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Galleries of Light

Inside, the galleries sing. On the first floor their individual forms are not readable, while on the second floor each gallery space ceiling conforms to the shape of the "house." These galleries are beautifully lit, and a clever sectional design allows natural light to flood the galleries from above on both the first and second floors. The natural light can be modulated with shades so that all illumination is completely shut out.

By far the most memorable space in Safdie's stunning new museum is the courtyard piazza, filled with light from its curved glass roof. The floor is clad in small, delicately scaled, pale-pink granite pavers, flame-finished to suggest a cobble-stone street.

From here, one can look south and see the museum's newest, rarest acquisition: a complete, late-Qing Dynasty Chinese merchant's house. In mid-design Safdie modified his plan to accommodate the two-story structure, now sited adjacent to the interior courtyard. Or, you can look north and west to glimpse the renovated galleries that now feed into the piazza.

Maybe best of all, just look straight up in wonder at the billowing, gently curved canvas shades high above your head, layered like cumulus clouds on an Atlantic horizon, or the topsails of a clipper ship from two centuries ago, bound for Salem with some of the finest works of art and handcraft Asia could offer. Time and space are connected and transcended.

Michael J. Crosbie is editor-in-chief of Faith & Form, a senior associate with Steven Winter Associates, and a contributing editor to ArchitectureWeek.

The new addition to the Peabody Essex Museum by Moshe Safdie. Photo: © Peabody Essex Museum The red brick and chocolaty sandstone for the banding came from Great Britain. Photo: © Peabody Essex Museum A gently curving spine organizes the museum's new addition. Photo: © Peabody Essex Museum The museum houses contemporary as well as ancient art. Photo: © Timothy Hursley   Click on thumbnail images to view full-size pictures.