Lidwell, Holden and Butler (2003) state consistency can be achieved amongst various commodities when the same component, or components, are used in each of the products. Then a component looks the same, or similar, and operates similarly. This strategy is an “elaborate and systematic plan of action” (Princeton University, cited by Butler, 2012) with potential to make commodities easier to identify and use. Then one component and the associated knowledge may be consistently applied to all types of objects, in diverse circumstances. Lidwell, Holden and Butleridentify four types and provide examples: aesthetic, functional, external and internal consistency.

A key to achieving consistency is the aesthetics of an object or image (Crouch, 1999). This is a subjective idea, a vital “intellectual thread” about how objects appear to the viewer or user. Aesthetic consistency is potentially in conflict with “sudden chang[es] in technology” ((Butler, 2012) like “the first successful synthesis of three distinct types of devices”. This might lead designers to load “content into impenetrable shells”. Crouch (1999) says, when designing or creating an item to

understand how… [an audience’s] culture works in order to

communicate successfully to… [that] audience. Unless those

engaged in acts of communication, in this case visual, understand

the expectations of their audience, unless they have carefully

considered who their audience might be, unless they are aware that

they have… created a complex dialogue, then the objects they create

will have resonance for themselves but not necessarily for others.

Conversely, the function of an object or image Crouch (1999) says is based on an objective idea. It is the “practical aspect of an object or building”. These “can be tested [in a practical manner] against a reality”. Crouch also explains that the “designer works primarily in the economic base [of a culture], designing or making objects which can be commodified”. A functionally consistent, commoditiy is emergency housing like that recently designed in New York: “prefabricated walls… to customize or expand dwellings… not site-specific.. easy to move” (Denhoed, May 14, 2015).

Internal consistency, which develops trust (Butler, 2012), is a balanced combination of an object’s aesthetics (or form) and its function, and allows the user to focus on the task. This commonality is then, diversely, extended outwards to other, similar and diverse, systems of external consistency. .Lidwell, Holden and Butler (2003) recommend the use of established standards where available. Usability expert Jakob Neilsen recommends “recognition over recall” for game theory (cited by Minor, 31 January, 2012), and consistency or “modularity” shows in the extraordinary, only 3-component Bosse interior fitments and furniture range (Bosse, Acrchitonic, 2015).

These aims all comply with the modernist aim of simultaneous “uniformity and collaboration… [with] dialogue between the individual and the universal” (Crouch, 1999) as  one type of component, and/or commodity, design (similar in aesthetics and function) is applied to a number of items in a system

Bosse. (2015). Architonic [On-line Magazine] http://www.architonic.com/ntsht/the-unique-modular-furniture-system/7000954

Butler, C. (2012). The Strategic Web Designer: how to confidently navigate the web design process. Blue Ash, Ohio, USA: HOW Books.

Crouch, C. (1999). Modernism in art, design and architecture. London: Palgrave.

Denhoed, A. (May 14, 2015). Making Space for the Homeless. The New Yorker. [On-line Magazine] Retrieved from http://r20.rs6.net/tn.jsp?f=001KDSK4s2bUGWhBxZJKjaYQccvc7y2AduCihe10S-yKn8dUmmSBsFVFARsneHS2ibi-zLQ3uJd0HP73uQz0Q6B6l6s8EatkryMtZgh2b_NF1QCbrjIZEeZ13acpCcw0-7rQeumOBFWmfUEl247qBVTKDKWeaw128cyvi80_xfY7tQUTf4w3jGNkOBx5NjzzmJ79l8sUe_a6MmMHeE_jzGRPNpwV7ARooC1SVPak_7HO4W9OlvZB0ROcQ==&c=7gYy4kwlRe8sZlh37uIb8cuH0gT0q8qHQgqBfNSMSpbfsWtY238Z-w==&ch=X5AMo0oIRt9-sv8oJ9p_e3sQHOoCx8k0cEO6A971RNeYEqpJik3eKg==

Lidwell, W., Holden, K., & Butler, J. (2003). Aesthetic-Usability Effect. Universal principles of design. Massachusetts: Rockport. Retrieved from Learning Portfolio Module 2, S1, 2015.

Minor, T. (31 January, 2012). Total Memory Recall. UX Booth. [On-line Newsletter] Retrieved from http://www.uxbooth.com/articles/total-memory-recall/