The V&A has launched a new exhibition space, the V&A East Storehouse in Hackney, east London, which houses more than 250,000 objects and offers immersive experiences alongside more than 100 small, curated displays. As well as browsing the exhibits that are on show, visitors have the option to choose up to five via the “order an object” service and have them delivered to a study room for a private viewing. (That’s if they’re movable – if not, you go to them.)
We asked visitors for their highlights – here are some of them.
‘An amazing surprise’
Backdrop for the Ballets Russes production of Le Train Bleu, 1924
Le Train Bleu, the Picasso backcloth for Ballets Russes, was an amazing surprise. The scale of the piece was huge, in a space of its own, after all the racks and floors of interesting objects. The only other people were a young couple struggling to take a selfie that did it justice. When I offered to hold their phone they immediately struck the pose. They were so wonderful I had to take another picture for myself. I loved lots of the objects on display, but this one trumped them all. Olive Burnside, Glasgow
‘Architecture preserved and installed in such a creative way’
Facade from Robin Hood Gardens
The exhibit that I liked the best was the Robin Hood Gardens facade. It was unexpected to find part of a Brutalist building in the V&A collection. The reason it resonates with me is that I lived in a tower block – Addy House in Bermondsey – for seven years, after I graduated in London. Back then it was deemed “hard to let”. We were seven floors up in a 60s concrete block that was in some disrepair. Despite this, we loved living there. The flat itself was spacious, with brilliant views, floor to ceiling windows and beautifully tiled floors. We lived alongside residents who had moved in when the block was first built. They spoke of brass panels and handles on the doors that they would polish regularly, and the joy they had at living in a newly built home that everyone looked after.
I loved the fact that this huge section of architecture has been preserved and installed in such a creative way. On each level of the Storehouse, behind the facade we learned more about it. Level one: the moving film introduced us to some of the residents. Level two: the interior of the building shown through the front doors and entrance halls of two flats. And on level three, images of residents inside their homes. So much more than a facade, it preserves memories along with the architecture. Helen Rose, St Leonards-on-Sea
‘A tutu with unusual wings’
Le Bal theatre costume
My recent master’s dissertation focused on the care of historic classical ballet tutus. My favourite object was one I ordered via the “order an object” service: a tutu worn by Alice Marks. It was a costume for a sylph by Georgio de Chirico – a Romantic tutu with unusual wings and decoration. The design was unusual and powerful. The toughness of the material is at odds with our usual impressions of sylph delicacy. The massive sculptural wings suggest a sort of exoskeleton or armour rather than the usual whimsy and fragility. The woman in this dress is strong, tough and mysterious. De Chirico’s design is both referential and extremely modern in its style. Lara F Martyn, Cumbria
‘Like time-travelling to 1930s Pittsburgh’
Frank Lloyd Wright’s office
Frank Lloyd Wright’s office was my personal highlight. It might be an obvious choice because it is one of the larger items on display, but there is something magical about being able to stand somewhere that once belonged in a different time and place – like time-travelling to 1930s Pittsburgh. The art deco room itself is beautiful, a real icon of its time. The deceptively simple patterns on the wood panel walls were a particular highlight. Little details like the bust of Nefertiti and the stainless steel ashtray stand made it feel as though the room could have been in use yesterday. It was also amazing to see it from the outside, to see the notes to the people who had to move it, piece by piece. It gave me a new appreciation of how difficult it must be to move larger objects around a collection. Emma Thomas, 31, Croydon
‘A cross between a provincial museum and Ikea’
Assorted pieces
I love the juxtaposition of objects and the “organised chaos” of the place. One of the standouts was this combination on the end of a row: a 50s television and medieval altar piece and a simple chair. This display was a great demonstration of the range of artefacts on show. I’d describe the whole experience as a cross between a provincial museum and Ikea. Just brilliant! Stephen Buddle, Guildford
‘Not something I would expect to see at a traditional museum’
Mannequin dummies
These mannequin dummies (pictured) were a highlight. Though initially simple, they provoked a variety of thoughts. Five female body shapes that stood out to me due to their starkness, like a feminine show of strength. I also thought the mannequins represented what was “typical” body shape from different periods of history, so ideas of what was desirable have changed through time, in particular waist and hip shape and proportions. I thought how important mannequins are in fashion and dressmaking. They are designed to be covered but are beautiful and individual in their own right. Mannequins are not something I would expect to see at a traditional museum, so they reflected the very eclectic collection of items that resonate in different ways to different people. Lynn, Welwyn Garden City
‘A cabinet of curiosity’
Cabinet designed by Charles Rennie Mackintosh
On my visit I requested an eclectic mix of items, ranging from a tiny pair of lotus shoes to a large Mackintosh hall cupboard. Being able to handle [some] items that were only previously seen behind glass, such as the 19th-century kimono and intricately decorated gold dragonfly inro (a small, decorative case which hangs from the belt), was very special. I have lived in Japan and have an interest in traditional Japanese clothing. The opportunity to select items which pertain to your personal interests, however varied, from one of the world’s most important collections is such a joy. Beckie, York
‘Visitors could really investigate close up’
The Frankfurt kitchen
My favourite piece on my visit in July was the Frankfurt Kitchen, because it was something tangible that visitors could really investigate close up – without touching, of course. It’s a great example of a research-based design, done by a female architect who apparently didn’t actually cook. It’s a practical, efficient kitchen which would meet the needs of ordinary people, and has influenced kitchen design today. An awful lot was crammed into a small space, but she managed to display clean lines with no feeling of clutter. Though the kitchen dates from the 1900s, I’d be happy to cook in such a kitchen today. There are some lovely refinements such as the double sink, a raised drainage shelf, aluminium storage drawers, plentiful other storage, and good workspace. Many elements are still sought-after in today’s fitted kitchens. It just shows there’s nothing new under the sun! Karen Davies, 67, France
