Rebecca Hinkley

Project Narrative - The project seeks to either work with, or manipulate the existing terraced houses, with a central route running along the back alley of the houses. The architectural language allows elements to puncture out of the back of the alley and through to the front of the of the existing terraced. New elements are inserted or wrap around the existing to suit various activities. Along the central route different performance types can be experienced or choreographed.

Street elevation - Various views into the building/alley are framed along the street

Visual connection, revealing activities - A visual connection remains down the project from both ends, revealing both the activity and users down the centre of the project, between the performative spine.

Main entrance - The entrance faces onto the main high street. On approaching Leaping Anfield the first threshold is a plaza. The plaza offers a play space, seating but also has the appearance of a Memorial to the terraced houses. The artist's in residence hub is located within the terraced house, and protrudes out into the plaza and offers up a display and workshop space, which can be viewed from the street. The main entrance frames a view down the entire project, through to the event space.

Event & outdoor performance space the old Breckfield primary school site - The sunken garden, electrical supplies and storage units help to facilitate a small local gig in the evening, whilst internally the facility continues running it’s day to day programs.

Performance - learning - testing - The section is taken towards the end of the project, where performance and classes can either be site specific or take on a more conventional mode, dependent on the artistic director's desires. The sections through the performative spine displays the treatment of the threshold between the new to the old. The majority of the services run down the entire of the spine between the suspended ceiling.

The performative spine - animating space. Dealing with the existing - Chance encounter - walking down the central route a glimpse of a dancer or a small performance could occur, in turn changing the feel of that particular space. Crossover - the scenic and seamstress workshops come to a point where crossover and negotiation will occur either before a performance or during a rehearsal. A deliberate encounter, which may also involve users squeezing by, or a dancer changing his or her path.

Detailing the Performative Spine- Creating participatory theatre, using low tech devices - Spine wall Yellow woodwool acoustic panels, 50mm acoustic insulating foam panel with plywood backing hung from the steel frame Flooring Hardwood flooring, timber battens, underfloor heating set in 75mm screed, 50mm concrete flooring, 150mm concrete structural flooring, 120mm insulation and sand blinding Moving stage as above with vinyl topping Acoustics Globe; shaped styrene (supported with battens) coated with urethane hardener andshiny yellow emulsion,quilted on the inside

Seamstress workshop located within the existing and it's relationship with the Performative Spine. - The layering occurs in the opposite direction; with firstly the workshop, then display area/corridor sitting within spine which then spills out into the central route. The spine also acts to brace the gable ends, as some of the houses have been hollowed out to create more space

Sun studies - Exploring the shadows - basic model of the entire project. The performative spine is highlighted, as well as the existing brick of the terraced houses

Ground Floor Plan - The plan explores a flipped program with the back of house activities brought to the front of house. The performative spine runs centrally down the project and is highlighted in yellow. The existing terraced houses are highlighted in black.

First Floor Plan - Activities such as changing, stretching and rehearsing occur on this level, with suspended walkways crossing above the central route or are hidden within the Performative Spine. Various stage management activities are also hidden in the spine, such as a rising wardrobe, props for a show, the script and so on.

Second Floor Plan - Access to gantry level, studio spaces and control room. The control room allow a user to control the lighting down the entire central route, therefore the route can become a place for performance in itself, introducing the idea of site specific performance to the project.