Today’s blog is by UCL Education Studies student Wen (Wendy) Zhang who has been delving into the past of the Grant Museum

Secrets of the Grant Museum of Zoology: Unveiling the Untold Stories Behind the Exhibits

The story of how I found myself collaborating with the curators of the Grand Museum of Zoology is as poetic as it is serendipitous. During my first year in UCL’s BA Education Studies, Georgina Brewis’ module, “The Worlds of UCL”, opened the door to the university’s rich history. While many of my peers were drawn to the Petrie Museum’s cultural relics, I felt a unique connection to the hidden history of the Grant Museum. My curiosity led me to meet the museum’s curators, which turned out to confirm my instincts that there was indeed a rich history waiting to be discovered and celebrated.

Stepping into the Grant Museum, I was overwhelmed by a sense of history that transcended its modern façade. This inspired me to meet with Hannah, the current curator, and later with Mark, the 13th curator. Their untold stories about the museum were enchanting and unheard-of, leaving me eager to share them with you, as they are too captivating to keep to myself.

The Grant Museum of Zoology was accredited in 1998. Like many university museums, it has had to adapt to educational shifts, such as the emergence of student-centred pedagogy in the 20th century, to prove its value and ensure its survival. Fortunately, a science movement in the 1960s pioneered by Frank Oppenheimer at the Exploratorium in San Francisco, significantly revitalized these museums with its “hands-on” approach. Oppenheimer made obscure scientific research accessible and engaged the public through interactive learning, transforming the role and identity of science museums for generations.

 

A Special Function

Since 1827, Grant Museum’s teaching ethos has been anchored in the utilization of its collections – even earlier than the science movement. Robert E. Grant, its first curator, embodied this philosophy by facilitating hands-on learning. He ingeniously provided students with personal specimens for anatomy study and personally financed the acquisition of tools and specimens for dissections in the late 19^th century. Grant’s successor, E. Ray Lankester (3^rd curator), further promoted object-based learning by encouraging the use of specimens as teaching aids.

More recently, the museum’s object-based learning programs such as Mystery Specimen, reminiscent the “hands-on” practice, requiring bioscience students to correctly identify specimens without labels, from class to species. The Walrus skeleton, has long been a beloved educational resource, amuses students when they learned it’s a penile bone, sparking laughter every year. According to Mark and Hannah, students are expected to make mistakes, as it help them to apply biological theory into practice and enhance their familiarity with museum collections as biologists.

In conclusion, the Grant Museum has successfully established its distinctive educational role as a university museum by highlighting its teaching function. Concerns expressed by Ken Bowler regarding the future of Zoology, as humorously depicted by the notion that contemporary zoology graduates struggle to differentiate between earthworms and snakes, can be mitigated through initiatives such as the Mystery Specimen program provided by the museum.

 

Relocation Journey

Despite its triumphs, the Grant Museum’s connection to UCL also pose challenges when it attempts to better serve to the teaching community at UCL. From 2001 to 2011, the museum found its home in a converted laboratory on the lower ground floor of UCL’s Darwin Building, nestled on Gower Street.

Throughout this period, three challenges significantly impacted the museum’s teaching and visiting experience, as well as specimen preservation:

1. Chemical Leakage. Adjacent to biology and other research departments, the museum dealt with chemical leaks from the labs above, which often triggered fire alarms, caused frequent evacuations and strange odors during public hours.

2. “Free Rein” for Pests. Mark noted that gaps beneath the floor and behind the walls allowed pests to enter. However, the museum couldn’t implement pest monitoring due to its close proximity to staff and student rooms. Despite this, the staff remained optimistic, even adding new cockroach and mouse specimens to the collection.

3. Space and Temperature Troubles. Museum objects covered every flat surface, limiting space for teaching activities. Additionally, the room’s antique 1960s heating system malfunctioned, causing extreme temperatures – overheating specimens near the ceiling and chilling those near the floor, as well as staff and visitors.

While the museum desired a change in location, relocating is no easy task. As Mark articulates in his essay, “a university is a political place” where “every inch … acquired by a department or individual will be fought over to the death.” Even the smallest areas, once used as storage of the museum, faced opposition. Fortunately, with every effort, Grant Museum began relocation in 2010. However, managing the relocation of a university museum is another daunting task. From navigating frequent floods to enduring the lengthy process of moving collections, every step was a testament to dedication and resilience.

Since 2011, the new museum has made its mark in the Rockefeller Building on University Street. This isn’t just a change of scenery; it’s a bold leap into a new era! With space for 60 visitors, the museum’s accessibility has skyrocketed, inviting both UCL community and the public to embark on an unforgettable journey through science and history.

 

Ending Words

Beneath the seemingly unremarkable history of the Grant Museum lies a treasure trove of unforgettable stories. From the laughter elicited by a misidentified penis bone to the troublesome old heating systems, these hidden tales infuse the museum with magic.

I believe the stories beyond the exhibits are the lifeblood of museums, silently witnessing their triumphs and tribulations through the ages. These tales await those who dare to embrace the enchantment of history, ready to flourish publicly instead of remaining secrets known only to generations of museum staff.

 

More about Grant Museum & university museums:

Carnall, M., & McEnroe, N. (2011). Relocating the Grant Museum of Zoology and Comparative Anatomy, UCL. Collections (Walnut Creek, Calif.), 7(2), 123–144. https://doi.org/10.1177/155019061100700206

Kador, T., Hannan, L., Nyhan, J., Terras, M., Chatterjee, H., & Carnall, M. (2018). Object-based learning and research-based education: case studies from UCL curricula. In Object-based learning and research-based education: case studies from UCL curricula. UCL IoE Press.

Lourenço, M. C. (2010). Are university collections and museums still meaningful? Outline of a research project. Museologia, 2, 51–60. https://www.researchgate.net/publication/228561238_Are_university_collections_and museums_still_meaningful_Outline_of_a_research_project

Pearce, S. M. (1996). Science museums, or just museums of science? In Exploring science in museums (pp. 148–161). Athlone.

 

Special thanks:

I want to express my deepest gratitude to Hannah and Mark for their incredible hospitality and willingness to meet up with me. Hannah graciously welcomed me at Grant Museum of Zoology, and Mark took the time to meet me at Oxford University Museum of Natural History. They were so generous with their time and knowledge during our chats, and I’m beyond grateful for their insights!