The framing of a problem is often far more essential than its solution -Albert Einstein.
In our current culture, we prize specialization very highly, and with many appropriate reasons. A good ear, nose and throat (ENT) doctor knows the complexities of the inner ear better than anyone; a knowledgeable food scientist knows the exact nutritional details of a soy bean; a trained fine art conservator knows how to save a painted canvas.
The potential drawback to living in a world of specialization is that a kind of myopia can develop with the often single-minded focus of specialization. In a way, specializing is being taught to think inside the box. Thus the ENT might not recognize other conditions contributing to a balance malady, as the General Practitioner could. The food scientist may not know how soy production depletes the soil, as the farmer does. And a fine art conservator might not address the origins of moisture deteriorating the plaster that in turn has damaged the canvas mural, as a cross-disciplinarian would.
All subjects of specialty are integrally connected to other parts that together form their own system. Treating any single part affects others. In the case of the architectural arts, the benefits of the generalist’s overall view can be gleaned from a contractor who has cross-disciplinary insight and experience. The experienced consultant has broad knowledge and can pull back for the big picture view. (This ability is essential in projects not responding to damage and pathology as well—see here.) Like the General Practitioner M.D., this person can identify which types of artisans and specialists can best serve you and your project.
The benefits of the overview consult range from long term cost-saving solutions, such as consolidating related tasks to use shared scaffolding, and reducing future treatment by the identification of [[related pending issues. At the very least, a consultant for specialty contracting will make you feel you have adequately considered all your options and are not at risk of completing the finite project and then realizing there is more to do—or there might have been a better way.
Often, the cross-disciplinary knowledge makes all the difference, along with the ability to recognize when breaking out of the box can be considered. A real life example of this occurred when I was working for one of the nation’s largest architectural arts studios. The owner shared frustration about how to treat a damaged, old set of Stations of the Cross that were commercially printed on paper. He told me he needed to find a good paper conservator—but at the same time, the cost of treating sixteen large, damaged pieces would be way beyond the client’s budget.
I asked and he confirmed that the Stations were mass-produced and of low artistic value, as many similar ones were in the twentieth century. I then asked if the client was attached to the idea of conserving them, or if the attachment was only to the images—in which case we could propose replicating them on a stronger material, canvas, in such a way that they would look as they always had, while having a whole new material life. The client was thrilled with this affordable, durable alternative—which required thinking outside the specialized box for conservation.
Always, the surfaces, substrates and applied artwork of a room are of one fabric, and must be looked at in light of the whole, even when only one element appears to need treatment. Even for visual continuity, care must be taken that something newly restored does not stand out like a sore thumb in the midst of other aspects carrying a patina of age. The field of architectural artistry, conservation and restoration is full of specialization, and thankfully so, because our buildings deserve the understanding and attention to detail that the specialist bring. Their work can be all the more effective when paired with the cross-disciplinarian’s skill of holistically assessing what the current and upcoming needs might be and who can best fulfill them.
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