A gallery in frame as much as the artwork on display

First impressions before seeing the work of Impressionists.

The taxi dropped me off at the sun-baked car park after we had passed roadside signs proclaiming "Let the light in". The car park was nondescript, albeit with freshly painted markings leading to a 40-meter path. This led, indirectly and involving a security guard's directions "next left, first right", to the refreshing cool of the Louvre Abu Dhabi (LAD).

When I visited in November it had been open for just a few days and few teething problems were apparent. Admission cost 60 UAE dirhams (about $16) but the friendliness and willing-to-chat-attitude by those issuing tickets was at odds with the need to deal with the ever-growing line behind me seeking admittance.

From outside, the domed shaped roof, a mesh of steel and aluminum weighing 7,000 tons, (the same weight as the Eiffel Tower) reminded of me of a turtle but inside, underneath it and its 7,850 star-shaped windows intended to create what French architect Jean Nouvel described as a "rain of light", it was entrancing.

Let the light in? It did in ways that made the cascading sunlight dance as if in a fairytale. The gulf light can be harsh, but here it was transformed into a soothing benison.

I have feasted my eyes on the offerings in Beijing galleries and art spaces. I have been inspired, amazed, intrigued. But here's the rub. The items that always caught my attention were hanging from the walls, or showcased in illuminated glass containers. I had never viewed the space or gallery as a work of art in its own right.    

At the LAD I could barely keep my eyes off the ceiling dotted with natural illuminations even though what was on offer deserved rapt attention.

In the first 20 minutes, I admired a self-portrait of Van Gogh, Monet's 1877 painting of the Saint-Lazare railroad station, the Card Players by Cezanne and Napoleon himself—  imperious upon a white rearing horse as he crossed the Alps, by Jacques-Louis David. And then, almost bizarrely, the sound of…water. The azure gulf tide was gingerly lapping against the outside walls, creating a strangely comforting ambience.

The finished product looks good but not all went to plan. There were five years of construction delays and technical challenges to build the estimated $650m flagship on Saadiyat Island, situated on a lagoon near the capital city of the UAE.

French museums and institutions shipped 300 artworks to the LAD last year, from Leonardo da Vinci's portrait La Belle Ferronnière to massive marble nymphs from Versailles. French museum experts are also advising on what to acquire and organizing temporary exhibitions for up to 15 years.

The LAD was the fruit of a 2007 agreement between France and the United Arab Emirates. The UAE is allowed lease the iconic Louvre brand for $467 million for more than 30 years. Eventually it will pay a total of€974m for French expertise, guidance and loans.

A lot of money for your Monet, you might say. But the essence of what is being aimed for should also be appreciated. Getting art out to the public, taking the masterpieces to them, showing the world the glories of international culture, is a worthy ideal.

And then the café. White, pristine, overlooking the water. But queuing for a coffee and sandwich was to prove a less than fulfilling experience. The sandwiches were hidden at the back of shelves and it was difficult to see what they contained. Having got so much else right, it was the one design flaw in the whole building.