At this museum, no one will shush you, and you can touch the objects

LONDON (AP) — A museum is like an iceberg. Most of it is out of sight.

Most big collections have only a fraction of their items on display, with the rest locked away in storage. But not at the new V&A East Storehouse, where London’s Victoria and Albert Museum has opened up its storerooms for visitors to view — and in many cases touch — the items within.

The 16,000-square-meter (170,000-square-foot) building, bigger than 30 basketball courts, holds more than 250,000 objects, 350,000 books and 1,000 archives. Wandering its huge, three-story collections hall feels like a trip to IKEA, but with treasures at every turn.

The V&A is Britain’s national museum of design, performance and applied arts, and the storehouse holds aisle after aisle of open shelves lined with everything from ancient Egyptian shoes to Roman pottery, ancient Indian sculptures, Japanese armor, Modernist furniture, a Piaggio scooter and a brightly painted garbage can from the Glastonbury Festival.

“It’s 5,000 years of creativity,” said Kate Parsons, the museum’s director of collection care and access. It took more than a year, and 379 truckloads, to move the objects from the museum’s former storage facility in west London to the new site.

In the museum’s biggest innovation, anyone can book a one-on-one appointment with any object, from a Vivienne Westwood mohair sweater to a tiny Japanese netsuke figurine. Most of the items can even be handled, with exceptions for hazardous materials, such as Victorian wallpaper that contains arsenic.

The Order an Object service offers “a behind-the-scenes, very personal, close interaction” with the collection, Parsons said as she showed off one of the most requested items so far: a 1954 pink silk taffeta Balenciaga evening gown. Nearby in one of the study rooms were a Bob Mackie-designed military tunic worn by Elton John on his 1981 world tour and two silk kimonos laid out ready for a visit.

Parsons said there has been “a phenomenal response” from the public since the building opened at the end of May. Visitors have ranged from people seeking inspiration for their weddings to art students and “someone last week who was using equipment to measure the thread count of an 1850 dress.” She says strangers who have come to view different objects often strike up conversations.

“It’s just wonderful,” Parsons said. “You never quite know. … We have this entirely new concept and of course we hope and we believe and we do audience research and we think that people are going to come. But until they actually did, and came through the doors, we didn’t know.”

The V&A’s flagship museum in London’s affluent South Kensington district, founded in the 1850s, is one of Britain’s biggest tourist attractions. The Storehouse is across town in the Olympic Park, a post-industrial swath of east London that hosted the 2012 summer games.

As part of post-Olympic regeneration, the area is now home to a new cultural quarter that includes arts and fashion colleges, a dance theater and another V&A branch, due to open next year. The Storehouse has hired dozens of young people recruited from the surrounding area, which includes some of London’s most deprived districts.

Designed by Diller, Scofidio and Renfro, the firm behind New York’s High Line park, the building has space to show off objects too big to have been displayed very often before, including a 17th-century Mughal colonnade from India, a 1930s modernist office designed by Frank Lloyd Wright and a Pablo Picasso-designed stage curtain for a 1924 ballet, some 10 meters (more than 30 feet) high.

Also on a monumental scale are large chunks of vanished buildings, including a gilded 15th-century ceiling from the Torrijos Palace in Spain and a slab of the concrete façade of Robin Hood Gardens, a demolished London housing estate.

Not a hushed temple of art, this is a working facility. Conversation is encouraged and forklifts beep in the background. Workers are finishing the David Bowie Center, a home for the late London-born musician’s archive of costumes, musical instruments, letters, lyrics and photos that is due to open at the Storehouse in September.

One aim of the Storehouse is to expose the museum’s inner workings, through displays delving into all aspects of the conservators’ job – from the eternal battle against insects to the numbering system for museum contents — and a viewing gallery to watch staff at work.

The increased openness comes as museums in the U.K. are under increasing scrutiny over the origins of their collections. They face pressure to return objects acquired in sometimes contested circumstances during the days of the British Empire

Senior curator Georgia Haseldine said the V&A is adopting a policy of transparency, “so that we can talk very openly about where things have come from, how they ended up in the V&A’s collection, and also make sure that researchers, as well as local people and people visiting from all around the world, have free and equitable access to these objects.

“On average, museums have one to five percent of their collections on show,” she said. “What we’re doing here is saying, ‘No, this whole collection belongs to all of us. This is a national collection and you should have access to it.’ That is our fundamental principle.”

Religious artefacts on display at the V&A Storehouse in London, Thursday, June 5, 2025. (AP Photo/Joanna Chan)

Le Train Bleu, a theatre front cloth painted by Prince Alexander Schervashidze, which is based on Pablo Picasso's "The two women running along the beach", on display at the V&A Storehouse in London, Thursday, June 5, 2025. (AP Photo/Joanna Chan)

Kate Parsons, Director of Collections Care and Access, shows a costume worn by Elton John on his 1981 world tour, at the V&A Storehouse in London, Thursday, June 5, 2025, the jacket was designed by Bob Mackie. (AP Photo/Joanna Chan)

Kate Parsons, Director of Collections Care and Access, shows a dress designed and made by Cristóbal Balenciag in 1954, at the V&A Storehouse in London, Thursday, June 5, 2025. (AP Photo/Joanna Chan)

A general view of the V&A Storehouse in London, Thursday, June 5, 2025. (AP Photo/Joanna Chan)

ST. LOUIS (AP) — World champions Ilia Malinin and the ice dance duo of Madison Chock and Evan Bates will anchor one of the strongest U.S. Figure Skating teams in history when they head to Italy for the Milan Cortina Olympics in less than a month.

Malinin, fresh off his fourth straight national title, will be the prohibitive favorite to follow in the footsteps of Nathan Chen by delivering another men's gold medal for the American squad when he steps on the ice at the Milano Ice Skating Arena.

Chock and Bates, who won their record-setting seventh U.S. title Saturday night, also will be among the Olympic favorites, as will world champion Alysa Liu and women's teammate Amber Glenn, fresh off her third consecutive national title.

U.S. Figure Skating announced its full squad of 16 athletes for the Winter Games during a made-for-TV celebration Sunday.

"I'm just so excited for the Olympic spirit, the Olympic environment," Malinin said. “Hopefully go for that Olympic gold.”

Malinin will be joined on the men's side by Andrew Torgashev, the all-or-nothing 24-year-old from Coral Springs, Florida, and Maxim Naumov, the 24-year-old from Simsbury, Connecticut, who fulfilled the hopes of his late parents by making the Olympic team.

Vadim Naumov and Evgenia Shishkova were returning from a talent camp in Kansas when their American Airlines flight collided with a military helicopter and crashed into the icy Potomac River in January 2025. One of the last conversations they had with their son was about what it would take for him to follow in their footsteps by becoming an Olympian.

“We absolutely did it,” Naumov said. “Every day, year after year, we talked about the Olympics. It means so much in our family. It's what I've been thinking about since I was 5 years old, before I even know what to think. I can't put this into words.”

Chock and Bates helped the Americans win team gold at the Beijing Games four years ago, but they finished fourth — one spot out of the medals — in the ice dance competition. They have hardly finished anywhere but first in the years since, winning three consecutive world championships and the gold medal at three straight Grand Prix Finals.

U.S. silver medalists Emilea Zingas and Vadym Kolesnik also made the dance team, as did the Canadian-born Christina Carreira, who became eligible for the Olympics in November when her American citizenship came through, and Anthony Ponomarenko.

Liu was picked for her second Olympic team after briefly retiring following the Beijing Games. She had been burned out by years of practice and competing, but stepping away seemed to rejuvenate the 20-year-old from Clovis, California, and she returned to win the first world title by an American since Kimmie Meissner stood atop the podium two decades ago.

Now, the avant-garde Liu will be trying to help the U.S. win its first women's medal since Sasha Cohen in Turin in 2006, and perhaps the first gold medal since Sarah Hughes triumphed four years earlier at the Salt Lake City Games.

Her biggest competition, besides a powerful Japanese contingent, could come from her own teammates: Glenn, a first-time Olympian, has been nearly unbeatable the past two years, while 18-year-old Isabeau Levito is a former world silver medalist.

"This was my goal and my dream and it just feels so special that it came true,” said Levito, whose mother is originally from Milan.

The two pairs spots went to Ellie Kam and Danny O'Shea, the U.S. silver medalists, and the team of Emily Chan and Spencer Howe.

The top American pairs team, two-time reigning U.S. champions Alisa Efimova and Misha Mitrofanov, were hoping that the Finnish-born Efimova would get her citizenship approved in time to compete in Italy. But despite efforts by the Skating Club of Boston, where they train, and the help of their U.S. senators, she did not receive her passport by the selection deadline.

“The importance and magnitude of selecting an Olympic team is one of the most important milestones in an athlete's life,” U.S. Figure Skating CEO Matt Farrell said, "and it has such an impact, and while there are sometimes rules, there is also a human element to this that we really have to take into account as we make decisions and what's best going forward from a selection process.

“Sometimes these aren't easy," Farrell said, “and this is not the fun part.”

The fun is just beginning, though, for the 16 athletes picked for the powerful American team.

AP Olympics: https://apnews.com/hub/milan-cortina-2026-winter-olympics

Amber Glenn competes during the women's free skating competition at the U.S. Figure Skating Championships, Friday, Jan. 9, 2026, in St. Louis. (AP Photo/Stephanie Scarbrough)

Alysa Liu skates during the "Making Team USA" performance at the U.S. Figure Skating Championships, Sunday, Jan. 11, 2026, in St. Louis. (AP Photo/Stephanie Scarbrough)

Maxim Naumov skates during the "Making Team USA" performance at the U.S. Figure Skating Championships, Sunday, Jan. 11, 2026, in St. Louis. (AP Photo/Stephanie Scarbrough)

Madison Chock and Evan Bates skate during the "Making the Team" performance at the U.S. Figure Skating Championships, Sunday, Jan. 11, 2026, in St. Louis. (AP Photo/Stephanie Scarbrough)

Gold medalist Ilia Malinin arrives for the metal ceremony after the men's free skate competition at the U.S. Figure Skating Championships, Saturday, Jan. 10, 2026, in St. Louis. (AP Photo/Jeff Roberson)