might find their treasure locked behind a placard listing its hours as "tres irregulieres." Too often the Louvre defeated its guests instead of inspiring them [...]
The Louvre had also lapsed into the curatorial equivalent of a Third
World country. Most modern museums are divided evenly between galleries
and hidden support facilities like storage, administration and restoration
labs. The Louvre's ration was so grossly atilt - galleries occupied fully
90 percent of the building - that curators called it "a theater without
a backstage." Under these primitiveconditions curator on occasion moved
paintings by lowering them out of the windows. And they were forced to
use splendid upstairs galleries blessed with high ceilings and enormous
windows for storage because the basement lacked temperature and humidity
controls. These deficiencies left curators with space to show only about
one-tenth of their ill-kept riches. "It was in a pitiful state," one backstage
visitor remembered. "I saw Greek statues left in corridors with paint dripped
on them. The museum couldn't function."
[...]
[Pei] studied the works of Andre Le Notre, the greatest of French landscape designers, and traversed the Louvre grounds until a satisfactory solution came to mind. "I would not have accepted it if I hadn't studied the problem for months," he said. "I concluded that it had to be done, and that I would be able to do it." On his fourth visit, Pei presented his concept to Mitterrand and Lang. "I hadno pyramids in mind yet, but it was obvious that the center of gravity on the new Louvre had to be the Cour Napoleon." Pei was referring to the gravel courtyard enclosed by the museum's enormous U-shaped wings. When the Ministry of Finance vacated theRichelieu Wing, the Cour Napoleon would become the museum's center point. Pei proposed to put a new entrance in the middle of the courtyard leading to an underground reception hall - if Mitterand would allow it. "Tres bien," Mitterand said.
[...]
Sequestered in the private eight-floor studio of his Midtown Manhattan
office, Pei and his most trusted aides secretly drafted plans for a five-acre
limestone catacomb containing generous storage space, electric carts to
transport artworks, a 400-seat auditorium, information booths, conference
rooms, a bookstore and a gleaming, luxurious cafe - all implanted in the
Louvre's ancient bowels. From this hub, visitors would move just 100 feet
- as opposed to the existing 1,000-foot end-to-end marathon - along undergroundarteries
radiating outward toward clearly marked collentinna exhibited in the three
wings. A fourth passage would lead west to a stylish shopping mall built
beneath the Carousel arch. When 165 new rooms opened in November 1993,
the revamped Louvre would become the largest museum in the world. An army
of curators would reavange 70,000 art works over great swaths of history.
Many
pieces would see the light of day for the first time after languishing
for decades in musty storage rooms.
Parisians were mortified to learn that Pei might defile the Cour Napoleon
with some sort of glitzy dropping. "French critics started to scream, `What?
How can you build there? You're going to destroy one of the most important
urban spaces in Paris, if not the world,"said Didi Pei. In actuality, that
area was the Finance Ministry's parking lot day by day and a notorious
humosexual cruising zone by
night - hardly one of the city's proudest outdoor spaces. It's only
distinguishing features were two trash-strewn plots of grass, a few defeated
trees and an inconspicuous equestrian statue of Lafayette donated by the
Daughters of the American Revolution.
"The center of gravity of the museum had to be in the Cour Napoleon,"
Pei said. "That's where the public had to come. But what do you do when
you arrive? Do you enter into an underground space, a kind of subway concourse?
No. You need to be welcomed by some kind of great space. So you've got
to have something of our period. That space must have volume, it must have
light and it must have a
surface identification. You have to be able to look at it and say,
`Ah, this is the entrance.'"
Pei's solution was a 70-foot glass pyramid cable, in theory, of ingesting 15,000 visitors an hour. He based its proportions on the classic Egyptian pyramid at Giza and surrounded it with a trio of baby "pyramidons" and three triangular reflecting pools with fountains.
Pei offered his "luminous structure-symbol" as an ingenious way to avoid
upstaging the Louvre. No solid addition imaginable could gracefully blend
with the time-darkened old palace, he reasoned, but a translucent pyramid,
frankly of its own time, would repectfully defer to the heavy presence
of the sorrounding building by reflecting this tawny stone. The pyramid
is the geometric shape that
encloses the greatest area within the smallest possible volume, so
it would stand as unobtrusively as possible. It was, Pei assured them,"a
natural solution." There was one more pleasing twist: the ancient form
made of high-tech material would be at once much older and much newer than
the Louvre.
[...]Pei's pyramid fit the strict geometric spirit of Le Notre. It would
align with other abstract landmarks - the Arc deTriomphe and the obelisk
in the Place de la Concorde - ornamenting the splended vista that sweeps
from the Louvre through theTuileries and continues up the Champs-Elysees
in one unbroken line to the Place de l'Etoile and, by implication, to the
setting sun in the west. Moreover, the pyramid appears through French history:
in seventeenth-century topiaries, in the tip of the obelisk that standsin
the Place de la Concorde and in the visionary gatewys, factories and crematoriums
conjured up by eighteenth-century architects Etienne-Louis Boullee and
Claude-Nicolas Ledoux. There is, in fact, a Place des Pyramides just off
the Louvre's northern flank.
[...]
© 1995 Michael Cannell
¿Qué son patrones? Christopher Alexander (patrones arquitectónicos: el vestíbulo como espacio de transición p. ej. Frank Lloyd Wright y su casa espiral. El patrón ventana panorámica). ¿Y en software? Exploraremos.
"[...] Architecture is time, change, culture, experience, and the simple definition architecture is the art of building is quite an understatement. It is so much more; so breath it, eat it, love it, and most importantly live it.
"An architect is the person responsible for creating the architecture
that I have just described. The soul duty
of an architect is to serve the public, to meet and surpass,
if possible, a client's needs. Through the manipulation of forms one attempts
to meet these needs. An architect must perform several tasks including
designer, artist, problem solver, project manager, and construction supervisor.
In most cases he possess a creative mind which allows for inventive
solutions to the problems at hand. An architect is responsible for the
design of a structure and how it relates to the environment."
"Whereas we often think of the task of design as taking the right steps to ensure that the system will perform as expected --produce the correct answer or provide the expected functionality-- architecture is additionally concerned with much longer-range issues. The architect is faced with a swarm of competing if not conflicting influences and demands, surprisingly few of which are concerned with getting the system to work correctly. The organizational and technical environment brings to bear a weighty set of sometimes implicit demands, and in practice these are as important as any of the explicit requirements."
Bass[1998].
Tiempo estimado para 36 personas: 1 hora 15 mins. Podría hacerse una segunda parte en otra clase.
Los pupitres se arreglan en dos círculos concentricos (un pupitre del círculo exterior mira a uno del círculo interior).
Los estudiantes se sientan en los pupitres formando parejas. Hablan durante 2 minutos (se presentan). A los dos minutos los estudiantes del círculo exterior rotan, desplazandose un lugar a la izquierda.
Completada la vuelta, se evalúa el ejercicio. Dejar que los participantes expresen libremente sus opiniones.
