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Just a casual meetup for local developers in Melbourne.
If you want to meet, network, collab or just hang out with other devs in Melbourne then join the group and come down for a drink at our next meetup.
nrhp # 66000731- Beale Street Historic District- Beale Street was created in 1841 by entrepreneur and developer Robertson Topp (1807–1876), who named it for a forgotten military hero. The original name was Beale Avenue. Its western end primarily housed shops of trade merchants, who traded goods with ships along the Mississippi River, while the eastern part developed as an affluent suburb.[5] In the 1860s, many black traveling musicians began performing on Beale. The first of these to call Beale Street home were the Young Men's Brass Band,[5] who were formed by Sam Thomas in 1867.
In the 1870s, the population of Memphis was rocked by a series of yellow fever epidemics, leading the city to forfeit its charter in 1879.[5] During this time, Robert Church purchased land around Beale Street that would eventually lead to his becoming the first black millionaire from the south.[5] In 1890, Beale Street underwent renovation with the addition of the Grand Opera House, later known as the Orpheum. In 1899, Church paid the city to create Church Park at the corner of 4th and Beale. It became a recreational and cultural center, where blues musicians could gather. A major attraction of the park was an auditorium that could seat 2,000 people.[7] Some of the famous speakers in the Church Park Auditorium were Woodrow Wilson, Booker T. Washington, and Franklin D. Roosevelt.[5]
In the early 1900s, Beale Street was filled with many clubs, restaurants and shops, many of them owned by African-Americans. In 1889, NAACP co-founder Ida B. Wells was a co-owner and editor of an anti-segregationist paper called Free Speech based on Beale. Beale Street Baptist Church, Tennessee's oldest surviving African American Church edifice built in 1864, was also important in the early civil rights movement in Memphis.
In 1903, Mayor Thornton was looking for a music teacher for his Knights of Pythias Band and called Tuskegee Institute to talk to his friend, Booker T. Washington, who recommended a trumpet player in Clarksdale, Mississippi named W. C. Handy. Mayor Thornton contacted Handy, and Memphis became the home of the famous musician who created the "Blues on Beale Street." Mayor Thornton and his three sons also played in Handy's band.[8]
In 1909, W. C. Handy wrote "Mr. Crump" as a campaign song for political machine leader E. H. Crump. The song was later renamed "The Memphis Blues." Handy also wrote a song called "Beale Street Blues" in 1916 which influenced the change of the street's name from Beale Avenue to Beale Street. From the 1920s to the 1940s, Louis Armstrong, Muddy Waters, Albert King, Memphis Minnie, B. B. King, Rufus Thomas, Rosco Gordon and other blues and jazz legends played on Beale Street and helped develop the style known as Memphis Blues. As a young man, B. B. King was billed as "the Beale Street Blues Boy." One of Handy's proteges on Beale Street was the young Walter Furry Lewis, who later became a well known blues musician. In his later years Lewis lived near Fourth and Beale, and in 1969 was recorded there in his apartment by Memphis music producer Terry Manning.
In 1934, local community leader George Washington Lee authored Beale Street: Where the Blues Began; the first book by a black author to be advertised in the Book-of-the-Month Club News.[9]
In 1938, Lewis O. Swingler, editor of the Memphis World Newspaper, a Negro newspaper, in an effort to increase circulation, conceived the idea of a "Mayor of Beale St.," having readers vote for the person of their choice. Matthew Thornton, Sr., a well-known community leader, active in political, civic and social affairs and one of the charter members of the Memphis Branch of the NAACP, won the contest against nine opponents and received 12,000 of the 33,000 votes cast. Mr. Thornton was the original "Mayor of Beale St." an honorary position that he retained until he died in 1963 at the age of 90.
By the 1960s, Beale had fallen on hard times and many businesses closed, even though the section of the street from Main to 4th was declared a National Historic Landmark on May 23, 1966.[1][3] On December 15, 1977, Beale Street was officially declared the "Home of the Blues" by an act of Congress. Despite national recognition of its historic significance, Beale was a virtual ghost town after a disastrous urban renewal program that razed blocks of buildings in the surrounding neighborhood, as well as a number of buildings on Beale Street.
In 1973, the Beale Street Development Corporation (BSDC) was formed by George B. Miller and others as a racially diverse, cooperative effort for the redevelopment of Beale Street. The corporation was selected by the City of Memphis to participate in the redevelopment of the blocks on Beale between Second and Fourth streets in August, 1978. The corporation dedicated its efforts to the success of the Beale Street project for the preservation of the street's rich history, and to its cultural as well as physical development. The BSDC secured 5.2 million dollars in grants for the renovation of Beale Street.
In 1982, the City of Memphis recommended that the BSDC hire a management company led by John A. Elkington to assist in the development of the street by securing new tenants, collecting rents and handling certain maintenance and security issues. Each new lease had to be agreed upon by BSDC, the City of Memphis and the management company, Performa.
The day-to-day management of Beale Street was turned over to the City of Memphis in an October, 2012 court decision after a long legal dispute involving the city, BSDC and Performa.[10]
During the first weekend of May (sometimes including late April), the Beale Street Music Festival brings major music acts from a variety of musical genres to Tom Lee Park at the end of Beale Street on the Mississippi River. The festival is the kickoff event of a month of festivities citywide known as Memphis in May
from Wikipedia
NBR Land Developers,is a young,dynamic and vibrant real estate developer from Bangalore formed to fulfill the aspirations of people to have their own house.
This was the tract developer's LA Times insert brochure from phase one of this neighborhood, circa 1961. The original estates around the fairways were quite nice, but this housing tract was planned as a step down in size while maintaining "close-in" adjacency to the club.
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15th September 2013, Amsterdam, The Netherlands
Leica MP
Summicron 35mm ASPH.
Fuji Neopan 400
Kodak T-max developer
Imacon Flextight 343
Oracle SQL Developer Data Modeler provides a wide array of wizards and other utilities that support the analysis, design and generation of data models.
Yeshiva of the Telshe, Riverdale, Bronx, New York City
Anthony Campagna (1884-1969) was one of Manhattan's most prominent developers of apartment houses during the 1910s and 19206.
Born in Castelmezzano, Italy, Campagna took a law degree in Naples and then immigrated to the United States. After working in Chicago, first in journalism and then as a lawyer, he moved to New York in 1909 to work for the construction firm of Paterno Brothers, apartment house builders. After marrying Marie Paterno, Campagna formed his own company, the Campagna Construction Corporation, and continued successfully in the same line for several decades.
Campagna's most active period as a builder coincided with the enormous boom in apartment house construction that followed World War I, as large apartment houses sprang up in many areas of Manhattan, particularly along Fifth and Park avenues on the East Side and along West End Avenue and Riverside Drive on the West Side.
Campagna became involved in the acquisition and redevelopment of major sites in both areas. His company built a number of large prominent buildings on Fifth and Park avenues, including 960 Fifth (Rosario Candela and Warren & Wetmore, 1929), a "luxury" building with apartments so large they were comparable in size to private houses;2 and 173-175 Riverside Drive (J.E.R.
Carpenter, 1926), occupying the entire blockfront between 89th and 90th streets.
As he became successful and wealthy, Campagna turned to philanthropy. Most of his efforts were directed to institutions in Italy or to those in New York with Italian connections. He helped raise funds for the restoration of Virgil's tomb in Naples, and for a Roman tower in Minturno. He made contributions to the Italian Historical Society in Rome, and for the excavations of Roman ruins at Herculaneum. In New York City, besides serving as a director without pay of a city school construction program, he donated a site at Fifth Avenue and -106th Street in 1929 to the Italian Hospital (never built because of the Depression) and played a major role in the creation of the Casa Italiana at Columbia University (the structure was built by his firm).
His work on behalf of Italian institutions earned him the title of Count of Castelmezzano, bestowed by King Victor Emmanuel ill of Italy in 1930.
Given Campagna's devotion to the culture and history of his native country, it is not surprising that when he decided to build himself a new home in the Riverdale section of the Bronx in 1928, he would choose the Italian villa as a model and select a highly successful architect who specialized in historical styles.
The Campagna estate is axially organized leading to the two-story house and formal landscape elements. The main axis of the composition begins at the stone and iron entrance gates on West 249th Street. A drive of stone pavers set between the alley of trees leads to a walled forecourt with a fountain in the center.
The house, as seen from the forecourt side, is asymmetrical with a two-story stair tower to the left of the entrance balanced by a low wing on the right. The one-story entrance portico in the center is rusticated limestone and consists of an arched doorway, flanked by narrow arched windows.
This central portion is surmounted by a balustrade fronting the recessed central portion of the second story. The tower contains a tall arched window opening shielded by a balustrade. The wall surfaces on the forecourt side are faced with stucco with stone quoins and molded stone windows surrounds. The low hipped roof is covered with tile.
The garden side of the house, set on a terrace, is dominated by the triple-arched loggia in the center of the first story, balanced on either side by stone enframed window openings set in wide stuccoed wall spaces. Large stone quoins mark the corners. A band course above the loggia divides the elevation horizontally. The second story window openings have stone surrounds; those at the end are shielded by iron balconies. Set back from the main section are wings with arched openings surmounted by balustrades fronting the recessed second story. The wide overhang of the tiled roof is particularly noticeable on this side of the house.
The axial composition of the site continues on the garden side from the loggia. down a divided semi-circular stairway into a sunken garden area 'and along a large reflecting pool to a hemicycle with fountains. The pool garden area is flanked on either side by raised terraces; one is balustraded and looks towards the river, and other is fronted by an arcade which once enclosed an orangery.
Campagna lived in the house until 1941, when he and his family left it to move into the former garage and chauffeur's quarters .- possibly as a result of the Depression-era construction slump.
In 1943, Campagna leased the house to New York University, for use as a dormitory for women "taking a special course in connection with war activities." In 1946, the house was sold to th~ Monitor Equipment Corporation, for use as executive offices and a corporate institute.
Monitor continued in the house into the 196Os, when the company went bankrupt; in settlement of money owed him, Monitor's president, George M. Gibson, accepted ownership of the house. He in turn sold it in 1982 to Eugene and Arlene Kule.
The house was purchased in June, 1993 by the current owner, the Yeshiva of Telshe Alumni.
- From the 1993 NYCLPC Landmark Designation Report
So, my C41 chemicals were exhausted, haha.
Mamiya C330
Seiko 80mm f/2.8
Kodak Ektar 100
Jobo C41 Press Kit
The Spawn is On. Welcoming 65 developers from Silicon Valley to Japan to the inaugural Ribbit Spawn Developer Day - Sunday, March 16, 2008 - developer.ribbit.com