WORDS Jo Buitendach PHOTOS Nicholas Calcott/MillerKnoll, Hufton+Crow, Kemka Ajoku/V&A, Thomas Dix/© Vitra Design Museum, Mark Niedermann/© Vitra Design Museum, Julien Lanoo/© Vitra Design Museum

Dusty corridors, dim lighting, do-not-touch signs… That’s old-school. Today’s museums are rethinking the script – focusing less on hushed reverence, and more on hands-on experience, interactivity and greater public access.

Most major institutions display less than 10% of their collections, with the rest kept in storage. The British Museum in London, for example, holds about eight-million objects but shows just 80 000 at a time – only 1%! But things are changing: a new wave of museum design is throwing open the collection doors and inviting the public in for a closer look.

In May 2025, the V&A East Storehouse launched in London’s Queen Elizabeth Olympic Park. Part of the V&A – a family of institutions dedicated to the power of creativity – this public-facing facility reimagines what a museum can be. Designed by acclaimed architects Diller Scofidio + Renfro, it’s both a working collection and an open invitation: for the first time, visitors can access hundreds of thousands of objects that were once hidden away. Through the V&A’s radical new Order an Object service, anyone can book to view any item in the collection – free of charge, seven days a week.

“V&A East Storehouse is a completely new cultural experience – a backstage pass to the V&A,” says Tim Reeve, deputy director and COO of the Victoria and Albert Museum. “It transforms the way people access the V&A’s national collections on a scale unimaginable until now.”

From ancient Egyptian shoes and avant-garde couture, to 14th-century paintings, vintage band T-shirts and Mid-century furniture, the Storehouse spans nearly every creative discipline. Its vast four-level interior houses more than 250 000 objects, 350 000 books and 1 000 archives.

Visitors entering the central Weston Collections Hall are surrounded by a striking cross-section of the museum’s holdings. More than 100 curated mini-displays are cleverly embedded into the ends and sides of the storage racks, allowing guests to chart their own path through the collection. Highlights range from ancient Buddhist sculptures to PJ Harvey’s guitar, Vivien Leigh’s costumes, Glastonbury memorabilia, suffragette scarves, vintage football shirts, and Thomas Heatherwick’s model for the 2012 Olympic Cauldron. Six large-scale centrepieces anchor the space, including the 1930s “Kaufmann office” by Frank Lloyd Wright – the only complete Wright interior outside of the US – and a section of the now-demolished Robin Hood Gardens estate in East London. | vam.ac.uk

It’s not just public museums embracing this open-access trend. In June 2025, MillerKnoll Archives – created by the design collective formed by Herman Miller and Knoll – opened at the company’s Michigan Design Yard HQ. Bringing together the legacy of both brands, the archive offers a rare window into the evolution of modern furniture and design culture. Think the Eames lounge chair, the Noguchi low table, the Wassily chair by Marcel Breuer, and the Barcelona chair by Lilly Reich and Mies van der Rohe. “It’s been the opportunity of a lifetime to unite our shared history and preserve our culture of innovation, ensuring that these design legacies remain accessible for generations to come,” says Amy Auscherman, director of archives and brand heritage.

The archives are divided into three public-facing zones: an exhibition area, a reading room for researchers and design professionals, and a standout open storage section. Here, more than 300 pieces of modern furniture are on view, from early Knoll and Herman Miller classics to contemporary designs by brands such as NaughtOne, Geiger and HAY. Notable pieces include a prototype of the Knoll Womb chair (gift ed by Eero Saarinen to his mother), early office furniture by Florence Knoll, Gilbert Rohde’s 1933 World’s Fair designs and sculptural lighting by Isamu Noguchi. Complementing the furniture, wall- mounted racks showcase graphic design treasures – from Eames photography to George Nelson ads, and posters by Lella and Massimo Vignelli – telling a visual story of modern design’s influence. | millerknoll.com

MillerKnoll isn’t the only design giant opening its collection to the public. Swiss furniture company Vitra – known for its Mid-century Modern icons and designer collaborations – has long embraced this approach. On the Vitra campus in Weil am Rhein, Germany, two key institutions bring its design heritage to life.

The Vitra Design Museum, designed by Frank Gehry and opened in 1989, was one of the first major institutions of its kind. In 2016, it was joined by the Vitra Schaudepot, a purpose-built museum depot designed by Herzog & de Meuron. The Schaudepot is one of the world’s largest permanent exhibitions of modern furniture, with more than 400 pieces from the 1800s to today on display – including early Bentwood chairs; classics by Le Corbusier, Alvar Aalto and Gerrit Rietveld; as well as various experimental prototypes, anonymous designs and contemporary 3D-printed works.

Far from being a static archive, the Schaudepot is both a research hub and a living showcase, offering visitors a glimpse into the evolution of form, function and design thinking. | design-museum.de

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Facilitated by local design team Clout/SA and Nando’s, three up-and-coming designers have given the Old Fort meeting rooms and coffee shop in the historical Constitution Hill in the heart of Braamfontein, a bright and creative facelift.

The former prison and military fort serves as a living museum and exhibition/event space and houses the South African Constitutional Court. The young designers have reimagined the spaces into vibrant areas that reflect the many iterations, heritage and history of the space. Former president Nelson Mandela, Mahatma Gandhi, Joe Slovo, Albertina Sisulu, Winnie Madikizela-Mandela, and Fatima Meer all served time at Constitution Hill.

The Old fort Meeting Rooms and Coffee shop now house local designs from some of SA’s most innovative young designers. “The Meeting Rooms present an opportunity to incorporate the particular aesthetic of South African design, artistic culture and visual language into the rich tapestry of history at Constitutional Hill. This is also a unique opportunity to develop and grow emerging interior designers that have a strong connection to heritage, and the ability to create sensory experiences,” says Tracy Lee Lynch, creative director of Clout/SA and the Nando’s Design Programme. 

Funded by local restaurant chain Nando’s, Tracy nominated three designers to present a pitch on the redesign. Afri Modern founder Sifiso Shange, Pinda Furniture and Interior Design founder Siyanda Mbele, and Renaissance Design founder, Glorinah Khutso Mabaso (who invited Omni Design’s Nelson Kubheka to collaborate with her on the pitch) were all asked to put forward their concepts for consideration. 

“These selected designers speak a language of rebirth and transformation. They have found new ways of expressing our South African heritage, of making creative connections and building community. Storytelling, art and design are their chosen tools,” Lynch explains.

Visitors to Constitutional Hill can now visit these dynamic new interior spaces for themselves.

For more information visit clout-sadesign.co.za and constitutionhill.org.za.

Looking for more on local design? Take a read our Q&A with Ethos’ interior architect Giorgio Tatsakis.

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The Home Is Where The Art Is: Art Is Where The Home Is exhibition marks the reopening of the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) on 22 October 2020, after several months of closure due to lockdown.

The museum is encouraging people from across Cape Town to submit their work, a unique opportunity that allows residents to be part of the museum, not just as visitors but as participants, too.

Koyo Kouoh, Executive Director and Chief Curator at Zeitz MOCAA, says, “Since our inception, Capetonians have supported our young institution. This exhibition, which is unprecedented for a major museum, is our way of thanking everyone for their support. It is an invitation to be part of the museum’s ongoing success, particularly as we reopen after a challenging period. It is also an opportunity to celebrate the strength, unity and spirit of individuals throughout this difficult time.”

The open call welcomes artists at every level, working in any medium, as well as collectors, to submit work that they have created during the lockdown period within five categories. Parents with young children who are budding artists are welcome to enter under “Young Artist in Residence”. Other categories include “Homemade Gems”, geared towards hobby artists, while full-time, professional artists fall under the “Professional Practise” group. The category “Local Loves” is dedicated to artworks from artists across the continent. Lastly, those gifted artworks from loved ones can enter under the category “With Love From Gogo”.

There is a two-step submission process, with an online entry period ending today (5 October 2020), after which works can be dropped off between 6 and 11 October 2020 at various locations across the city, namely Tygerberg Art Centre in Parow, PJ Olivier Art School in Stellenbosch, Langa’s Soha Gallery, Isivivana Centre in Khayelitsha, Muizenberg’s Casa Labia Cultural Centre, Lalela Project in Hout Bay and Zeitz MOCAA at the V&A Waterfront.

The entry process is free and successful participants will receive a three-month pass to the museum, in addition to having their work exhibited.

“Cape Town is a city with people from all walks of life, nationalities and backgrounds,” says Kouoh. “We are delighted to open our doors to the people of Cape Town and invite them to bring their art home to Zeitz MOCAA.”

A series of public programmes will take place during the exhibition and run until 10 January 2021.

To submit online by 5 October 2020, email submissions@zeitzmocaa.museum. For more information, visit Zeitz MOCAA’s website or call 087 350 4777.

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While many local and international galleries and museums have had to temporarily close in the midst of the COVID-19 pandemic, you can still find artistic inspiration online.

Take the Norval Foundation in Cape Town, for example. You can take a virtual tour of this art centre and sculpture garden here, as well as view previous exhibitions on its YouTube channel, which the gallery is currently updating on a daily basis (follow @norvalfoundation on Instagram to keep up to date).

Thanks to Google Arts and Culture, you can take virtual tours through a number of international art museums, from the Guggenheim in New York City to Musée d’Orsay in Paris. You can also view full collections online, go inside artist’s studios in 360°, and tour amazing spaces, like the Sydney Opera House, and so much more.

Here are just some of the many virtual experiences you can explore online:

Explore more at artsandculture.google.com.

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Local artist Ruby Swinney talks to VISI about her latest show at Zeitz MOCAA and what inspires her emotive artworks.

Tell us a bit about yourself.

I live in Cape Town and work full time as a practicing artist. I work out of a studio in Paarden Eiland. I graduated from Michaelis School of Fine Art in 2015. I was fortunate that Zeitz MOCAA bought my graduate show Half Light, and has been collecting my work ever since. My first museum solo show, Human Nature, will be coming to an end on 31 October 2018.

How did you come up with the concept for Human Nature?

Julia Kabat, who works at Zeitz MOCAA, curated the show. It reflects her conceptual, as well as her curatorial, ideas. The overall concept stems from the main themes she saw in my work. Human Nature is a broad term that encompasses many ideas that I explore in my practice.

What inspires your work?

I find inspiration in almost everything that I see in my direct environment. I also find inspiration in literature, music, art history and seeing what other artists are doing. I recently did a residency in Sicily and took the opportunity to travel to many museums and galleries throughout Portugal, Italy, France and Spain. I have a fascination with observing people interacting with public spaces, so I went with a particular focus on visiting botanical gardens and parks. I’ve built up a substantial collection of source material from that trip, much of which has informed my recent work, most noticeably in Red Garden, which is in the last room of Human Nature at Zeitz MOCAA.

What mediums do you use?

I mainly work with oil paint on translucent media, such as tracing paper, silk, perspex, as well as with projections. I’m interested in the qualities of light and luminosity primarily. I also make prints and installation works. I studied music as well as art, which is another avenue I plan to explore in my work in the future.

Prosaic Ritual of Youth

What process do you follow when creating your artworks?

I am usually drawn to a specific image, or I will photograph something that particularly interests me. I sometimes use Photoshop or manipulate the image while I am painting. I paint in a reductive way – I often remove paint to allow light to shine through instead of using white paint or opaque pigments.

Are there any local illustrators / artists on your radar at the moment?

South Africa has so many brilliant artists, but I particularly look to local women artists like Marlene Dumas, Jane Alexander, Penny Siopis, Sanell Aggenbach, Lisa Brice, Zanele Muholi and Nandipha Mntambo. Painters like Kate Gottgens and Georgina Gratrix are constantly making inspiring work. Wim Botha is also a huge inspiration, and his current show at the Norval Foundation is outstanding. Many of my peers who studied with me are making exciting new work. Michaela Younge, who shows with SMITH Studio makes incredible pieces from felt; Simphiwe Ndzube, who’s currently living in Los Angeles, combines installation, sculpture and painting in a unique, new way. I don’t know a lot about the illustration side of things but I love Tyla Mason’s illustrations.

What feeling are you trying to evoke through your pieces?

I’m trying to evoke a space of introspection. It takes time to take in the details and the full painting. Like an altarpiece in a cathedral, I want people to be able to enter into another psychological and emotional space in front of my work.

Mystery of Faith

Any exciting plans for the future?

I have a couple of shows planned. I will be exhibiting at a group show in Amsterdam, and am working towards my next solo with my gallery WHATIFTHEWORLD next year.

See more of Ruby’s work at whatiftheworld.com.

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Sneaker brand Vans has teamed up with Amsterdam’s prestigious Van Gogh Museum on a range of Van Gogh-inspired shoes and apparel.

The design of the sneakers feature some of the artist’s most renowned works, including Sunflowers, Skull and Almond Blossoms, as well as imagery of his handwritten letters. The collection features the iconic Vans silhouette sneaker, slip-on sneaker and high-tops, as well as a hoodie, T-shirts, bomber jacket, cap, backpack and sweatshirt.

Adriaan Dönszelmann, Managing Director of the Van Gogh Museum, says, “We are delighted with the Vans x Van Gogh Museum collection, as it ties in with our mission to make the life and work of Vincent van Gogh accessible to as many people as possible in order to enrich and inspire them.”

A portion of the profits will be put towards preserving the museum’s extensive Van Gogh collection.

For more information, visit vans.com.

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Miami-based artist Jason Seife, previously featured here, paints intricate and ornate patterns normally seen on traditional Persian rugs.

Persian rugs are distinguished by each rug’s palette, style and pattern, representing various tribes in separate geographical locations. He uses the same geometric symmetry found in centuries-old designs, adding his own twist by changing the colours of the acrylic paint and ink with each piece.

Jason was drawn to the imagery and rich history behind the patterns and emulates it by having each piece reflect his thought process. The tones he uses aren’t traditionally associated with heavy textiles, instead they exhibit a personal flair, reflecting his mood and state of mind.

(h/t) thisiscolossal.com

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WORDS Lindi Brownell Meiring PRODUCTION Sumien Brink PHOTOS Micky Hoyle

“Today is the most important launch moment that my studio has ever had – and we’ve been going for 23 years.”

This, a statement from lead architect Thomas Heatherwick of renowned London-based architecture firm Heatherwick Studio as he introduces us to the monumental space that is the Zeitz Museum of Contemporary Art Africa.

In fact, it is the first time that Thomas has seen the completed project since he got involved with it more than 12 years ago, and it is more powerful in reality than even he could have imagined.

To retain the texture, heritage and soul of the 96-year-old building, it was important for Thomas to make use of as much of the original concrete as possible. It is the iconic tubular exterior that initially draws you in, but it is the colossal inner atrium that takes your breath away. Crafted by sculptors alongside contractors and engineers, it is a work of art in itself. It is a literal reminder of the building’s agricultural history: A grain of corn found in one of the silos was digitally scanned and enlarged to 10-storey scale, and then cut out of the centre of the structure (explore 11 of the world’s most architecturally striking museums to see how innovative design continues to shape cultural spaces globally).

Making the heart of the building as iconic as the facade was something that Heatherwick Studio, along with the local architects who worked on the project, considered imperative.

“I tried to imagine a person experiencing a place,” says Thomas. “We wanted something that, when you come in, would be unlike anywhere else in the world and you have a moment when you think, ‘How did they make that?’ You can’t just contract that and you can’t just assemble that. That is sculpted.”

Shooting off from the atrium are nine floors featuring 80 individual gallery spaces, a combination of the old and the new, of white cubes and silo concrete, of traditional gallery space and disrupted space, of narrow corridors and display walls reaching 9 m high.

The museum is divided into centres for photography, costume, the moving image, art education, curatorial studies and performative practice. It will open with 14 exhibitions, including solos by award-winning South African artist Nandipha Mntambo and well known Zimbabwean activist artist Kudzanai Chiurai, alongside the museum’s permanent collections, which include work by artists such as Mohau Modisakeng, Zanele Muholi, Thania Petersen and Athi-Patra Ruga.

The museum will be run by a diverse team of more than 35 curators from across the continent.

Jochen Zeitz, who co-chairs the MOCAA Foundation Board of Trustees with David Green, never wanted to be a collector without a purpose, and always intended to find a home in Africa for his art collection. Whereas the museum’s team of curators will be wholly responsible for the ongoing acquisition of new works, the Zeitz collection now forms part of the museum’s offering.

“The reason for the museum,” says Jochen, “is so that Africa and the artists here define its own narrative. I think it is important that the purpose of this museum is to really be a platform where artists from Africa tell their story, and where curators on this continent and the diaspora curate the shows the way they see it. Art should no longer be the viewpoint of outside in, but rather inside out.”

Integral to the museum’s mission is making sure the people of Africa have access to art created by African artists. Thus, entrance to the museum will be free on Wednesdays and public holidays to African citizens, and every day to those under the age of 18. The single day entrance fee will otherwise be R180 and half-price on Fridays. | heatherwick.com | zeitzmocaa.museum

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Architect Philip Johnson and art critic and curator David Whitney, who both passed away in 2005, housed their extensive art collection in The Glass House, an architectural gem in Connecticut in the USA, which was initially built to function as the couple’s home.

In this clip, artist Julian Schnabel, whose work forms a significant part of the collection (in fact, he is the second most represented artist in the collection) takes us through the space.

With its 360-degree glass windows, the house, which was built between 1949 and 1995, manages to blend in effortlessly with its leafy surroundings.

Julian describes the space as “meditative and functional”, featuring an underground bunker that is made up of a series of modular walls that allow the art on view to be changed simply by pushing the wall in the opposite direction.

The Glass House is now a museum. For more information, visit theglasshouse.org.

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In the latest issue of VISI (VISI 89), we chat to esteemed Ghanaian-British architect Sir David Adjaye of Adjaye Associates to find out more about his first major project in Southern Africa, Hallmark House. You’ll find everything you need to know about this exciting endeavour on page 140.

We also wanted to find out more about one of 2016’s most talked about architectural projects, namely the $540 million Smithsonian National Museum of African American History and Culture in Washington, DC, which was headed up by Adjaye Associates. Below, Sir David talks us through this design, as well as what we can expect next from this renowned firm.

The Smithsonian National Museum of African American History and Culture recently opened its doors to the public. What message did you want to bring across in the design of this important, iconic building?

It has been a real honour to be involved in the creation of this monumental building on Washington D.C.’s historic National Mall. My hope is that the museum will transcend the uneasy fact of racial tension through an open exploration of history, culture and society – thereby addressing profound aspects of the human condition and the positive value inherent in creating a forum for multiple interpretations of America’s history and demography – however uncomfortable those may be.

Which one of your projects across the globe are you most proud of, and why?

The Smithsonian National Museum for African American History and Culture is certainly a career-defining project – but they are all memorable. Each one of my projects is part of a curve – a critical piece of a narrative that is still unfolding. It’s exciting to me to be at a stage in my career where I have built enough work to be able to allow these themes to begin to reveal themselves. In fact, my most recent book – Constructed Narratives – is very much about drawing out the through-lines in my work.

What can we look forward to seeing next from Adjaye Associates?

We have a very exciting portfolio of ongoing work across the globe at the moment. We’re designing the new Latvian Museum of Contemporary Art in Riga and a new headquarters for the International Finance Corporation in Dakar. In the States, we’re working on a new home for the Studio Museum in Harlem and our first urban masterplan in San Francisco. And in London we have two mixed-use developments, one in Piccadilly and the other adjacent to Trafalgar Square.

View more projects at adjaye.com. Read the full interview with Sir David Adjaye on page 140 of our Autumn Issue (VISI 89).

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