The point being, to relate this to internal training, is that all these parts - muscles, tendons, fascia, etc. have not only nothing to do with anything, they serve as a huge distraction. . . .
Good designs are always powerful, simple, elegant.
In a quiet room, if one places his/her ear a centimeter away from a Zildjian "K" cymbal, which exemplifies your definition of "good design" (it may be the quintessential example of industrial design) and lightly taps the cymbal with a marimba mallet: it's one of the most exquisite musical experiences anyone can have. People don't tend to get lost in discussions about metallurgy, forging, and the complex interweaving of overtones and various frequencies. It has to be heard, period, to fully understand the quality of the design (the bronze is beautiful to the eye and touch as well). Similarly, it's nice to noodle on the craftsmanship needed to buiild an Aston Martin, but isn't experiencing, appreciating and "knowing" the car much better accomplished by driving one through its full range of gears? It has to be seen, heard, smelled, tasted (in multiple connotations) . . . felt.
That's why I feel fortunate to live in Hawaii, where we have the rare opportunity to get first-hand accounts from those who've felt Ueshiba's and Tohei's aiki, and who are still available to vet any pretenders to those levels and qualities of martial ability who care to let their wares be sampled.