WPA is pleased to collaborate with Sway on our second wayfinding project, this time for the NEON District and the Downtown Norfolk Council. Check out the article here…pilotonline.com
The Sleeping Theater. An exhibition of works by Thom White. June 10 – July 29, 2016
Work Program Architects continues to be proud and honored to be a part of JT’s Camp Grom team helping to bring this camp to life. Last week was the JT Walk & Beach Party kick-off event at the Hilton Virginia Beach Oceanfront. The first renderings of the Welcome Center were presented to an invigorated and excited crowd.
WPA was excited to partner with the City of Norfolk and City of Hampton to assist in hosting the Dutch Dialogues VA: Life at Sea Level. People living in the Netherlands are surrounded by water and have suffered through flooding for centuries. Due to this experience they realized that the answer was not to build higher barriers, but to figure out how to live more naturally with water. The “Dutch Dialogues” workshops bring together Dutch engineers, urban designers, landscape architects, city planners and soils/hydrology experts and local counterparts to explore creative and innovative solutions to the challenges inherent in living in a coastal city.
WPA would like to say congratulations to our friends at New Earth Farm in Virginia Beach on their feature story ‘A Sustainable Life’ in Distinction magazine. We are excited to be working with them again on their latest hyperlocal venture: Commune Crepes.
WPA was selected by Pinecrest School to design a new Lower School in Annandale, Virginia to replace an existing school building. After touring the campus and meeting with teachers, parents, students, administrators, and the school’s board of directors, WPA worked with a group of Pinecrest stakeholders to design a facility that will fit the unique needs of the Pinecrest community; a community that emphasizes family involvement in education in an atmosphere that strives to support each student academically, socially, and emotionally.
Tim Bearse’s sculptures and mixed-media artwork reference the composition, form, and velocity of skateboarding videos. His objects, which at first glance appear to be modernist abstractions, borrow their shape from concrete swimming pools and community-built ramps. The referents, and their larger culture, are specific, though they ultimately point toward something larger: the built environment’s capacity for intervention, collectivization and empathy; the creative potential of kinesthetic awareness; the complexities of tactile, modular forms; and speed as a method of non-lingual communication.