Teacher, poet, mad scientist, designer, architect…KA Magazine’s Best of Canada 2010 Designer Michael Joannidis is that rare bird that is all of the above. If this interview alone doesn’t fully convince you as to why he is definitely the one to watch, then time will do the job nicely. We invite you to take a look at his website and see for yourself, we had wished to preview some of Michaels’ projects in this issue of KA, but due to time restrictions, we were unable to — so please be our guest visit his site www.studiojoannidis.com

KA — How much does luck influence your career, good or “bad”?

MJ — When I was younger (and much more naive or is that idealistic?), I used to think that it had nothing to do with luck and everything to do with talent and hard work – that I was in total control of what happened to me, my career, any- thing I touched or had a say in. Today, after all those years and countless surreal experiences; I would tell you that at the end of the day, it has nothing-to-do-with- nothing…and everything to do with “something” that for the most part, cannot otherwise be articulated, defined or pinpointed. So if what you mean by ‘luck’ is what I refer to as that ‘something’, then yes, most definitely…luck has had and continues to have absolute influence over my career (and life).

KA — Luck is considered to be “opportunity meets preparedness”… Do you think that this is a good explanation of success, and in the time between that lucky moment, how do you suppose the best way of coping would be?

MJ — Yeah, I’d say that’s about right (coincidently, it’s the same definition that I use)…The best way I found is to never, ever panic…lose hope, blame something or someone – what I do is basically enter into ‘screen-saver’ mode…the lights are off but someone is definitely home, so to speak. I simply conserve my energy in the absence of stimuli. Just like a Nile croc, floating effortlessly, using the water for buoyancy…I lay in patient and calculated-wait, for that next lucky moment to present itself.

KA — There is a saying that if you are the best at what you do, then the rewards are in the doing. Are you rewarded by the creation itself, or is there more to it than the joy of the art?

MJ — For the most part, the reward is most definitely in the creation itself… but, when that feeling of elation and euphoria evaporates (and it usually does after every endeavour) just like an addiction, I find myself searching for that next high. From a pragmatic perspective though, the more mature (both in craft and in years) I become, I find myself trying to find more & more meaning to what it is that I do…including, trying to draw on that ‘perfect’ balance between sacrifice and pay-off…investment vs. return. Because sometimes, ‘the joy of the art’ alone is usually accompanied by a very high personal cost – Often replacing other nec- essary elements, which are otherwise critical to a well-balanced life.

KA — Your work is extremely meticulous, even to the point of genius. How do you let go of your work once it is done?

MJ — When I was sculpting and doing one-offs (furniture & lighting), I found it very difficult to ‘let go’ once I was done. I would work incredibly hard towards a show, invitations would go out, guests would start to trickle into the gallery, people would express interest in buying & I would respond by; ‘sorry, it’s not for sale’. This lasted for quite some time…up until I realized that is, that if I didn’t sell (and soon) I would end up in line at a soup kitchen. I recall this feeling of abso- lute anxiety and sheer primal fear that would always come over me every time I would complete a piece, triggering the question if I would ever be able to do it again or perhaps even surpass that piece. The process was quite consuming and rather insular…it was just me, myself & I (along with the work) – from concep- tion to fabrication, and from installation to photography, it was pretty much all consuming. But with interiors and or architecture, the process takes on more of a collective propulsion…(all the effort is still there, but) my input is but a single stop in an otherwise long series of interventions & exchange with others. Kinda like the making of a pearl, it might start with a grain of sand and a shelled mollusk but it ends with a retailer in the form of a commercial product, intended to be used by others. (However, unlike the fate of a mollusk) I move on…and embark on yet another commission, (like the circle of life) and the whole thing starts all over again.

KA — What was the most satisfying project that you were involved in?

MJ — At the risk of sounding really clichéd (and possibly even lame)…every single project that I have ever undertaken has been incredibly rewarding. Just like relationships (or love affairs) throughout the course of one’s life, despite all the variations, types and turmoil, either we choose to remember the bad and the painful or we consciously opt to contextualize all the ‘ugliness’ and simply to chalk it up to experience, smile, move on and look forward to falling in love all over again. The most satisfying project I suppose is yet to come.

KA — What makes a project “satisfying”?

MJ — A satisfying project is one that tackles and overcomes ridiculously impos- sible constraints and unrealistic expectations. It’s about being able to bring a project in on budget and on time…regardless of mandate and whilst remaining ‘true’ to your (professional) integrity and not compromising either your own vi- sion or that of the client’s. I’m not interested in that easy victory. I love to continu- ously test my limits…to raise the bar every single time. I believe that’s how one grows, discovers and ultimately secures their confidence into trying yet another greater challenge the next time. Since attitude is a product of experience. So I don’t know, either I’m simply a thrill-junkie or just a glutton for absolute pain.

No matter, I love what I do (for the most part) and it gives me tremendous satisfaction and unconditional reward. I’m pretty fortunate however in that I am able to choose my projects and with that, I’m able to tell (or at least for the most part) if the outcome will be satisfying or not. Design for me is not about how many square feet you’ve designed last year or how many hollowed hours you’ve billed for or how much you invoiced in the last quarter – if it were, I’d surely be doing some- thing else.

Dostoevsky once wrote; “Deprived of meaningful work, men lose their rea- son for existence; they go stark, raving mad.”

KA — What would be your dream contract?

MJ — My dream contract…begins with a brilliant client, accompanied by a succulent multi-course mandate, followed by a realistic budget, and capped with an earthly timeline.

KA — When a contract is over, is it hard to release your creation to the client knowing that it is now in their hands and sometimes what you saw in purity of your mind’s eye is not what they see in the context of commerce. How do you let go?

MJ — No not especially, I mean I wouldn’t exactly put it like that, but it is understood from the very beginning, regardless of how I might feel, like a surrogate; I have a contract to conceive and deliver – regardless of the attach- ment, emotion, or intended commercialization. It might sound rather cold and somewhat detached of me…but this is what I do. This neither takes away from the intention or devalues the entity/end-result. In fact, one of the func- tions of design is to exist in the context of commerce. Commercial design is that booster shot to a client’s commerce, intended to render it immune to the competition. But I think what you’re referring to; is more a question of indi- vidual respect rather then anything else, which all the money in the world could never replace or buy.

KA — You created the Excentris, which is still one of the most beautiful spaces in Montreal, and you did this way before its time. How do you reconcile with the fact that your ideas are way before “their time” and as such will suf- fer the ignorance of the unfamiliar only to be later copied by the mass and you the creator to not be recognized as the original?

MJ — Put like that, and imitation all of a sudden, is not exactly a ‘form of flattery’. Lack of recognition on the other hand…now that’s a hard pill to swallow (and nothing to do with ego). Since the only way of securing the next contract/commission is by having gotten the proper credit for your last project. The romantic notion of the ‘unknown soldier’ is not applicable here. The reconciliation part in this instance however, is basically two-pronged – One: being copied (or the fear of being copied) is something that I don’t give much thought to…I’ve come to terms with the fact that that is well beyond my control. And if it will happen, then that’s fine as well because there’s a hundred more ideas from where that came from, just waiting to explode. You see I made a career decision at the very beginning (before I even had my first client) which was to never take the easy way out and to always remain true to myself, no matter what. I knew very well from the onset, that this approach; that of always aiming to create a demand rather then catering to one, would be a very costly one, if not even bring about my own demise – (the good thing about making a rational & well-explored decision, is that you’ll nev- er have any regrets…something about eyes wide open). Twenty something years later, and I still carry the same flag and march to same beat (despite the number of so-called ‘losses’ I’ve taken on). Every project is completely differ- ent from the last and or the one to come. Quite simply, my design/aesthetic is dictated by the mandate. Unless one day I decide to become complacent and copy myself (and become that cookie-cutter), It’s inevitable that two projects (or designs) will ever resemble each other.

Two: is an inherent by-product (of one), the fact that I am continuously ‘re- inventing’ my design, rendering my own work obsolete, is enough to remain ahead of the forgery – by the time that something has been copied, I’ve al- ready moved on and set up camp somewhere else.

Besides, my ultimate appeasement comes from the notion that nothing that is either found in nature or even manmade can’ truly’ be duplicated. Yes anything can be in essence imitated, replicated, or even cloned…but there will always be that ‘first’ and a copy will always be exactly that; just a copy – Regardless of recognition, or not.

KA — What is your favorite thing about Canada and being Canadian?

MJ — The thing I like most about Canada is its size and general disposition. It’s huge, plenty of space, not too many people and no one gets in your way…favorite thing about being Canadian? The comfort in knowing that I can travel anywhere in the world and no one gets in my way.

Luxury — this word is so simple, but yet so loaded. It has gotten over-used that at times one has to wonder how luxury can be bought in an
airport terminal between hurried flights… Shouldn’t luxury be just that:
Luxury?
KA sees true luxury as not only the best quality products in the world, high
prices and all the glamour which surrounds it — True Luxury is one wherethe spirit
is involved and originates from a place in which we are all connected.

The industry of beauty and fashion is tough on the planet, much is wasted in
the process of creating disposable fashion for the masses. However, we are
seeing more and more luxury fashion and accessory brands taking part in the
planetary change by using ecologically friendly fabrics, reduction in polluting
dyes, energy efficient production facilities and donating so much to charitable causes.

In this issue, KA features two luxury brands, who are designing with a “change” in
mind: Marni and Bvlgari.

MARNI – DREAMS OF GROWING UP”

BVLGARI –– SAVE THE CHILDREN

Bulgari has created a special silver ring in support of Save the Children’s “Rewrite the
Future” campaign. The silver ring is engraved on the outside with the founder’s name,
and on the inside, with the Save the Children logo, as a reminder to it’s wearer of the
ring’s purpose. The choice of silver (unusual for Bulgari  which has long favored gold) -
is a tribute to Bulgari’s origins as a silversmith.The ring will be available for sale from
February to December 31st 2009, in all Bulgari
stores worldwide at 290 euros, 50 of which will go to Save the Children.

www.bulgari.com

Tokujin Yoshioka is essentially why doing KA magazine is such a treat. It is like going

on a journey to places never before seen, filled with wonderment and pleasant surprises.

We wanted to showcase the work of a creator that was beyond convention, something that

was clearly done  in the context of allowing the creative process to be just that: creative.

With Japanese born Tokujin, we not only found a creator which allowed the process of

creativity to just be, but going one step further: allowing the creation to create

itself. After studying with Shiro Kuramata and Issey Miyake, Tokujin went on to set up

his own design studio in 2000.

The following is a list of his works:

- Issey Miyake and A_POC stores

- Cartier Foundation Paris

- Honey Pop and Tokto Pop for Driade

- In 2002 he transformed an entire space in the heart of Milan, into a futuristic Japanese garden

- Pane chair at Milan furniture show

- 2006 Axis Gallery Tokyo show: Tokujin Yoshioka-Super Fiber Revolution

- Published by British publishers Phaidon (Tokujin Yoshioka Designs)

The works of Tokujin Yoshioka have received numerous awards, as well as been displayed in

permanent collections of some of the most prestigious museums: the Museum of Modern

Art in NYC, Centre Pompidou in Paris, The Vitra Design Museum in Berlin, and the

Victoria & Albert Museum in London.

KA — What has been the single event that has changed you the most in the context of how

you relate to the process of creation?

TY — VENUS – Natural crystal chair. In this design, I tried to incorporate the process of

crystallization that brings the beauty born out of coincidence.  “A form born from nature has a

beauty that exceeds our imagination.” This VENUS obtains the structure

by making the tiny crystals grow in an aquarium and makes an appearance with time as if

Venus gradually emerges from water.

“Honey-pop” (2001) obtained the strength by it’s honeycombed structure that was born by

unfolding a number of thin layered papers. Similar to the structures in flowers and plants, which

systemize the small fibers and increase strength, the “PANE chair -

bread chair” (2006) was completed, which realized a flexible seating structure out of fiber.

This time, I have pondered onchallenging the history of design by creating an epochmaking

chair grown from natural crystal structures.Today, a rapid development of technology, particularly

the use of computer renderings, has ensured and made various things real. I want to believe,

however, there is something in nature that defies all human imagination.

I have wondered whether we can makea proposal through design, where we can once again

think about the earth and feel the beauty and the power of nature.I am guided through

the first half of the production but the other half is left up to nature: the beauty born of

coincidence, which a human cannot create on his own will. This natural

crystal chair, which is formed using the laws of nature, pushes the boundaries of creativity.

The work is like my message for the future.

KA — What has been the single event that has changed you the most in the context of how

you relate to the process of creation?

TY — VENUS – Natural crystal chair. In this design, I tried to incorporate the process of

crystallization that brings the beauty born out of coincidence.  “A form born from nature has

a beauty that exceeds our imagination.” This VENUS obtains the structure by

making the tiny crystals grow in an aquarium and makes an appearance with time as if Venus

gradually emerges from water.

“Honey-pop” (2001) obtained the strength by it’s honeycombed structure that was born

by unfolding a number of thin layered papers. Similar to the structures in flowers and

plants, which systemize the small fibers and increase strength, the “PANE chair -

bread chair” (2006) was completed, which realized a flexible seating structure out of fiber.

This time, I have pondered on challenging the history of design by creating an epoch-

making chair grown from natural crystal structures. Today, a rapid development of technology,

particularly the use of computer renderings, has ensured and made various

things real. I want to believe, however, there is something in nature that defies all

human imagination. I have wondered whether we can make a proposal through

design, where we can once again think about the earth and feel the beauty

and the power of nature. I am guided through the first half of the

production but the other half is left up to nature: the beauty born of coincidence,

which a human cannot create on his own will.

This natural crystal chair, which is formed using the laws of nature, pushes the boundaries

of creativity. The work is like my message for the future.

KA — The Cartier piece is fascinating. What is the symbolism of the diamond in the

glass (moon fragment)?

TY — The diamond in the perfume bottle symbolizes the history of Cartier. It sparkles inside

the bottle and enhances the

flavor of Cartier’s perfume: scent of memories and the threads of stories that Cartier has gathered.

KA — What is your creative process?

TY — Firstly, I come up with an image or concept, not a shape nor material.  Then, I start to work

on the drawing and

indicate all the details including measurements, radii, materials, etc. Through a number of

experiments, I reach completion.

In the process, as a creator, I ask myself again and again whether the work is necessary or not.

We, creators, must be responsible for creating.

KA — What is your vision of the future in design of spaces and the relationship between

the object and space?

TY — This is not only about the interior design, but about design in general. In addition to the leading-

edge technologies including computer renderings and future environment, designs will begin to

have similar references to nature, as all the living creatures are born from necessity and distinctive

beauty.  Moreover, designers will begin to focus more on designing emotions and

feelings rather than designing forms, or things. As sunlight, fertile soil, and pure water

are essential sources for plants in nature, I think that design

ers will begin to play a role in making things from such perspectives.

KA — How do you see design and end use of the designed object, becoming more organic?

(“organic” in the sense that the object itself almost feels alive (such as the paper cloud feeling

like it is a living being…to create without effort or stress - having the process be = organic.)

TY — As technology is developing rapidly, particularly the use of computer renderings, has

ensured and made various things real. We might have become more sensitive to the organic

designs rather than unnatural things as we are born from nature.

(Here, unnatural means things that do not exist in nature).

KA — What has been your most fascinating discovery in the creative process?

TY — I am excited the most when I come up with a good idea.

KA — If you were to have a wish to create what ever you wanted, what would it be?

TY — Nothing in particular.

Fortunately, through several projects, I have already had opportunities to accomplish what I had aimed.

KA —The cloud chair is both object and art, what is the idea behind this piece?

TY — The concept is “to create a cloud with paper.” In recent years, I am very much fascinated with the

elements of nature, which shows us the beauty born of coincidence beyond our imagination.

This time, through an industrial project, I aimed to express the elements that exist in nature.

KA — How important to you is the link between nature and design?

TY — It is quite important. I believe that not only leading-edge technologies, but also nature

will create our future. At the same time, I have a sense that there is a hint of the future

design hidden in nature.  For example, last year, a Japanese scientist Dr. Osamu Shimomura

won the Nobel Prize in Chemistry for the research on a glowing green protein found

in jellyfish.  He discovered that this green fluorescent protein

allowed us to view previously invisible processes in biology, including the spread of ; cancer cells

and development of nerve cells.  This great discovery makes me think that there are a lot

of wondrous things and infinite possibilities in nature, which we as humans, still do not know.

KA — You are from the similar school of thought as Issey Miyake, are you influenced by

fashion design?

TY — I am not sure if I have the similar school of thought as Issey Miyake. However, I once

used to work under him and learned from him that design is free. I had many opportunities

to learn about fabrics, and I think I developed my potential with creating products with soft

materials while most products are made of hard materials.

In terms of fashion, I used to have much interests in this when I was young. At that

time, fashion made me feel that something was going to happen. However, I do

not think clothing has much influence on my design style.

KA —You apprenticed with Issey Miyake, how did you create your own distinct style

with such a strong mentor as a direct influence?

TY — At Issey Miyake’s studio, I learned how important it was to be free and original. Then, I

pursued design my style in a distinctive way, which cannot be expressed by anyone but myself.

Also, as Miyake was working internationally, I was able to look at the bigger picture other than

simply my own perspective.

KA — The Moroso showroom in Milan with the “Panna” chair created a huge buzz, but do you

consider this your strongest work?

TY — “Tokujin x Moroso” is definitely one of my best works. This project is one of my designs

that incorporates the principles of nature. Just like clouds, snow, or a bead of water, straw is

transparent by itself, but it gives depth and white color when numerous numbers are piled up

together and transparency gets dense. The straw installation might exemplify the realization

of unsubstantial things, in other words, making the impossible possible.

KA —You created exhibition spaces for Miyake, Hermes, Muji and Peugeot as well as furniture for

Driade — what would be your dream to create for?

TY — Nothing in particular.  I have been fortunate to work with companies who are eager to create

new things: They show their understanding of my way to complete the work. They kindly allow me

to have experimental processes.

KA — Who is Tokujin Yoshioka?

TY — I have no idea.

CHANEL MOBILE ART

When I first saw this rendering of the Chanel Mobile Art Pavilion, my first thought was simply “This looks like the future” and to be honest, I was so taken by the sight of such a beautiful structure, that I didn’t care much for what it was.

It was a sort of a surprise that this structure was an art Pavilion when I was sure it was an instillation in and of itself. The pavilion was commissioned by Chanel’s Karl Lagerfeld, as a traveling 7,500 square foot stage showcasing the art of 20 of this world’s most famous contemporary artists, including Daniel Buren, Sylvie Fleury, and Yoko Ono.

Conceived by Karl Lagerfeld with Zaha Hadid, the Chanel Mobile Pavilion is art meets luxury. The artists chosen were to create works of art inspired by Chanel’s 2.5 quilted handbag.

The exhibit was slated to travel from Hong Kong to Tokyo then to New York with a final show in Paris, but after the New York show, the project has been halted.

Plans are to put the Pavilion in the courtyard of a new factory being built outside of Paris, where it would be used for temporary exhibits.

“I always thought the building was a sculpture. I prefer it empty.” Karl Lagerfeld

MANCHESTER OPERA HOUSE

The “What is it?” question came to mind when we first saw the renderings of the Manchester (Opera House) and not unlike the Chanel Mobile Art Pavilion, we really were not that burdened with needing to know what the structure was. Suffice to say, it was a thing of beauty, something that made the mind wonder and made the artist in all of us dream.

The Manchester Opera House is created with an internal steel frame, suspended from the ceiling and then covered in translucent fabric stretched tightly over the exterior. Acoustic panels are suspended above the stage to disperse the sound. The hall is installed inside the Manchester Art Gallery in a 17m by 25m room. The space is in the form of a ribbon which wraps itself around the 192 lucky souls who get to sit through a performance.

“A single continuous ribbon of fabric swirls around itself, creating layered spaces to cocoon the performers and audience within an intimate fluid space.” Zaha Hadid

CAIRO EXPO CITY

With one masterstroke, Cairo has moved ahead of the pack with the Cairo Expo City conference centre and hotel. Architects Zaha Hadid with partner Patrick Schumacher, are the masterminds behind what could arguably be the worlds most beautiful “Palais des Congres”.

Located between the centre of Cairo and the city’s airport, the 45,000 sq meter project will house an international exhibition and conference centre with a business hotel.

The beauty of the Cairo Expo City will definitely be a draw in and of itself.

“ We wanted to ensure that all the public spaces and formal composition of Cairo Expo City relate to the surrounding Egyptian landscape. Along the great rivers of the region, most particularly the Nile, there is a powerful dynamic – a constant flow between the water and the land –  which extends to incorporate the neighboring buildings and landscapes. For the Cairo Expo City design, we worked to capture the seamlessness and fluidity in an urban architectural context.” Zaha Hadid

ZAHA HADID
“I think through our architecture, we can give people a glimpse of another world, and enthuse them, make them excited about ideas. Our archicture is intuitive, radical, international and dynamic. We are concerned with constructing buildings that evoke original experiences, a kind of strangeness and newness that is comparable to the experience of going to a new country.“ Zaha Hadid

ZAHA HADID IN 2004 BECAME THE FIRST WOMAN TO BE AWARDED THE PRITZKER PRIZE FOR ARCHITECTURE.

Here is a 3D Animation video of her “Chanel Mobile Art” Pavilion

www.youtube.com/watch?v=26Dmd-Ie-44

Dubai’s ” The World”

Welcome to Dubai — Where sunshine and sand meets innovation, imagination and money.  Over the past 10 years, it has become a literal “playground” for the Earth’s most innovative minds to come together and create the “Never-before-seen”.

Think of this: 300 man-made islands, set two-and-a-half miles off the coast of Dubai, into distinct formation creating the shape of … what else?  The World.

Dennis Ingemansson has designed the Sea Limousine ( solar powered, self navigated, “sea-taxi”) linking the islands of “The World”.

The Dubai Sea Limousine — Conceptualized by Dennis Ingemansson for transportation between ” The World’s” artificial islands. This distinct hovercraft comes motorized with solar cells and is monitored by a satellite navigation system. It requires no human pilot, creating a high-speed passenger experience with impeccable safety and optimal comfort — ECO FRIENDLY — SAFETY — FUTURE

www.dennisingemansson.com

— Full interview with Dennis Ingemansson in Summer issue of KA MAGAZINE 2009

INTERVIEW WITH DENNIS INGEMANSSON — KA MAGAZINE , SUMMER 2009

KA — The World has spiraled out of control, to the point that we as a species, if we continue on the same path, will not be able to survive on this planet. It seems also that the same cause of this problem, is the key to solving it — How do you think technology will do it right this time around?

DI — Today, we have already the DNA code of the technology for future survival: Innovative design. My experience says we that we have so much science and technology already developed. It’s time to put designers into venture companies to allow us to start using the science into new innovative concepts — These businesses will grow. It will also change the meaning and perception of this technology. I believe that technology will begin to communicate with humanity— we will see emotions and feelings in the future. Therefore, we are a bit closer to becoming a better friend with our planet.

KA — There seems to be a new notion that globally, we have not even begun to be who we are as a species, that fossil fuels are a thing of the past — Do you think we are just at the beginning of what we are going to be in the future?

DI — Our new ideal of saving the planet gives new freedom and directions without end. Indeed, it’s a new beginning of an Earth that will be more peaceful and loving. I believe Mr. President Obama will lead us into a new peaceful and eco-friendly dimension that we never experienced before.

KA — Everything of value is based on nature : Real estate values are more based on the land that on the property.  — Why do you think it has taken so long to understand that Nature is the most important thing there is?

DI — Humanity has been distracted by issues such as war, racism, slavery and dictators — We only recently have begun to become more united in solving these global issues. Our next step is to unite in saving the planet from Global Warming.

KA — You seem to be so cool with your work. You share your ideas with the only request of getting credit, and your manner is so unassuming and not like what we would think someone doing the type of design you do (usually ultra-private and unapproachable) — Do you feel that in the context of getting to a quick solution, we have all just to share the knowledge?

DI — Thank you. I am delighted you like my work. I think it’s very important for designers and companies to share their visions of the future. Strong designers are able to make people dream and reach their emotions. However, we are in a new business era. For example — Skype share a free service that pushing other companies to rethink and create innovation.

I am devoted to green luxury yacht innovation. For sure, the yacht world is based on ultra private values — it’s your own private island. The yacht interiors are often decorated with top historical art, and life onboard can sometimes feel a bit “stiff”. I want to change this perception and push the meaning of “luxury” higher. The essence of my work is unconventional thinking. I base my ideas in design on passion, emotions, feelings of nature and human love. Actually, I am a strong idealist that thinks the highest degree of art —

In fact, the art that you can’t buy.

Jaime Bouzaglo has chosen Montreal as his home, while creating luxurious, modern homes, furniture and “objets d’arts” around the globe. Fashion designer Kevin Allwood interviews and discusses all things creative, in a rare — designer meets designer — Full Interview in Issue #1 of KA MAGAZINE

The Louvre Abu Dhabi, designed by the French architect Jean Nouvel as a 260,000-square-foot complex covered by a flying-saucer-like roof, is expected to cost around $108 million to build. Planned as a universal museum, it will include art from all eras and regions, including Islamic art.

::An aerial view of the complex’s museum space::

The Louvre Abu Dhabi is a joint effort between the governments of France and Abu Dhabi. It will feature artworks loaned from several top French museums, including the Louvre, the Musée d’Orsay, le Centre Pompidou, the Musée de Quai Branly and the Musée Guimet.

In addition, the center will exhibit work from its own developing collection.

Billed as “the first universal museum,” the Louvre Abu Dhabi will also feature archaeological artifacts and art from all cultures.

::Another view of the dome::

The Louvre Abu Dhabi —

Completion is set for  2012 or 2013.