Museum of English Rural Life, University of Reading
Where would you expect to find a museum aboutrural life? Deep in the countryside? And what would you expect it to be like? Rustic, with lots of reconstructed scenes of country folk involved in traditional crafts and farming methods?
Well, think again - the new Museum of English Rural Life (MERL) in Reading challenges the stereotype, first of all by being located in an urban environment, and secondly by deliberately not using reconstructions or mannequins.
Nearly £11m has been invested in MERL's move to its new home - funded by the University of Reading, a public appeal and a £5.17m Heritage Lottery Fund grant.
Situated near the centre of town within the grounds of the University of Reading, with shops and a hospital nearby, the museum is well placed to serve a large and diverse audience.
So, does it work? Can a rural museum dedicated to the history of farming and the countryside sit comfortably in a busy city such as Reading, and can it rise to the challenge of meeting the disparate needs of university students and the general public?
The museum's move to its new home from its 'temporary' site of 40 years - an overcrowded 1960s building on the university campus - has allowed it to spread its wings and provide access to its collection of 22,000 objects, 50,000 books, 2,000 periodicals and a million photographs.
The new museum's archive and library occupies the listed former residence of Alfred Palmer (of Huntley and Palmer biscuits). The building was designed by the distinguished Victorian architect Alfred Waterhouse (of Natural History Museum fame).
A new extension to the building houses the museum displays and object collections. The entrance to the museum is welcoming, with its semi-circular reception desk and shop. Just off the entrance is a temporary exhibition space and access to the reference library, archive and reading room.
A multimedia presentation with seating area introduces visitors to the museum. An actor is shown discussing several objects from the collection, spelling out the themes in the museum and making connections and exploring contrasts between life today and past traditions - a 'lost world'.
There are clear, strong messages here which provide a useful orientation for the rest of the visit and raise questions about the nature of rural life. A large window to one side lets in plenty of natural light and gives the space a pleasant airy feel, but affects the clarity of the presentation. That, however, is a minor issue for the snagging list.
The museum displays occupy the ground floor of the new extension, which feels clean and contemporary with its angular structures and white walls. The displays are organised according to material - straw, wood, metal and leather - which works well and avoids the safer and more traditional but less stimulating chronological approach.
Objects dominate the space, from wagons, ploughs and tractors to baskets, wheels and tools. Some hang from above or are displayed at unusual angles.
Avoiding reconstructions and mannequins was a brave decision. Keeping the museum free of conventional re-creations of countryside scenes could have resulted in collections being displayed out of context and the displays being less meaningful for visitors.
But it pays off; the uncomplicated grouping of the objects, clear zoning and beautiful images work together to show how people and technology have shaped rural life over time.
Many of the graphics are still in development, but those that are in place draw effectively on the museum's important collection of photographs. Large colour-coded vertical banners introduce each zone and feature striking images showing the human side of rural life through history.
Additional interpretation is given on horizontal banners. Further information will eventually be delivered through pedestal books, and 'luggage labels' on each object are to follow.
The whole reserve collection is now accessible by appointment on the first floor, where objects are displayed visibly on open racks and in drawers. Several volunteers, who have apparently been vital to the success of the move, were busy cataloguing on the day of my visit. The collection will eventually be fully catalogued on the museum's website.
As a museum linked to a university, MERL has a clear role to fulfil as an academic resource, and the library and archive provide valuable study facilities. Some of the massed displays of objects are also reminiscent of traditional university museums.
But even though the displays are not finished, it is clear that meeting the needs of the general visitor is also important to the museum. Artworks have been commissioned, including a stained glass window inspired by agricultural images from the Festival of Britain.
A large stainless steel artwork showing the farming cycle is also planned, as is a 'graffiti wall' enabling visitors to add their own views and addressing the tensions that exist between town and country - clearly an important issue for a museum about rural life based in a city.
There was a noticeable lack of interactivity at this stage in the development. Hands-on exhibits, opportunities for role-play and objects to handle will be important if the museum is to appeal to families. Family fun days, art workshops, craft demonstrations and so on are planned, and perhaps they will fill this gap.
The museum will not be complete until the summer, but once the diggers have departed a large garden will be available to the side of the museum to provide an outdoor events space. This should add further to the museum's appeal. A schools programme and outreach services are in the process of being established, and will be in place later this year.
As work at the museum nears completion, this is an ideal time to evaluate visitors' responses to the displays and build on this feedback, especially from townies like me.
The only thing I missed on my visit was a cafe - a nice cup of tea and a biscuit would have been highly appropriate in the former home of Mr Palmer.
Alison Porter is a museum learning consultant
Project data
Cost: £10.76m
Funders: Heritage Lottery Fund £5.17m, University of Reading £4.1m, other fundraising £1.495m
Architect: Niall Phillips Architects
Exhibition Design: Brennan Design
Main contractor: Mansell Construction Services
Quantity surveyor: Davis Langdon
Structural engineer: Alan Baxter Associates Planning supervisor: Peter Brett Associates Project Management: University of Reading Estates Services
Where would you expect to find a museum aboutrural life? Deep in the countryside? And what would you expect it to be like? Rustic, with lots of reconstructed scenes of country folk involved in traditional crafts and farming methods?
Well, think again - the new Museum of English Rural Life (MERL) in Reading challenges the stereotype, first of all by being located in an urban environment, and secondly by deliberately not using reconstructions or mannequins.
Nearly £11m has been invested in MERL's move to its new home - funded by the University of Reading, a public appeal and a £5.17m Heritage Lottery Fund grant.
Situated near the centre of town within the grounds of the University of Reading, with shops and a hospital nearby, the museum is well placed to serve a large and diverse audience.
So, does it work? Can a rural museum dedicated to the history of farming and the countryside sit comfortably in a busy city such as Reading, and can it rise to the challenge of meeting the disparate needs of university students and the general public?
The museum's move to its new home from its 'temporary' site of 40 years - an overcrowded 1960s building on the university campus - has allowed it to spread its wings and provide access to its collection of 22,000 objects, 50,000 books, 2,000 periodicals and a million photographs.
The new museum's archive and library occupies the listed former residence of Alfred Palmer (of Huntley and Palmer biscuits). The building was designed by the distinguished Victorian architect Alfred Waterhouse (of Natural History Museum fame).
A new extension to the building houses the museum displays and object collections. The entrance to the museum is welcoming, with its semi-circular reception desk and shop. Just off the entrance is a temporary exhibition space and access to the reference library, archive and reading room.
A multimedia presentation with seating area introduces visitors to the museum. An actor is shown discussing several objects from the collection, spelling out the themes in the museum and making connections and exploring contrasts between life today and past traditions - a 'lost world'.
There are clear, strong messages here which provide a useful orientation for the rest of the visit and raise questions about the nature of rural life. A large window to one side lets in plenty of natural light and gives the space a pleasant airy feel, but affects the clarity of the presentation. That, however, is a minor issue for the snagging list.
The museum displays occupy the ground floor of the new extension, which feels clean and contemporary with its angular structures and white walls. The displays are organised according to material - straw, wood, metal and leather - which works well and avoids the safer and more traditional but less stimulating chronological approach.
Objects dominate the space, from wagons, ploughs and tractors to baskets, wheels and tools. Some hang from above or are displayed at unusual angles.
Avoiding reconstructions and mannequins was a brave decision. Keeping the museum free of conventional re-creations of countryside scenes could have resulted in collections being displayed out of context and the displays being less meaningful for visitors.
But it pays off; the uncomplicated grouping of the objects, clear zoning and beautiful images work together to show how people and technology have shaped rural life over time.
Many of the graphics are still in development, but those that are in place draw effectively on the museum's important collection of photographs. Large colour-coded vertical banners introduce each zone and feature striking images showing the human side of rural life through history.
Additional interpretation is given on horizontal banners. Further information will eventually be delivered through pedestal books, and 'luggage labels' on each object are to follow.
The whole reserve collection is now accessible by appointment on the first floor, where objects are displayed visibly on open racks and in drawers. Several volunteers, who have apparently been vital to the success of the move, were busy cataloguing on the day of my visit. The collection will eventually be fully catalogued on the museum's website.
As a museum linked to a university, MERL has a clear role to fulfil as an academic resource, and the library and archive provide valuable study facilities. Some of the massed displays of objects are also reminiscent of traditional university museums.
But even though the displays are not finished, it is clear that meeting the needs of the general visitor is also important to the museum. Artworks have been commissioned, including a stained glass window inspired by agricultural images from the Festival of Britain.
A large stainless steel artwork showing the farming cycle is also planned, as is a 'graffiti wall' enabling visitors to add their own views and addressing the tensions that exist between town and country - clearly an important issue for a museum about rural life based in a city.
There was a noticeable lack of interactivity at this stage in the development. Hands-on exhibits, opportunities for role-play and objects to handle will be important if the museum is to appeal to families. Family fun days, art workshops, craft demonstrations and so on are planned, and perhaps they will fill this gap.
The museum will not be complete until the summer, but once the diggers have departed a large garden will be available to the side of the museum to provide an outdoor events space. This should add further to the museum's appeal. A schools programme and outreach services are in the process of being established, and will be in place later this year.
As work at the museum nears completion, this is an ideal time to evaluate visitors' responses to the displays and build on this feedback, especially from townies like me.
The only thing I missed on my visit was a cafe - a nice cup of tea and a biscuit would have been highly appropriate in the former home of Mr Palmer.
Alison Porter is a museum learning consultant
Project data
Cost: £10.76m
Funders: Heritage Lottery Fund £5.17m, University of Reading £4.1m, other fundraising £1.495m
Architect: Niall Phillips Architects
Exhibition Design: Brennan Design
Main contractor: Mansell Construction Services
Quantity surveyor: Davis Langdon
Structural engineer: Alan Baxter Associates Planning supervisor: Peter Brett Associates Project Management: University of Reading Estates Services
