位于澳大利亚墨尔本的Penleigh和Essendon文法学校（PEGS）音乐中心，是McBride Charles Ryan（MCR）在PEGS校园内进行的一系列干预中的最新项目。该项目中现有的单层维多利亚式 “房子 “被学校用来进行音乐教学。这座新的建筑与MCR最早为PEGS完成的项目之一，即5年级和6年级的少年楼并列，后者涉及学校与郊区环境、认知和童年想象之间的张力。这个新项目是为了翻新现有的历史悠久的音乐屋，增加并提供更好的音乐教学和表演空间。

The Penleigh and Essendon Grammar School (PEGS) Music Centre, located in Melbourne, Australia, is the latest in a series of interventions undertaken by McBride Charles Ryan (MCR) across the PEGS Campuses. The existing single-level Victorian ‘house’ in this project was used by the School for music tuition. This new building sits alongside one of MCR’s earliest projects for PEGS, completed in 2009, the Junior Boys’ Year 5&6 Building, which plays with the tension between the School and its suburban context, perception, and childhood imagination. This new project was to refurbish the existing historic Music House, add to and provide improved spaces for music tuition and performance.

这三座建筑结合在一起，比其各部分的总和还要多，通过建筑的组合和第四个元素–庭院的创造，激活了一个小型社区的印象。新增加的音乐中心在2009年的建筑和维多利亚式房屋的形式感之间起到了调解作用。新建筑由不同大小的练习室组成，可以进行个人教学和集体练习。还包括一个大教室，用于学习、教学，以及作为学生、家长和其他人的主要表演空间。

Together, the three buildings become more than the sum of their parts, activating the impression of a mini-precinct through the ensemble of buildings, and the creation of a fourth element – the courtyard. The new addition of the Music Centre acts as a mediator between the formality of the 2009 building and the Victorian house. The new building is comprised of variously sized practice rooms which allow for individual tuition and group practice. A large classroom has been included, intended for learning, tuition, and as a key performance space for students, parents, and others.

该建筑具有典型的 “现代主义 “学校建筑的所有基因，可以被看作是整个校园内后期机构类型的一部分。功利主义和现代主义的起源是一个砖和skillion屋顶的建筑，附在形式上更复杂的历史建筑上，其轮廓多变。南面和西面的框架式入口是对这种机构类型学起源的提醒。该建筑将一种俏皮的抒情手法应用于机构类型学，它的关键姿态，即冻结的音波线，被穿过建筑的起伏平面，产生了北面的表达方式，将新的户外和表演空间框住。这个新项目延续了2009年建筑的主题灵感，是对背景、美和想象力的一种思考。

The addition has all the DNA of your archetypical ‘modernist’ school building and can be seen as part of the family of later institutional typologies throughout the campus. The utilitarian and modernist origin is a brick and skillion roof building attached to the more formally complex historic building with its variegated silhouette. The South and West façade’s framed entrances are a reminder of the origins of this institutional typology. The building applies a playful lyricism to the institutional typology, its key gesture, the line of a frozen soundwave, was passed across the building’s undulating plan, generating the north expression which frames both the new outdoor and performance space. This new project continues the thematic inspiration of the 2009 building as a kind of musing on context, beauty, and imagination.

该建筑在创新的形式构成中使用了标准的学校组件，其设计意图集中在对快乐和美的追求上，使设计超越了所使用的技术和材料的效用。美和确实的音乐有其自身的效用。

The building uses standard school components in innovative formal composition, with a design intention focused on the pursuit of joy and beauty, allowing the design to transcend the utility of the technology and material used. Beauty and indeed music have their own utility.

附楼与原来的维多利亚时代的音乐屋的关系，试图促进一个迷人的对话，寻求优雅地延长一个具有历史意义的建筑的寿命。旧的砖砌建筑在新的建筑中得到了呼应，保留了类似的图案，同时通过颜色和纹理将两者生动地区别开来。附属建筑立面的起伏和摆动与音乐的抒情性相联系，作为一个首要的主题，现有的和现代的对比通过精心考虑的滑动在中间相遇，随着天花板高度的变化，门槛和过渡的合并，两者成为一体。遗产在每一个细节中都得到了赞美，体量的对比，装饰性檐口的相遇，艺术装饰门的保留，都大大增加了建筑形式的叙述性和特征。

The annex’s relationship to the original Victorian Music house attempts to promote a captivating dialogue, seeking to elegantly prolong the life of a historically significant building. The brickwork of the old is echoed in the new, retaining a similar patternation while vibrantly distinguishing the two through color and texture. The undulation and oscillation of the annex’s façade engages with the lyricism of music as an overarching theme, the contrast between existing and contemporary meeting in the middle with carefully considered slippages, as ceiling heights change, thresholds and transitions merge, and the two become one. The heritage is celebrated in every detail, the contrast of volumes, the meeting of a decorative cornice, the preservation of art-deco doors, that add substantially to the narrative and character of the built form.

Architects: McBride Charles Ryan
Area: 520 m²
Year: 2020
Photographs: John Gollings Photography
Manufacturers: Euro Clay, Surteco
Builder: Bear Projects
Services Engineer: ECM Group
Structural Engineer: Drew Rudd
Town Planner: ARG Planning
Design, Documentation And Admin:Debbie Ryan, Robert McBride, Manning McBride
Documentation And Admin:Georgina Karavasil Papargiris
Documentation:Matthew Tibbals
Building Surveyor:Florencig Smith Building Surveyors
City:Essendon
Country:Australia