建筑的体积形式化，在相互连接的自主件中，回应了解决两个不同项目的需要。礼堂和音乐学院，有不同的需求，但有某种必要的程序性联系。因此，一个大的体量位于地块的北端，容纳礼堂及其相关房间：入口门厅、更衣室、行政管理、排练室等，其余的小房间则容纳音乐学校的不同教室。这种体积上的原子化有双重目的：一方面，尽可能地从一个巨大的建筑中逃脱出来，在一个自然的环境中，它被插入公园中，（仍在执行中），紧挨着Pisuerga河岸；另一方面，尽量减少教室之间的噪音污染，这在这些特点的设施中很常见。这个分区在它的一个侧面有开放的 “天井”，作为公园本身的延伸，照亮了教室之间的连接走廊。
The volumetric formalization of the building, in interconnected autonomous pieces, responds to the need to solve two different programs: Auditorium and School of Music, with different needs but with a certain required programmatic link. Thus, a large volume is located at the north end of the plot that houses the auditorium and its related rooms: entrance foyer, dressing rooms, administration, rehearsal room, etc., and the rest of the smaller rooms that house the different classrooms from the music school. This volumetric atomization has a double intention: on the one hand, to escape as far as possible from a massive building, in a natural context in the park in which it is inserted, (still in execution), next to the banks of the Pisuerga river; and on the other hand to minimize the noise pollution between classrooms, so common in facilities of these characteristics. This subdivision originates open “patios” on one of its sides as an extension of the park itself that illuminates the connection corridor between classrooms.
朝向城市中心的开口是方形的、较小的，而朝向河流的开口则很大，使教室内的公园景观最大化。在这一侧是最大的教室，用于乐器组的排练：大管弦乐室、大乐队室、打击乐室等。教室的天花板被分割成不同材料的三角形碎片，形成一个破碎的几何形状，有利于声音在空间的均匀扩散。可容纳608人的礼堂，打算将戏剧和音乐表演的过去和未来面对面地结合起来。一方面，它暗示了古典的氛围，因为它的两边是用金色的木片解决的，就像19世纪的剧院和歌剧院。相反，大厅的天花板被分解成一个有轨电车式的网格，显示出礼堂所配备的所有灯光和舞台电动装置，试图证明技术空间是节目的一个共同主角。
The openings towards the urban center are square and smaller, while those opening towards the river are large, maximizing the view of the park from inside the classrooms. On this front are the largest ones, which are used for rehearsals with groups of instruments: the great orchestra room, big-band room, percussion room, etc. The ceiling of the classrooms is fragmented into triangular pieces of different materials that form a broken geometry, benefiting the homogeneous dispersion of sound in space. The auditorium, for 608 people, intends to bring the past and the future of theatrical and musical performance face to face. On the one hand, it alludes to classical atmospheres, as its two sides are resolved with wooden pieces with a golden finish, like the theaters and opera houses of the 19th century. On the contrary, the ceiling of the stalls is dematerialized by being resolved with a tramex-type grid that reveals all the lighting and stage motorization with which the auditorium is equipped, in an attempt to vindicate the technical space as a co-star of the program.
音乐的隐喻出现在方案中的许多地方，从教室的概念本身就像五线谱上的音符，到一些元素和装饰的设计，如栏杆和窗台，再到在铺面的一些地方插入一些杰出的旋律。
The musical metaphor appears at numerous points in the proposal, from the very conception of the classrooms as musical notes on a staff, through the design of some elements and finishes such as railings and sills, to the insertion of some illustrious melodies in some points of the pavement.
Architects: Arias Garrido Arquitectos
Area : 8980 m²
Year : 2021
Photographs :RUHECA
Manufacturers : Cortizo, Finsa, Indelague, Tromilux, AMILCAR Cubiertas y Pizarras, KATOA Lighting, PANELASTUR, Placo saint-gobain
Lead Architects : Javier Arias Madero, Susana Garrido Calvo
Electrical : Juan Carlos González Cancho
Telecommunications : Mariano Álvarez Diente
Director Of Works Execution : José Ignacio Marcos Ortega
Collaborating Architect : Sara Acebes Anta, Beatriz Fernández García, Alberto López del Río, Lara Redondo González, María Eugenia Ruiz Heras
Builder : ORTHEM Servicios y Actuaciones Ambientales
Acoustic Project : Arteco: Ingeniería Acústica y Aislamientos
Air Conditioning : DGI Proyectos
Lighting/Furniture : Arco Contemporáneo
Scenic Consultancy : Grupo MEG – Montajes Escénicos Globales
City : Arroyo de la Encomienda
Country : Spain