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世界最高大楼建筑方案英文The construction of the world's tallest building, also known as a skyscraper, is a project that requires careful planning and design. The design of such a colossal structure must take into consideration various factors such as structural integrity, efficient use of space, and aesthetic appeal. In this essay, we will discuss a proposed design for the world's tallest building.The building design consists of a sleek, modern exterior made primarily of glass and steel. The use of glass allows for ample natural light to enter the building, creating a bright and inviting atmosphere for its occupants. Additionally, the steel framework ensures the structural stability of the building, allowing it to withstand strong winds and seismic forces.The building's layout is designed to maximize the use of space while providing a comfortable environment for its inhabitants. The floor plan includes a mixture of residential and commercial spaces, catering to the needs of both residents and businesses. The lower floors of the building feature retail spaces, restaurants, and offices, providing a vibrant hub of activity. As we move higher up the building, the floors become residential units, ranging from luxurious apartments to spacious penthouses. The upper floors are reserved for amenities such as a gym, spa, and rooftop gardens, offering a peaceful retreat for the residents.One of the distinctive features of the building is a sky lobby located at the midpoint, around the 50th floor. This sky lobby serves as a public space and observation deck, allowing visitors to enjoy breathtaking views of the surrounding cityscape. It also actsas a connection point between the lower and upper sections of the building, with dedicated express elevators whisking visitors to their desired destinations.The structural design of the building utilizes innovative technology to ensure its stability and safety. The framework consists of a combination of reinforced concrete and steel core, providing the necessary strength and flexibility. The building is also equipped with state-of-the-art fire suppression systems, emergency evacuation routes, and advanced security measures to safeguard its occupants.In terms of sustainability, the building incorporates various eco-friendly features. These include solar panels on the roof to generate clean energy, water-saving fixtures, and a waste management system that promotes recycling and composting. The building also implements green spaces throughout its design, including vertical gardens that help purify the air and improve the overall well-being of its occupants.In conclusion, the proposed design for the world's tallest building showcases a harmonious blend of practicality, aesthetics, and sustainability. With its modern exterior, efficient use of space, and focus on environmental consciousness, this building aims to set new standards in the realm of skyscraper design.。
建筑方案文本目录英语Architecture Proposal Text Catalogue1. Introduction- Background information about the project and its purpose- Summary of the architectural proposal- Statement of objectives and goals to be achieved through the proposed design2. Site Analysis- Detailed description and analysis of the site's characteristics and constraints- Assessment of the environmental conditions and their impact on the proposed design- Evaluation of the site's context and surroundings, including nearby buildings and infrastructure3. Design Concept- Description of the overarching design concept and approach- Explanation of the design principles, such as sustainability, functionality, aesthetics, and user experience- Presentation of design inspirations and precedents that influenced the proposed concept4. Building Massing and Layout- Illustration of the building's massing and overall layout- Explanation of the rationale behind the chosen form and layout, considering factors such as site constraints, program requirements, and design principles- Demonstration of how the proposed massing and layout respondto the site and create a sense of place5. Spatial Organization- Description of the interior spatial organization, including the arrangement of different functions and spaces within the building - Discussion of the circulation patterns and flow of users within the building- Explanation of the spatial qualities and characteristics aimed to be achieved in each space6. Materiality and Finishes- Presentation of the proposed materials and finishes for the building's exterior and interior- Explanation of the rationale behind the material selections, considering factors such as durability, aesthetics, and sustainability - Demonstration of how the proposed materials and finishes complement the overall design concept7. Sustainability Measures- Description of the sustainability measures incorporated into the design, such as energy-efficient systems, renewable materials, and water-saving strategies- Analysis of the potential environmental benefits and cost savings associated with the proposed sustainability measures- Explanation of how the design integrates with its surrounding environment and minimizes its carbon footprint8. Building Systems- Overview of the proposed building systems, such as structural, mechanical, electrical, and plumbing- Explanation of the design decisions made regarding the building systems, considering factors such as efficiency, reliability, and user comfort- Discussion of how the building systems integrate into the overall design concept and enhance the building's functionality9. Implementation and Phasing- Description of the proposed implementation plan and construction phasing, if applicable- Discussion of any potential challenges or risks associated with the construction process- Outline of the proposed timeline and milestones for the project's completion10. Cost Estimation- Evaluation of the estimated construction costs for the proposed design- Breakdown of the different cost components, such as materials, labor, and fees- Discussion of any cost-saving strategies or alternatives considered during the design process11. Conclusion- Recap of the main points discussed in the proposal- Reiteration of the objectives and goals to be achieved through the proposed design- Invitation for further discussion, feedback, or clarification of any aspects of the proposal。
维亚布罗吉的杜嘉班纳办公楼意大利米兰佚名【期刊名称】《世界建筑导报》【年(卷),期】2018(033)005【总页数】4页(P76-79)【正文语种】中文时间：2005年—2006年建筑设计：Piuarch家具设计：Ron Arad结构设计：FV Progetti机电设计：GTEC Sas — Andrea Zanotti建筑面积：5 000 平方米摄影：©Andrea Martiradonna, ©Matteo Piazza,©Alberto Piovano ©Ruy TeixeiraTime: 2005-2006Architectural design: PiuarchFurniture design: Ron AradStructural design: FV ProgettiM & E design: GTEC Sas — Andrea ZanottiBuilt surface: 5.000 mqImages: ©Andrea Martiradonna, ©Matteo Piazza,©Alberto Piovano ©Ruy Teixeira杜嘉班纳（Dolce&Gabbana）办公楼和展示厅位于米兰维亚布罗吉，距离布埃诺斯阿依雷斯大街（Corso Buenos Aires）仅数百米。
建筑是古典与现代的结合，与周围的城市景观融为一体。
Piuarch建筑师事务所在两座不同时期建筑的基础上，进行了巧妙的翻新设计，打造出一个时尚综合体。
针对这两栋原有建筑，建筑师采用了多种方法进行加强和翻新，以突出两者之间的对比。
其中二十世纪20年代的一栋建筑，设计为办公和接待楼，翻新过程以结构为重点，保留其原有的优雅古典风格。
另外一栋二十世纪60年代的建筑作为展示厅，采用中空设计，形成三层高的开放空间，上面是一家家餐厅围合成的小型露台。
Design, Construction & Structural Details of Burj DubaiBurj al Dubai - Now known as Burj KhalifaThe goal of the Burj Dubai Tower is not simply to be the world's highest building: it's to embody the world's highest aspirations. The superstructure is currently under construction and as of fall 2007 has reached over 160 stories. The final height of the building is 2,717 feet (828 meters). The height of the multi-use skyscraper will "comfortably" exceed the current record holder, the 509 meter (1671 ft) tall Taipei 101. The 280,000 m2 (3,000,000 ft2) reinforced concrete multi-use Burj Dubai tower is utilized for retail, a Giorgio Armani Hotel, residential and office. As with all super-tall projects, difficult structural engineering problems needed to be addressed and resolved.迪拜塔的目的不仅仅只是成为世界上最高的建筑：而是象征着世界上最高的抱负。
绿点阿尼墨领袖高中美国英格尔伍德Green Dot Animo Leadership High School Inglewood, United States 建筑设计：布鲁克斯+斯卡帕建筑师事务所合作单位：Lutron, Del Rey, Nationwide Industries,SONOS, Timely Industries面积：4 970平方米项目年份：2013年摄影：John Linden 这所新的公立学校坐落在南拉斯维加斯附近，毗邻繁忙的105高速公路。
学校可容纳500名学生，其设计受到了新奥尔良建筑师柯蒂斯和戴维斯的影响，上世纪50年代早期他们在路易斯安那设计并建造了非常多的学校。
他们的设计适应恶劣的南部天气，在不使用空调的情况下有着良好的体验。
他们创造了可供孩子们学习的充足而持续的光照和诗意的空间。
同样地，这个项目设计为促进被动的可持续发展战略。
它拥有大量的自然光、通风、良好的视野，考虑到了建筑阴影和通风可能带来的问题。
建筑南立面由650块太阳能面板覆盖，提供了整个学校75%的能源需求。
这些战略的生效使得碳排放量减少了3,000,000磅。
该项目的目标是得到CHPS或者LEED的认可，在最小限度能源使用、可持续发展和美学上都有期望。
成本效益在每个设计讨论中都被考虑到了。
最大化利用该区域的温带气候，设计者基于基本使用的角度避开了通俗的大盒子形式的学校设计方法。
用来替代的是一个拥有多功能的“小白”景观庭院，阶梯式排布在室外，被门庭和多重散步道所包围。
这使得学校成为一个大学校园，并且提供重要有利的环境，改善了光照和室内外的新鲜空气，同时也提供了非常重要的节约，因为它限制了人造光和防止小的密闭环境中温度过高。
Architects: Brooks + Scarpa Architects Manufacturers: Lutron, Del Rey, Nationwide Industries, SONOS, Timely Industries Area: 53 500 ft²Year: 2013Photographs: John LindenThis new public school for 500 students is located in a tough South Los Angeles neighborhood almost directly under the flight path into LAX and adjacent to the very busy 105 Century freeway. The design was influenced by the New Orleans architects Curtis and Davis who designed and built many schools in the early 1950s in Louisiana. Their designs adapted to the harsh southern climate without using air conditioning, creating sustainable light filled and poetic spaces for kids to learn.Similarly, this project is designed to enhance passive sustainable strategies. It allows for abundant natural light, ventilation and view, while shading itself and inducing airflow. The south facade is clad with 650 solar panels that shade the building and provides 75% of the energy needs for the school. Implementing these strategies will reduce carbon emissions by over 3 million pounds.With a project target of CHPS and/or LEED Certification at the minimum, aesthetics, sustainability, and cost-effectiveness were considered in every design decision. Taking full advantage of the region’s temperate climate, the designers eschewed the fully contained “big box” idiom of conventional schools on the primary use site. Instead, a landscaped courtyard with multifunctional “bleacher” terracing flows into the open-air covered lobby and the multilayered paseo, lending the school the appeal of a collegiate campus and offering significant environmental benefits—improving daylighting and access to fresh air both inside and out—while providing substantial costsavings by limiting artificial lighting and thermal conditioning to the smaller enclosed spaces.楼层平面图 floor plans区位图 location Copyright ©博看网. All Rights Reserved.Copyright©博看网. All Rights Reserved.立面图 elevation剖面分析图 sectionCopyright©博看网. All Rights Reserved.Copyright©博看网. All Rights Reserved.。
accumulation of civilization, the number of spaces expressing rich spiritual content will also increase. For architects pursuing new architectural space design schemes, space narrative is undoubtedly a solution strategy. Tschumi uses the event-architecture theory in la Villette park to refer to the three parts of space, events and activities in the city through the three levels of point, line and plane. The narrative of space is well conveyed.Key words narrative space; deconstruction aesthetics; la Villette park; multiculturalism当今信息化技术发展迅速，相较于以往任何一个时代，人们受到的多样性数据冲击是前所未有的，对于空间的社会文化情感需求更加突出。
在此背景下，解构主义率先提出融合叙事领域的思想，伯纳德·屈米（Bernard Tschumi，以下简称“屈米”）作为先锋，其设计的拉·维莱特公园是建筑和景观领域运用叙事学进行创作的典例。
文章将以拉·维莱特公园设计方案为例，从建筑叙事学的视角分析该公园内建筑的形成过程与动因，剖析建筑师的思维轨迹及其作品的美学意义，从而使读者领会解构主义美学对当代空间叙事的积极作用，期望建筑师将构建更多元的人与场所的互动。
Diego Della Valle: Italian atmosphere is central to Tod’s global expansion迪戈•德拉瓦尔:意大利氛围是Tod全球扩张的核心It is not too difficult, in the high-ceilinged elegance of Palazzo Della Valle on the Corso Venezia in Milan, to be seduced by the charms of a certain kind of Italian lifestyle. Here is the headquarters of Tod’s Group, which has become a powerhouse in the marketing of that vision to the world’s wealthy and discerning.在米兰威尼斯大道(Corso Venezia)上的德拉瓦莱宫(Palazzo Della Valle)，天花板高高的、优雅的房间里，被某种意大利生活方式的魅力所吸引并不难。
这里是Tod’s集团的总部，它已经成为向世界上富有和有眼光的人推销这一愿景的一个强大力量。
The atmosphere is deliberate: where some Italian fashion houses have expanded ever further into the realms celebrity and glamour, Tod’s is anchored as firmly as it can be to its family roots and traditional, hand-made, century-old heritage.这种氛围是有意为之的:在一些意大利时装公司不断向名人和魅力领域扩张的时候，Tod’s却尽可能地牢牢地扎根于它的家族根源和它传统的、手工制作的、有百年历史的遗产。
A Romance Between Art And ArchitectureHeld annually, the International Festival of Art and Construction (IFAC)is a 10-day event that brings together 300 students from all over the world, joined by architects, scientists, musicians, artists and craftsmen. Together they carry out 30 workshops across different disciplines that “are bound together by the architecture through which they are expressed,”according to the website. In an article originally written in Spanish for ArchDaily en Español, Ana Asensio Rodríguez shares her experience at the 2015 edition of IFAC, reflecting on the powerful intersection of art and architecture, and the collective nature of the event.Sometimes you get to meet people who fill you with energy and electricity -- fleeting, intense crossroads full of shared views and beautiful ideas. Spontaneous connections, which however tiny, will remain with you for a very long time.Sometimes, these crossroads are not between people, but between arts, crafts, talents and experiences. Among these intersections is the inevitable attraction between art and architecture: explosive collages, a romance drunk with imagination.And, on very few occasions these two types of crossroads occur at the same time.And in those moments you can only hope that it will happen again.It's called IFAC, the International Festival of Art and Construction. It is a 10-day long celebration that brings together more than 300 people from all over the world - creatively restless individuals, who meet somewhere in the European countryside. I felt immeasurably lucky to be one of those 300 people, and so I wanted to share how fascinating IFAC is from the inside.IFAC was started in Spain in 2012, as an initiative between Alejandro Cano, Jaime Martínez and Gonzalo Berrazueta, three architecture students from ETSAM who were concerned about the role of architecture schools in the education of future professionals and the role of architecture in creating "new worlds."IFAC is developing a genuine research network from a collective conscience of participation and mutual enrichment. This is with the aim of creating a place for debate and practice of arts and architecture, while overcoming the limitations of purely theoretical, limited academic training and sterile learning strategies.However, talking about collectivism and participation in art and architecture is nothing new. In a way, this lack of originality draws a rich and attractive landscape for us. So, how are collective practices usually carried out? By working locally, regionally or even better, nationally: a multitude of collectives, associations and artists passing through different places where they carry out particular projects, while stimulating local participation. What happens when it’s the other way around? When instead of having an agent moving around to different places, all of these agents are gathered in one single place? This produces an explosion, a chemical reaction connecting one person to another.The aim was to dedicate the space to a diverse range of young architects and artists, be they students or professionals. This horizontal strategy for creation and experimentation, free from academic baggage and intellectual pretense, intended to rethink strategies for a sustainable future. And so it came to be: taking rural areas as a reference, they analyzed their role thus far, (typologies of popular architecture, balanced social relations, measured consumption and cultural coherence), while remaining conscious and keeping a clear view on contemporary and current technical possibilities."The debate concerning the meaning and significance of the rural context is held between two poles: on one hand, it's a fictional place where the self-proclaimed urban society projects its past into a still life painting, a museum, a market niche. On the other hand, it's regarded as a drawback, an obstacle in the conquest of modernity, a part of the "western idea of triumph", which condemns the rural life in its intent on staying rural. This is the theoretical framework in which IFAC works and asks its questions," according to the creators of the festival.The goals and strategies driving the IFAC are whole, coherent, diverse and rich. They bring together the different agents and spheres of art and architecture (students, collectives, professionals, the local population) to question and research the contemporary role of the rural world, far from the traditional paternalistic view, and the role of art and architecture as positive agents of transformation, through workshops, exhibitions and talks.Ok, that's the theory. Everything sounds good but, what does it mean in practical terms?I've heard about the IFAC since its first year via social networks. For three years the festival’s host was the medieval town of Covarrubias (Burgos, Spain) with its less than 600 inhabitants. Even though I was close by, circumstances prevented me from attending and satisfying my curiosity, yet their program and strategy appealed strongly to me.Marking the 4th edition of the IFAC, Spain passed the hosting torch on to the Netherlands. The new leading team, formed by Stijn Dries, Pim Boomgaard, Simme Bruinsma and Nanne Brouwer set the new meeting place in an ecovillage near Bergen, on the west coast (Ecodorp), where people can live with a net energy consumption of zero. An old airport, occupied by the German army during World War II, also occupies the site, and was a common place for plots and schemes with Russia during the Cold War. This is a vast territory, carved out by layers of history and architecture. Nowadays, this cherished land, against all odds has been inhabited by the people at Ecodorp and not by greedy speculators.Year after year, the festival gained ground. I couldn't postpone it any more; I had to experience it firsthand.Months prior to the event was the ‘call for proposals’period, to select the tutors of the 30 workshops that would take place over the course of the 10 day festival. Anyone with an idea was welcome to participate, free of any CV restrictions or recommendation letters. These workshops are the backbone of the festival, the core of every exchange taking place, and are organized in different categories:- Constructive: researching the current possibilities of low-energy traditional techniques.- Prototypes: either architectural, furniture or temporary interventions related to the sustainability of resources.- Fine arts, theatrical or audiovisual arts: experimental workshops, interventions and performances, merging different artistic platforms within public spaces.- Theoretical: dealing with a diversity of topics surrounding local identities and the role of the contemporary world in relation to the rural context.So we sent them our project. When it was selected, we could start preparing for our trip to the north, and our experimental prototype. Despite being well aware of the horizontal philosophy of this event, it was still hard for us to think outside of academic processes, structures and hierarchies. We thoroughly calculated every material, cost and timing that was required, how to adapt the project to its geographical context, how many participants the workshop could take, how to divide the different sections proportionally etc, while remaining in constantcommunication with the organizers. To a certain degree, however, we were still subjecting ourselves to the traditional division of organization/tutor/participant, with pressure to meet our expectations and furthermore, with an absolute lack of connection to the place and the feelings it could inspire in us. We had planned it from beginning to end even before we were there to execute it.It was only natural that such structure collapsed under its own weight as soon as we arrived. Because after the emails and posters, you meet the people and the place. And prototypes have to respect the context in which they will be brought to life. Materials need to adapt to available resources, as much as the design must adapt to the participants.The place and its people are an indissoluble element. The first acts as a complex historical account assimilated by the second, in the same manner that deep eyes reflect a myriad of experiences without speaking a word. The town, the ecovillage, the bunkers dating back to the war and the airport's hangars are all different layers. The transformation of the place itself and the transformation of the participants are palpable. That’s when your perception changes completely. Then you understand that no construction has any meaning without its assimilation, nor does a process without incorporating the people. If every affair starts with an interest towards another, it follows unequivocally with an instantaneous connection.Of course, all that was plainly clear to IFAC. They encourage and provoke the participants through a playful environment, catalyzing action and reflection through joy, enthusiasm and fun. Because no learning is possible without an emotional connection towards it. That’s when you understand why it's a festival and not a congress, why it's a celebration and not a symposium, why the complement to the workshops is a party and not a round table."Among the different possibilities, we opted for a festival because we weren’t interested in the borders that define pedagogy, theory and practice or a party atmosphere [...] Our intention was to integrate all these different elements within a holistic view, rather than strengthening such barriers.”[Interview in Mimbrea]Every activity is open to participation at all times, from design to execution, and participants change their roles constantly; shattering restrictions and impositions. Suddenly, projects and people are merged, they hybridize. Materials are improvised, typologies are thought over and questioned, and thus the original project is revised in ways that weren’t envisioned before. Such constructions are spontaneous, born from many different minds and hands. Passion, chemistry, interaction, energy and illusion. Quite an adventure.It's interesting that an effervescent festival, one that gathers people from all around the world, manages to create such a close, familiar environment. These relations, grown within a somewhat isolated place, create a deep intimacy. Despite there being hundreds of participants, no activity is depersonalized in order to reach the masses. Familiarity is one of the intrinsic idiosyncrasies of the meeting itself, the soil for the development of every activity, which is clearly tangible in the processes and their given results.Like the different members of a family, tutors, participants and organizers each have their own role, none of which is more important than the others. In fact, the festival is mostly financed that way. Every contribution from each of the participants (festival tickets, food, beverages, merchandising, e.t.c) acts as crowdfunding, like a microcredits system for them, immediately re-invested in materials, tools, energy supplies or any other thing which is necessary for the projects. Even the different areas - stages, campsites, bars, clubs and other recreational areas --used during the festival are previously built with the help of any willing participant. Every family has its own economy and division of labor, its own structure subjected to experimentation and improvisation in order to survive, to develop and learn. A structure that assimilates to their emotions as it perpetuates itself. IFAC is only possible when each individual adopts a role which feeds into every other role, creating synergy.To sum everything up, IFAC is not an International Festival of Art and Construction that seeks a final piece of work, a result to be shown as a photoshopped, lifeless picture. IFAC is about processes. In their denial of an education based on rewarding right answers and high grades, they create an intense social, emotional and efficient didactic system. In the end, IFAC is only one thing, despite being divided into actions and despite their slogan: "10 days, 30 workshops, 300 participants."At the end, there is an unstoppable wave of brilliant ideas, projects and dreams that will remain with you day after day. Now all we can do is wait for next year's festival, while we try to overcome this Stendhal syndrome, a disorder that affects sensitive individuals when briefly exposed to an overdose of artistic beauty. But this particular post-IFAC Stendhal syndrome was not triggered by the beauty of any final work, but by all the elements and all the people that made it possible.一种属于艺术与建筑间的浪漫每年举行的艺术和建筑的国际艺术节（IFAC）是为期10天的活动，汇集了来自世界各地的300名学生，由建筑师、科学家、音乐家、艺术家和工匠组成。
A BDI Architecture for Goal DeliberationAlexander Pokahr,Lars Braubach,Winfried LamersdorfDistributed Systems and Information SystemsComputer Science Department,University of Hamburg{pokahr|braubach|lamersd}@informatik.uni-hamburg.deABSTRACTOne aspect of rational behavior is that agents can pursue multiple goals in parallel.Current BDI theory and systems do not provide a theoretical or architectural framework for deciding how goals in-teract and how an agent can decide which goals to pursue.Instead, they assume for simplicity reasons that agents always pursue con-sistent goal sets.By omitting this important aspect of rationality, the problem of goal deliberation is shifted from the architecture to the agent programming level and needs to be handled by the agent developer in an error-prone ad-hoc manner.This paper ar-gues that goal deliberation mechanisms can hardly be built directly into thefixed BDI interpreter cycle,because goal deliberation typ-ically needs to be done irregularly at any point in time.Therefore, an enhanced BDI interpreter architecture is proposed that is specif-ically designed for extensibility.This extensibility can be exploited for the integration of arbitrary goal deliberation strategies. Categories and Subject DescriptorsI.2.11[ARTIFICIAL INTELLIGENCE]:Distributed Artificial Intelligence—Intelligent agentsGeneral TermsDesignKeywordsBDI Agents,Goal Deliberation1.INTRODUCTIONGoal-directedness is one important characteristic of rational agents,because it allows agents to exhibit pro-active behavior and it is argued that the BDI(belief-desire-intention)model[1]is well suited to describe this kind of agents.Typically,goal-directed agents should be capable of pursuing multiple goals simultane-ously.As a consequence the agent’s goals can interact positively or negatively with each other[6].Positive interaction means that one goal contributes to the fulfillment of another one,whereas neg-ative contribution indicates a conflict situation in which one goal Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on thefirst page.To copy otherwise,to republish,to post on servers or to redistribute to lists,requires prior specific permission and/or a fee.AAMAS’05,July25-29,2005,Utrecht,Netherlands.Copyright2005ACM1-59593-094-9/05/0007...$5.00.hinders the other.Such contribution relationships between goals are commonly used in modeling agent applications,e.g.in the Tro-pos methodology[2]and in the requirements engineering technique KAOS[3].Despite their usefulness,most implemented agent sys-tems based on the BDI model do not support any mechanism for handling goal relationships at the architectural level.Hence,the cumbersome task of ensuring that the agent will never process any conflicting goals at the same time is left to the agent developer. The main aspect of goal deliberation is“How can an agent delib-erate on its(possibly conflicting)goals to decide which ones shall be pursued?”.Considering this question from an architectural point of view it is of interest how a goal deliberation strategy can be inte-grated into a BDI infrastructure.Thereby,the agent infrastructure has the tasks to activate the strategy at certain points in time and to provide a clearly defined interface by specifying the possible op-erations for conflict resolution and exploiting positive goal interac-tions.These operations are constrained by the attitudes supported by the agent architecture. E.g.only when the architecture dis-tinguishes between goals and desires the deliberation process can resort to both concepts.The approach presented in this paper proposes a newflexible BDI-interpreter architecture.This architecture does not employ afixed deliberation cycle,but instead resorts to an action-based model,in which the interpreter selects and executes BDI meta-actions like execute plan step.These meta-actions are directly derived from the well-known BDI abstract interpreter[5]and ex-tended with goal-related actions(e.g.create goal)that support an explicit handling of goals.2.A FLEXIBLE BDI INTERPRETERThe basic idea of the new architecture is to break up the orig-inal interpreter cycle as described in[5]into a small set of self-contained meta-actions,which are invoked as needed,rather than being executed in afixed sequence.Instead of operating on global data structures,these actions are instantiated for individual attitudes and other elements such as events.2.1Abstract Interpreter ActionsFig.1shows the identified actions(dark rectangles)and intro-duces abstract actions(light rectangles)as well as inheritance rela-tionships(arrows)to group similar actions.The names of the ab-stract interpreter steps are given below the action names.The Agent Init action initializes an agent and is executed only once for each agent.One important responsibility of the architecture is tofind and select applicable plans for an event or a goal.The correspond-ing actions are closely related and therefore grouped together by an abstract Process Event Action.The Find Applicable Candidates action determines the list of plans that are able to handle a givenFigure1:Identified meta-actionsevent or goal.From this list a subset of plans to be executed has to be selected by the Select Candidates action.Selected plans then have to be scheduled for execution(Schedule Candidates).Any scheduled plan eventually has to be executed which is done in the Execute Plan Step action.According to the original interpreter only a single step is executed,allowing the agent to do other things be-fore continuing with the plan.The get-new-external-events step of the original interpreter cycle is not represented as an action in it-self,as new events are added on-the-fly.Thefinal two steps of the interpreter are captured in the Terminate Plan and Goal Finished actions.Instead of handling failure and success in separate steps, the actions distinguish between mental attitudes(goals and plans). This set of basic meta-actions is sufficient to rebuild the behavior of traditional BDI agents and can be easily extended with custom meta-actions for specialized agent architectures(e.g.supporting a certain kind of deliberation).2.2Interpreter ArchitectureThe set of meta-actions forms the basis of the new interpreter architecture.Abandoning the view that all actions are executed after each other in afixed interpreter cycle,the question arises how can be decided which action to execute next,and also,when should new actions be instantiated.The basic mode of operation of the proposed interpreter is de-picted in Fig.2(left hand side).The interpreter is based on a data structure called Agenda where all actions to be processed are col-lected.The interpreter continuously selects the next entry from the agenda according to the interpreter’s action selection strategy and executes it.The action execution may lead to the creation of new actions(direct effects),which are also inserted into the agenda.In addition,certain occurrences may render the execution of already scheduled actions obsolete,e.g.an execute plan step action for a meanwhile dropped goal should not be performed.Hence,a pre-condition can be assigned to an action to ensure that obsolete ac-tions are not executed and instead removed from the agenda.For certain actions such as drop impossible/successful attitudes in the original interpreter cycle,the operation itself has to decide if the conditions for dropping an attitude hold.In our action based model conditional actions separate the condition monitoring from the action part.Conditions are created already when the corre-sponding element is instantiated(e.g.a drop condition of a goal). Only when conditions trigger during the lifetime of the correspond-ing element,the associated action has to be executed.Therefore, another important part of the architecture is the condition evalua-tion(see Fig.2,right hand side).This component checks system state changes against all currently existing conditions.For all con-ditions that are triggered by one or more of the state changes new agenda entries will be produced.These“side-effects”of thecurrentFigure2:Interpreter architectureaction are subsequently added to the agenda.Additionally,external sources may also add entries to the agenda,such as messages that have been received from other agents and need to be processed. The presented interpreter architecture builds the functional core of the extensively restructured Jadex BDI reasoning engine[4]. 3.CONCLUSIONThis paper tackles the question how goal deliberation strategies can be integrated into BDI agent systems.To facilitateflexibility and extensibility,a new BDI architecture is presented.The archi-tecture is based on aflexible and backwards compatible interpreter executing meta-actions from a dynamic agenda.Besides the ba-sic set of meta-actions derived from the traditional BDI interpreter, new meta-actions can be easily integrated to extend the architecture in various aspects.Hence,arbitrary goal deliberation strategies can be realized by providing new meta-actions specific for the strategy. The interpreter architecture automatically takes care of activating those actions at proper times.Future work is on the one hand devoted to the further investiga-tion of concrete deliberation strategies.We intend to experiment with a strategy we have implemented,and with other strategies (e.g.based on the work of Thangarajah et al).On the other hand we intend to exploit theflexible interpreter architecture in other di-rections,e.g.by investigating how other mental attitudes,such as obligations,could be integrated.4.REFERENCES[1]M.Bratman.Intention,Plans,and Practical Reason.HarvardUniversity Press,Cambridge,Massachusetts,1987.[2]F.Giunchiglia,J.Mylopoulos,and A.Perini.The TroposSoftware Development Methodology:Processes,Models and Diagrams.In Proc.of1st Int.Joint Conf.on AutonomousAgents and Multiagent Systems(AAMAS’02),2002.[3]E.Letier and A.van Lamsweerde.Deriving operationalsoftware specifications from system goals.SIGSOFT Softw.Eng.Notes,27(6):119–128,2002.[4]A.Pokahr,L.Braubach,and mersdorf.Jadex:A BDIreasoning engine.In R.Bordini,M.Dastani,A.Seghrouchni, and J.Dix,editors,Multi-Agent Programming.Kluwer,2005.[5]A.Rao and M.Georgeff.BDI Agents:from theory to practice.In Proc.of the1st Int.Conf.on MAS(ICMAS’95),1995. 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