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BIRMINGHAM—MUMBAI

Hands-On Software Architecture with Java

Copyright © 2022 Packt Publishing

All rights reserved. No part of this book may be reproduced, stored in a retrieval
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Contributors

About the author

Giuseppe Bonocore is a solution architect dealing with application development,
Java technology, JBoss middleware, and Kubernetes projects since 2014. He has
more than 10 years of experience in open source software, in different roles. His
professional experience includes Red Hat, Accenture, and Docomo Digital, covering
many technical leadership roles and deploying huge open source projects across
Europe.
 I want to thank the people who have been close to me and supported me,
especially my wife.

About the reviewer

Andres Sacco is a technical lead at MercadoLibre and has experience in different
languages, such as Java, PHP, and Node.js. In his previous job, he helped to find
alternative ways to optimize the transference of data between microservices,
which helps to reduce the cost of infrastructure by 55%. Also, he has dictated
some internal courses about new technologies, and he has written some articles
on Medium.

Stefano Violetta is a creative backend developer with over 14 years of expertise

in software development and architecture, managing all stages of the development
cycle; he has worked in many different companies, from start-ups to tech giants
such as eBay. He likes putting together well-written code that helps to create
advanced applications that are fit for purpose, functionally correct, and meet the
user's precise needs. On a personal level, he possesses really strong interpersonal
skills, being respectful and collaborative. He lives (and works) in the suburbs of
Milan, Italy, with his wife and two kids. When he isn't dealing with software, he
likes to read and watch movies.
Table of Contents

Preface
Section 1: Fundamentals of Software Architectures
Chapter 1: Designing Software Architectures in Java –
Methods and Styles

The importance of software architecture

The objectives of architecture design in the
software life cycle
The software architect – role and skills
Is architecture design still relevant in modern
development?
Different types of architecture design – from
doodling on paper to more accurate modeling
Sketching the main architectural components
Other kinds of architectural diagrams
Common types of architectural diagrams
The changing role of Java in cloud-native
applications
Why Java technology is still relevant today
Java usage in enterprise environments
JEE evolution and criticism
Introducing cloud-native Java
The Java microservices ecosystem
Case studies and examples
Case study – mobile payments
Whiteboarding the overall architecture
Software components diagram
Summary
Further reading
Chapter 2: Software Requirements – Collecting,
Documenting, Managing

Introducing requirements engineering

Feature, Advantage, and Benefit
Features and technical requirements
Types and characteristics of requirements
The life cycle of a requirement
Discovering and collecting requirements
The lean canvas
Event Storming
More discovery practices
Analyzing requirements
Checking for coherence and feasibility
Checking for explicitness and testability
Checking non-functional requirements and
constraints
Specifying requirements according to the IEEE
standard
The 830-1998 standard
The 29148 standard
Collecting requirements – formats and tools
Software requirements data to collect
Collecting software requirements in
spreadsheets
Specialized tools for software requirements
management
Spreadsheets versus tools
Validating requirements
Case studies and examples
The mobile payment application example
Event Storming for peer-to-peer payments
Requirements spreadsheet
Summary
Further reading
Chapter 3: Common Architecture Design Techniques

Introducing marchitectures – impactful and

purely demonstrative schemas
Familiarizing ourselves with UML notation
Understanding the background to UML
Class diagrams
Sequence diagram
Wrapping up on UML
Exploring ArchiMate
The ArchiMate Core and Full Frameworks
Navigating the ArchiMate language tree
Comparing ArchiMate to UML
Comparing ArchiMate to TOGAF
Introducing the C4 model
Exploring the C4 model
Filling in the different levels
Other modeling techniques
BPMN
DMN
arc42
Case studies and examples
UML class diagrams for mobile payments
C4 diagrams for mobile payments
Summary
Further reading
Chapter 4: Best Practices for Design and
Development

Understanding Domain Driven Design

The anemic domain model
Understanding ubiquitous language
Getting familiar with layered architecture
Learning about the domain model
Glancing at DDD patterns
Bounded Context
Introducing Test Driven Development
Exploring Behavior Driven Development
Comparing DDD, TDD, and BDD
Learning about user story mapping
The MVP
Case studies and examples
The mobile payments domain model
The layered architecture of mobile payments
BDD of mobile payments
User story mapping of mobile payments
Summary
Further reading
Chapter 5: Exploring the Most Common Development
Models

Learning about Code and Fix

Glancing at the Waterfall model
Advantages and disadvantages of the Waterfall
model
Understanding the Agile methodology
The Agile principles
Introducing Lean software development
Eliminating waste
Deciding as late as possible
Delivering as fast as possible
Optimizing the whole product
Pros and cons of Lean development
Exploring Scrum
Understanding the Scrum teams
Learning about Scrum Events
Understanding Scrum artifacts
Advantages and disadvantages of Scrum
Learning about other Agile practices
Kaizen
Planning Poker
Kanban board
Burndown chart
Understanding DevOps and its siblings
DevOps team size
Roles and responsibilities in a DevOps team
Devs, Ops, and more
DevOps and the bigger organization
Pros and cons of DevOps
Case studies and examples
Summary
Further reading
Another Random Scribd Document
with Unrelated Content
The Project Gutenberg eBook of The Parthenon
at Athens, Greece and at Nashville, Tennessee
This ebook is for the use of anyone anywhere in the United States
and most other parts of the world at no cost and with almost no
restrictions whatsoever. You may copy it, give it away or re-use it
under the terms of the Project Gutenberg License included with this
ebook or online at www.gutenberg.org. If you are not located in the
United States, you will have to check the laws of the country where
you are located before using this eBook.

Title: The Parthenon at Athens, Greece and at Nashville, Tennessee

Author: Benjamin Franklin Wilson

Release date: January 9, 2019 [eBook #58665]

Language: English

Credits: Produced by Stephen Hutcheson and the Online Distributed

Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK THE PARTHENON

AT ATHENS, GREECE AND AT NASHVILLE, TENNESSEE ***
The Parthenon at Athens, Greece
and
at Nashville, Tennessee

Excerpts
from
The Parthenon of Pericles
and Its
Reproduction in America
Illustrated

By
Benjamin Franklin Wilson, III
Director of the Parthenon

PARTHENON PRESS
NASHVILLE

i
THE PARTHENON AT ATHENS, GREECE
And
AT NASHVILLE, TENNESSEE
 (Excerpts from THE PARTHENON OF PERICLES AND
ITS REPRODUCTION IN AMERICA)
Copyright, MCMXLI
By Benjamin Franklin Wilson III

ii
TO
THE MEMBERS OF THE BOARD OF PARK COMMISSIONERS
1920-1941

R. M. Dudley
M. T. Bryan
Lee J. Loventhal
W. R. Cole
R. T. Creighton
Chas. M. McCabe
Percy Warner
Rogers Caldwell
J. P. W. Brown
Edwin Warner
C. A. Craig
Jas. G. Stahlman
Vernon Tupper
Bascom F. Jones

Whose intelligent and untiring interest made possible the

reproduction of the Parthenon at Nashville; in memory of those
who are gone, and in appreciation of those who are living, this
booklet is gratefully dedicated

iii
 Background

The Parthenon of Pericles, while not thought to be one of the

wonders of the world, nevertheless has always been regarded as one
of the most wondrously beautiful and inspiring of the world’s
buildings. It embraces the best effort of the mind, the heart, and the
hand of man. In it are bound up the religion, the history, and the art
of Greece.

It has been well said that art is organized emotion, while science is
organized knowledge. The field of emotion found its first great
development among the Greeks and in the time of Pericles reached
its zenith. Assuredly the Greeks have never been excelled in the
beauty of their architecture or sculptural art.

The influence of religion was dominant in the life and thought that
produced such outstanding men in this period of world history as
Phidias and Sophocles, Ictinos and Pericles. Every function of the
mind, every activity of the hand, was closely associated with some
god or goddess, and to this inspirational incentive the world is greatly
indebted for the Parthenon. The mythological stories of the
Parthenon largely cover the mythology of Greece. Twenty-eight of the
major deities and numerous minor deities and personifications adorn
its pediments.

At the time of its destruction in the seventeenth century, a little more

than two thousand years after its completion, the Parthenon was
almost in as good condition as it was at its beginning. The changes
made by the Christians in the fifth century and by the Turks in the
fifteenth century had impaired it but little, all of which is eloquent
testimony to the thoroughness with which the task was
accomplished. The co-ordination of mind, hand, and heart of the
Greeks of that age has never been excelled by men of any time and
found its culmination in the Parthenon.

The Ruins of the Parthenon at Athens in 1929

 The Parthenon at Athens

The Parthenon was built on the Acropolis, a hill two hundred feet
above the streets of Athens, in the year 438 B.C. Not yet had the
blight of decay laid its hand upon an outstanding civilization and
Athens was at the zenith of her glory and power. The nations she had
conquered contributed to her wealth and her slaves furnished the
labor for her every great undertaking. It is no wonder that at this
time she should turn her heart toward her beloved Athena and honor
her with a shrine. Athena Parthenos was her name, hence the word
Parthenon. She was the wisest and most beautiful of the Grecian
deities and the Parthenon was her temple.

It is thought that the earliest Greeks worshiped their goddess with

crude altars of uncut stone and unhewn wood. Gradually, as the
Greeks became more intelligent, they began building temples, each
lovelier than the one before and all on the same foundation, as
attested by excavations at Athens. It is not known just how many
temples there were in this series, but it is known that the last one
was destroyed by the Persian Xerxes in the year 480 B.C. Then came
the Parthenon, begun in 447 and dedicated to the goddess Athena in
438 B.C. Here for a thousand years the Greeks worshiped their
goddess, and it was during this period that Greece produced the
greatest of her philosophers, warriors, artists, and writers.

The Parthenon was built under the supervision of Phidias, the

greatest artist of form the world has ever known. He was a close
friend of Pericles, archon of Athens, who, appreciating Phidias’ great
executive ability as well as his genius, commissioned him to build the
temple. He had built a number of other temples for Pericles, notably
the temple of Zeus at Olympia, but the Parthenon was the most
ambitious of all his undertakings, as indeed it was the most ambitious
of all the Greek temples.

The Greeks were somewhat slow in embracing Christianity but 2

by 426 A.D. they had become a Christian nation. In the
meantime Greece had fallen under the dominion of the Roman
Empire and the Emperor Theodosius II changed the Parthenon into a
Christian church. For a little more than a thousand years the Greeks
worshiped Jehovah in the Parthenon. After the conquest by the Turks
in 1458 the Parthenon was changed into a Mohammedan mosque.

Except for the minor changes to the interior in the fifth century by
the Christians and those to the exterior in the fifteenth century by the
Turks, the Parthenon was almost in as good condition at the time of
its destruction in 1687 as it was in the beginning. In that year the
Turks were driven out of Athens by the Venetians, representing a
Christian nation. In this war the Turks temporarily stored gunpowder
in the Parthenon for safekeeping, thinking the Greek gods which
adorned its pediments would give them good luck. However, a
Venetian shot, not so respectful of the gods of the Greeks, struck the
Parthenon and rendered it the interesting ruin that, for the most part,
remains today.

As a result of the explosion the entire interior was destroyed. The

columns, the architrave, the ceiling, the roof, nothing remained
except the floor and fragments of the walls. Fortunately the explosive
agent was gunpowder, whose power acts upward and outward only;
consequently, the floor was not materially injured and the markings
on the floor disclose the order of architecture, location, and diameter
of the columns.

The exterior did not suffer as much from the force of the explosion as
did the interior. Of the fifty-eight columns on the outside, forty-four
were left standing. Eight on the northeast corner and six on the south
side were entirely blown away. A few of the end columns were
damaged slightly. Almost all of the pedimental sculptures were blown
off and greatly injured. Only two fragmentary groups of the
pedimental sculptures are left on the old ruin.

In 1929 the Greek Government, with the assistance of American

capital, began a restoration of the Parthenon. It is to be hoped that
the Greeks will not allow anything to prevent the completion of this
work.

The Parthenon at Nashville at Night

 The Parthenon at Nashville

In 1896 the State of Tennessee attained its full century statehood. To

celebrate that important event in the life of the State the Tennessee
Centennial Exposition was held in Nashville the following year.
Nashville had long been known as the “Athens of the South” because
of its many schools and colleges and accompanying culture, and it is
not surprising that the director general of the exposition, a man
noted for his culture and love of art, conceived the idea of having as
the gallery of fine arts for the exposition a reproduction of the
Parthenon at Athens.

In the successful prosecution of the work there was no time for

research and study. Relying on existing information, a very creditable
building was erected of laths and plaster in the few months available.

The “Gallery of Fine Arts” attracted so much favorable attention

during the exposition that at its close the people of Nashville, having
become greatly attached to it, insisted that it should not be torn
down when the exposition buildings were destroyed. The Board of
Park Commissioners of the City of Nashville obtained approximately
one hundred and fifty acres of land surrounding the building and laid
out what is now beautiful Centennial Park. Built to last a year, the
much loved building stood for nearly twenty-four years until, in spite
of every effort made for its preservation, it became a greater ruin
than its prototype in Athens.

The Board of Park Commissioners had long had as a cherished

objective the reproduction of the Parthenon in permanent materials.
This was an ambitious undertaking for a city much larger than
Nashville, and it was not until 1920 that the old building was torn
down and on its site the present reproduction of the Parthenon at
Athens was begun. Competent architects, artists, and archaeologists
were employed, who devoted the best efforts of their careers to the
work. No effort was too great, no money was spared, to make the
Parthenon as near as was humanly possible a reproduction of 4
the original as it existed as the temple of Athena in the fifth
century, B.C.

The chief difference between the original and the reproduction lies in
the materials of which they were made. The Parthenon at Athens was
built of Pentelic marble quarried near by, while that at Nashville is of
reinforced concrete finished by a patented process which, under the
influence of electric lights, very closely resembles marble. The
Pentelic marble of the original had a small content of iron, which
became oxidized and the color of the ruin at Athens is now a
brownish yellow from the iron oxide stain.

By the use of concrete in the building at Nashville three important

advantages were obtained: durability, economy, and the privilege of
seeing the Parthenon in two colors. Concrete is the most durable of
all building materials and the most economical. By a careful selection
of materials, the color of the Parthenon at Nashville in daylight is
brownish yellow, the same as the ruin at Athens. This effect was
obtained by using, as the aggregate of the concrete, a brownish
yellow gravel from the bottom of the Potomac River in Virginia.

The Parthenon at Nashville is floodlighted for an hour and a half each

night and is indeed a beautiful sight, one of the most beautiful in the
world; the lighting plan having been carefully designed by the
Engineering Staff of the General Electric Company. A writer in one of
the leading newspapers in America said, “If I am ever so fortunate as
to reach the Pearly Gates of the New Jerusalem, I shall expect to find
nothing more radiantly beautiful than the Parthenon at Nashville at
night.”

It is regretted that there was no acropolis on which to locate the

reproduction in Nashville. However, this defect in the setting was to
some extent atoned for by building it adjacent to a small lake and
surrounding it with a beautiful park.

The Parthenon at Athens had no basement, but in the reproduction a

basement was added to house a museum of fine arts. Thus the spirit
of the Parthenon, always a temple of some god, is not violated by the
hanging of pictures on its walls.

Begun in 1920, because of the research necessary to make it a

reproduction of the original as it was in the beginning, the Parthenon
at Nashville required eleven years for completion. The exterior was
finished in 1925, and the Parthenon was thrown open to the public
on May 20, 1931, six years having been necessary to complete the
interior.

5
Showing a Section of East Portico with Closed Doors
Shadows on the Parthenon at Nashville showing the “Greek
Urn” in End of Exterior Corridor
 Description of the Parthenon

The Parthenon of Pericles has been shown in a new light as a result

of the eleven years of study and research made in connection with
the reproduction at Nashville. Some of the older conceptions were
based on assumptions rather than facts derived from research. For
the first time the modern Greek who visits Nashville sees the
Parthenon as his ancestors saw and admired it at Athens.

The Parthenon is sixty-five feet high with its superstructure resting on

the base or stylobate of the temple, consisting of three steps. The
largest dimensions are furnished by the lowest of these steps, which
is two hundred and thirty-eight feet long by one hundred and eleven
feet wide. The top step, on which the peristyle rests, is two hundred
and twenty-eight feet long by one hundred and one feet wide.

One of the most interesting peculiarities, or it might be said

subtleties, employed by the Greeks in building the Parthenon is that
no two major lines are exactly parallel nor are they exactly equal in
length.

The most striking feature of the Parthenon when viewed from any
exterior approach is the encircling row of great Doric columns
forming the peristyle. There are forty-six of these columns, seventeen
on each side, six on each end (not counting the corner columns
twice), and six each on the east and west porticos. The columns of
the peristyle are thirty-four feet high with an approximate diameter at
the base of six feet. They have an average spacing from face to face
of eight feet. The columns of the porticos are somewhat smaller,
having a base diameter of five and one-half feet.
6
 Top of Treasury or West Room Showing Ionic Columns and
Decorations

The main body of the building is called the cella. The exterior walls of
the cella on the long sides with the columns form majestic corridors.
The shadows falling at certain times of the day on the walls and
floors of the corridors are very beautiful.

Another interesting feature connected with the corridors is what has

come to be known as the “Greek Urn.” This is the figure cut in the
sky by the columns and architrave at the ends of the long exterior
corridors. The Greek Urn has been made famous in literature by the
poet Keats in his “Ode to a Grecian Urn.”

The only openings to the Parthenon are the two pairs of great bronze
doors leading off the east and west porticos. These doors are the
largest in America and probably are the largest bronze doors in the
world. They can only be challenged as to size by the Congressional
Library doors at Washington or by those of one of the old cathedrals
in Florence, Italy, and they are slightly larger than either. The doors
are twenty-four feet high, seven feet each wide, a foot thick, and
weight seven and one-half tons each.

There is no doubt that the front entrance to the Parthenon was

through the eastern doors. If there were no documentary evidence to
prove this, and there is an abundance, the fact that all of the twenty-
two gods of the east pediment are major deities of the Greeks while
only four of those on the west pediment are major (the remainder
being personifications and minor deities) would be sufficient proof
that the eastern end was the front of the building.

Entering the Parthenon through the eastern doors, the visitor most
likely would first note the division of the main body of the building, or
cella, by a transverse wall into two rooms—the east room and the
west room.