French architect Claude Parent's installation at Tate Liverpool, entitled 'La colline de l'art', is part of this year's Liverpool Biennial, which runs until the end of October and features more than 200 artists. © Tate Liverpool

泰特·利物浦的沃尔夫森画廊有着灰色和黄色的坡道、斜坡和半透明的墙壁，与传统的立体画廊大相径庭。几乎没有直角，法国建筑师克劳德·帕尔(ClaudeParent)表示，这完全是关键所在。父母，谁已经改变了空间，花了60年的传统房间，赞成倾斜，理想的无墙的，那些。他把这种激进的方法，他称之为“功能斜”，应用于许多建筑，包括他自己在巴黎的家庭工作室(见W*98)。

这座画廊名为“艺术之山”(La Colline de l‘art)，是今年利物浦双年展的一部分，它将持续到10月底，展出200多名艺术家。博物馆馆长Mai Abu ElDahab想要改变画廊的想法，家长是一个明显的选择。“多年来我一直钦佩他的作品。她说：“建筑是他的工具，但在精神上，他是个艺术家。”她在他的上述公寓里拜访了他，在泰特二楼单独展出了他的画作。

家长也被邀请从泰特收藏的16件作品中挑选出16件作品来填补这一空白。所有这些都与他著名的反体制观点和他独特的建筑风格产生了共鸣。弗朗西斯·皮卡比亚(Francis Picabia)的“无花果叶”(Fig Leaf)于1921年被描绘成对法国审查制度的评论，还有1978年由编舞家特里莎·布朗(Trisha Brown)执导的一部电影。她的自由流动，流体运动反映了父母的建筑线条。

家长说：“我对此印象深刻，因为泰特博物馆的馆长们提到的建筑本质上是斜的，长期以来一直是我建筑的重点。”使用倾斜似乎是对的。然后，我设计了屏幕和倾斜的走道，为这些作品的悬挂创造了一个原始的布局。他们的目标是使这个空间充满活力，并使它更便于游客使用。

今年，这位91岁的老人卷土重来。除了泰特·利物浦的设施外，威尼斯建筑双年展的中央展馆还有一个家长的“坡道房”。上一次他在那里是在1970年，当时，在他的职业生涯的巅峰时期，他设计了法国馆。它的特点是倾斜的墙壁，游客可以休息和躺卧，家长希望他的泰特房间将同样沉浸。这对工作人员和观众来说都是一种体验。我祝他们好运。“

With its grey and yellow ramps, slopes and semi-transparent walls, Tate Liverpool's Wolfson Gallery is currently a far cry from its conventional cubic self. © Tate Liverpool

Parent, who transformed the space, has spent 60 years doing away with conventional rooms in favour of sloping, slanting, and ideally wall-free, ones. © Tate Liverpool

Curator Mai Abu ElDahab wanted to turn the idea of a gallery on its head, and Parent was an obvious choice. 'I've admired his work for many years. Architecture is his tool, but in spirit, he's an artist,' she says. © Tate Liverpool

Says Parent: 'I was impressed because the curators at the Tate alluded to constructions which are essentially oblique, and which have been the focus of my architecture for a long time. Using inclines seemed right. I then devised screens and sloping walkways to create an original layout for the hanging of the works'

The architect was also invited to select 16 works from the Tate's collection to fill the space. Pictured is 'Looped Network Suspended in Pictorial Space', by Gillian Wise, 1974. © Tate Liverpool

All resonate with his famously anti-establishment views and his unique architectural style, including Francis Picabia's 'Fig Leaf', painted in 1921 as a comment on French censorship. © Tate Liverpool

'The Port' (left) and 'The Open Window', both by Edward Wadsworth, c1915. © Tate Liverpool

keywords:Claude Parent, Tate, Tate Liverpool, architecture, art, architect, biennial, Liverpool Biennial, contemporary art festival

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