The challenges we face
Our collections have grown over the centuries. Indifferent architecture and overcrowded display prevent us from doing justice to their immense richness and diversity. Unless the present situation is remedied, the Ashmolean will fail to intrigue, educate and inspire the visitor of the future.
Among the most significant of the challenges to be addressed by the Ashmolean Plan are:
- Confusing layout
- Insufficient educational facilities
- Lack of display space
- Inadequate conservation facilities
Confusing layout
In its present form, the Museum is very difficult and confusing to navigate. Layout is illogical and visitors are not provided with clear routes to follow. Moreover, the great classical collections are divided between two different sites - the Museum and the Cast Gallery.
Insufficient educational facilities
The Education Service offers tours, gallery activities, object-handling sessions, lectures and study days to schoolchildren, adults and family groups, while a range of activities is available to visitors with special needs. The lack of dedicated education space (for example, groups have nowhere to gather or to hang their coats) means that the Museum is currently unable to meet the high demand for these programmes, and large groups may be turned away.
Lack of display space
Inadequate space means that many of the Museum's finest collections cannot be displayed, disadvantaging both visitors and scholars. Inflexible galleries result in unattractive and incoherent displays, while a lack of environmental control places a further restriction on display of the collections. The Ashmolean has the greatest collection of medieval Islamic textiles in the world and one of the finest collections of Elizabethan embroidery - neither of which can be shown. Finally, there are no temporary exhibition galleries suitable for hosting major international travelling exhibitions.
Inadequate conservation facilities
Ashmolean conservators are woefully under-equipped and poorly housed. Spread throughout the Museum building, they work in a number of small and inadequately lit studios. There is no environmental control in the studios and equipment is outdated. Moreover, there are no picture conservation facilities. Above all, these difficulties can put the objects at risk.
