COMPONENT - BASED DESIGN
Component-based design
Component-based design is a powerful approach to machinery/equipment/system/elements etc
development. It breaks down complex systems into reusable, self-contained units called
components. This modular approach enhances maintainability, promotes code reuse, and allows
for faster development.
The components/elements of design are the fundamental aspects of any visual design which
include shape, color, space, form, line, value, and texture etc. "These components/elements are the
materials from which all designs are built."
Technically speaking, a component is an element of a system or a part of a machine. But a
component can also be a factor or ingredient, such as the components of a decision or the
components of a really good chocolate cake.
A component engineer specializes in the selection, evaluation, and testing of components used in
product design and manufacturing. They ensure components meet technical specifications, quality
standards, and regulatory compliance, while also managing lifecycle issues and sourcing
strategies.
The components of design:
The groups of design concepts listed alphabetically below adequately cover all aspects of critique,
analysis, and discussion of a design piece. Each is unique - it does not share similar specific
ingredients with other groups. Each of the current terms of design elements listed from the survey
can fit into one of the following concept groups.
Explanations of components:
Alignment: Alignment provides clarity by creating a sense of order. Using an invisible grid
system to align elements aids in comprehension by providing unity, a sense of order, and
familiarity. Order, grid, lined up = alignment
Balance: The composition of the parts or shapes in the piece will usually create some type of
balance - symmetrical, radial, or asymmetrical. Balance also provides some stability which makes
most people more comfortable (as does order). Symmetry, radial, order, visual weight = balance
Clarity: Effective design is enhanced by using only those elements which contribute to the idea
of the composition, and the elimination of anything extraneous. Economy, communication,
effectiveness = clarity
Color: Most design pieces use color to create an emotional response within the viewer. If
designing strictly on function, the color might be totally irrelevant, unless the color was dictated
by the materials used (steel in a building, wood in furniture, etc.) Most often, color is used because
of what it means to the viewer. Neutral, black, white, intensity, tint, tone value, contrast, lightness
= color
Context: Design work relates to its surrounding. This environment completes the effectiveness
of the piece. Meaning of work can be confusing and incomplete when design is taken out of context
- removed from its surrounding environment. Environment, relationship, surroundings = context
Contrast: Contrast adds power and emphasis by providing a clear difference between elements,
a dynamic tension. This difference aids focus, motion, and space. The basic purpose of contrast is
to create interest on the page and aid in the organization of information. Difference, attraction,
clarity, distinct line = contrast
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Focus: Viewers seem to yearn for some focus or emphasis in a design piece. Focus provides a
starting point for the eye to scan a piece. We do not want to have to decide where to look first or
what to look at next. Emphasis in graphic design most often involves creating a visual hierarchy
of information, reflecting the hierarchy of the content. Accent, focal point, emphasis, dominance,
attention, target = focus
Motion: Our eye, which is constantly scanning and darting about an object, will follow the path
of the most obvious direction. This flow of direction may be created by an established rhythm,
repetition, a sequence of elements, or an apparent direction of advancement. The eye and brain
seem to prefer activity and variety to passiveness. As a result, our flow of vision easily moves
about a place. This inherent movement we see in a piece helps us to analyze and understand the
design of the piece. Scanning, path, direction, movement, rhythm, flow, repetition = motion
Proximity: Proximity refers to grouping bits of information or elements close enough to form an
association. This grouping provides some comfort through familiarity. We humans like change but
only if we can experience it from a foundation of something comfortable. Grouping like elements
also aids clarity of understanding of information by creating a hierarchy of information. Grouping,
likeness, clarity = proximity
Shape: Upon approaching any design object - a building, a logo, a product, or a living room - we
see that it exists. It is. It is real. Therefore, it must have some form, some shape to its being. This
can be either a three-dimensional mass or a two-dimensional shape. To create or define this shape
or mass, lines are formed - either lines within the piece or lines created by adjacent surfaces. The
line could be an outline, as in a logo or graphic piece, or it could define smaller parts within the
piece. A line in design is useless until it defines a shape - a curve, a rule, etc. A mass has no clarity
until it is in a specific shape. Shapes can be either geometric - formed by mechanical straight-edges
or organic - natural biomorphic forms. Shape in a 3-D environment creates volume and mass,
either real or perceived. Exists, form, volume, mass, line, surface, outline = shape
Size: Another thing one can notice about the piece is its size. Size is strictly relative. That is, an
elephant is large only when compared to people or a mouse. An elephant is small compared to the
Sears Tower in Chicago, but we think of it as large because within its species of mammals, it is
larger than the other members. A design piece by itself could have no relative size. It just is the
size it is. One can better determine its size by putting it into a specific scale - a benchmark to judge
it against. Proportion is important in design. A design piece must fit in with its environment. Scale
and proportion are concerned with the relative size - the relation of one object to another and the
mathematical ratio. Large, small, scale, proportion, fit, monumental, miniature = size
Sound: Another sense that is sometimes employed in analyzing a piece is the sense of hearing.
Many pieces must convey a certain image. The sound of the object can either be created by the
object itself (like a typewriter or the whirring of a fan) or by the piece being struck or striking
another object (like a ball or dice in a game). The sound or silence created must convey the intent
of the designer just as the shape or texture must convey the designer's intent. A successful industrial
designer designed a fan that was absolutely quiet - no disrupting motor noise. Placed on the market,
the company discovered the fans were being returned because the consumer felt the fans were not
cooling very well. They were, but the consumer could not hear them working (as conditioned to
with other fans) and assumed they could not be as effective. The sound of the fan proved to be an
integral part of the design piece. Hearing, striking, quiet, loud = sound
Space: The piece exists within a space. This space can sometimes be an integral part of the piece.
The piece fills a space in a way that no other object can (except a duplicate of the piece). In two-
dimensional pieces the space is created visually. The illusion of depth or space can be created
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through the use of perspective, overlapping, difference in size, difference in color, placement on
the page, or a difference in detail. The illusion of space or the reality of space in a three-dimensional
piece puts the piece in a dimension that goes beyond its basic shape or form. Depth, perspective,
overlapping, illusion = space
Taste & Smell: Taste and smell sometimes have to be considered as integral elements of design.
If a product is designed to be used in the mouth (toothbrush, musical instrument, etc.) the material
would have to be judged on its taste. If there was an offensive taste or one that did not help convey
the appropriate image of the product, the user might use the product less or none at all. The smell
(of materials, adhesives, inks, etc.) might hold true for the same reasons. Although rarely
mentioned while talking about design, designers should avoid taking for granted any aspect of a
design. Aroma, sensation, salty, pleasant, sweet, = taste & smell
Texture: Another aspect unique to each design piece is the texture the piece conveys - its surface
quality. The texture can be either tactile: literal and felt by the sense of touch or it can be visual:
an image formed in the viewer's mind by mental association with previously felt textures. Certain
patterns might evoke specific textural responses. Many times, we place emotional feelings with
the texture. We know that something smooth feels slick, sensuous, and usually more elegant than
something that is rough, bristly, or coarse. Literal feel, visual feel, touch, slick, rough, smooth =
texture
Time: A design piece needs to last for an amount of time that will allow the piece to perform its
function. This duration can and should be influenced by the designer through the materials in the
piece, the methods of construction or production, and the manner in which the piece is to be used
or can be used (whether intended or not). This element of time seems obvious and yet it is worthy
of mention as a factor for consideration while designing and during analysis. Duration, existence,
lifespan = time
Unity: The manner in which different forms in a design piece relate to each other is important -
the harmony created by proximity, repetition, and balance. The parts of a piece may work well
together and provide unity or they may clash with opposition or they might provide variety. Unity
helps to create order. Design helps create order out of chaos. Even opposition or variety can unify
a piece. Unity can be achieved with textures, colors, or other parts of the piece. Repetition of
elements provides unity and comfort. Continuity of elements allows the viewer to quickly gain
familiarity with the structure of a design. Multiple pages can share the same layout, or variations
on the same basic structure. Web page navigational elements, menus, and content can be
consciously arranged to appear in the same place on each page. Relate, clash, variety, opposition
= unity
Advantages of component-based design:
• Ease of deployment − As new compatible versions become available, it is easier to replace
existing versions with no impact on the other components or the system as a whole.
• Reduced cost − The use of third-party components allows you to spread the cost of
development and maintenance.
• Ease of development − Components implement well-known interfaces to provide defined
functionality, allowing development without impacting other parts of the system.
• Reusable − The use of reusable components means that they can be used to spread the
development and maintenance cost across several applications or systems.
• Modification of technical complexity − A component modifies the complexity through
the use of a component container and its services.
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• Reliability − The overall system reliability increases since the reliability of each individual
component enhances the reliability of the whole system via reuse.
• System maintenance and evolution − Easy to change and update the implementation
without affecting the rest of the system.
• Independent − Independency and flexible connectivity of components. Independent
development of components by different group in parallel. Productivity for the software
development and future software development.
