Peppy San (1959–1989), a Quarter Horse stallion, has the distinction of the being the first National Cutting Horse Association (or NCHA) World Champion to sire an NCHA World Champion.Holmes Legends 6 pp. 136–147

Life

Peppy San was foaled in 1959, a sorrel stallion sired by Leo San and out of a mare named Peppy Belle. His sire was a son of Leo and was out of a descendant of Traveler and Peter McCue named San Sue Darks. Peppy San's dam was by Pep-Up who was bred by the King Ranch and was a double descendant of Old Sorrel. Peppy San's second dam was a mare from the 6666 Ranch named Belle Burnett.Peppy San Pedigree at All Breed Pedigree

 Cutting career
Peppy San was ridden for many years by Matlock Rose in cutting contests, before turning to a stud career. With the NCHA he earned $49,478.40 in cutting contests, receiving their Certificate of Ability, Bronze, and Silver awards.Peppy San NCHA Earnings He was inducted into the NCHA Hall of FameNCHA Horse Hall of Fame He was also the 1967 NCHA World Champion Cutting horse and the Reserve Champion in the 1962 NCHA Cutting Futurity.Pitzer Most Influential Quarter Horse Sires pp. 93–95 With the American Quarter Horse Association (or AQHA) he was the 1967 High Point Cutting Stallion as well as an AQHA Champion, Superior Cutting Horse and a Performance Register of Merit earner.Wagoner Quarter Horse Reference 1974 Edition p. 530 He was humanely put down due to the effects of old age on April 26, 1989.

 Breeding record
Among Peppy San's numerous offspring were Peponita, Sanacee, Miss Peppy Gay Bar, Royal Santana, Sonita's Last, San Tip and Peppy's Desire. Peponita was inducted into the NCHA Hall of Fame as well as being the NCHA World Champion Cutting Horse for both 1977 and 1979. Three of his offspring won the NCHA Cutting Derby – Chunky's Monkey, Tip It San, and Peppy Lena San.

 Honors
Peppy San was inducted into the AQHA Hall of Fame in 1991.

Pedigree

Notes

References

 All Breed Pedigree Database Pedigree of Peppy San retrieved on June 26, 2007
 AQHA Hall of Fame accessed on September 1, 2017

 NCHA Horse Hall of Fame retrieved September 4, 2017
 Peppy San NCHA Earnings retrieved on September 4, 2017

External links
 Peppy San at Quarter Horse Directory
 Peppy San at Quarter Horse Legends

Category:Cutting horses
Category:American Quarter Horse sires
Category:1959 animal births
Category:1989 animal deaths
Category:AQHA Hall of Fame (horses)
Category:NCHA Hall of Fame (horses)

he was the 1967 High Point Cutting Stallion as well as an AQHA Champion , Superior Cutting Horse and a Performance Register of Merit earner .

Wagoner Quarter Horse Reference 1974 Edition p. 530 He was humanely put down due to the effects of old age on April 26 , 1989 .

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Question: what year did wagoner become a high point cutting stallion

Answer: 1967

Question: when was wagoner put down

Answer: April 26, 1989

Question: why was wagoner put down

Answer: old age

Question: what type of stallion was wagoner

Answer: High Point Cutting Stallion

Question: when was wagoner quarter horse reference published

Answer: 1974

Question: what year was wagoner put down

Answer: 1989

Question: what year was wagoner quarter horse reference

Answer: 1974 Edition p. 530


Phillip Norris "Army" Armstrong (September 15, 1898 – October 11, 1981) was an American football player and coach. He played college football at Centre College in Danville, Kentucky from 1918 to 1919 and professionally for one season, in 1922, with the Milwaukee Badgers of the National Football League (NFL). Armstong served as the head football coach at Carroll College—now known as Carroll University—Waukesha, Wisconsin from 1923 to 1930, compiling a record of 44–11–6.

Playing career
Centre
thumb|upright=.9|left|Centre after defeat of West Virginia in 1919. Armstrong is in the center.
Norris played tackle and halfback for Centre College in Danville, Kentucky and was a key offensive playerCollege Football Historical Society "Still The Greatest" by Jim Campbell, August 1996  during the 1921 Centre vs. Harvard football game and was captain of the team that year.Centre College  Centre vs Harvard  He also was a player on the school's basketball team.Big Blue History University of Kentucky Basketball vs Centre College, February 8, 1921  Centre College honored his contribution to the school's athletic program by inducting him into the college's Athletic Hall of Fame.Centre College Athletics  Hall of Fame He was a halfback on Centre's all-time football team chosen in 1935.

Milwaukee Badgers
After graduation from Centre, Norris played professionally for the 1922 season as a tackle for the Milwaukee Badgers of the National Football League (NFL) alongside his college teammate Bo McMillin.JT-SW.com Norris ArmstrongDatabase Football  Norris ArmstrongDatabase Football  1922 Milwaukee Badgers

Coaching career
Centenary
Armstrong's first coaching position was in 1922 at Centenary College of Louisiana.The Beta Pi "Gridiron Coaches" Summer 2003  Here he was assistant to his college teammate (and future professional teammate) Bo McMillinPulaski Past Pulaski County Biographies where they produced an impressive record of eight wins and one lossCollege Football Data Warehouse  Centenary Yearly Results, 1920-1924 while outscoring opponents 295 to 41.College Football Data Warehouse  Centenary College 1922 Results

Carroll
thumb|right|Carroll Pioneers, c. 1920
After completing one year as an assistant coach, Armstrong was named the 15th head football at Carroll College—now known as Carroll University—in Waukesha, WisconsinWisconsin Rapids Daily Tribune September 19, 1923 and he held that position for eight seasons, from 1923 until 1930. His career coaching record at Carroll College was 44–11–6.Carroll College  Football Coaching Records

Armstrong oversaw one of the most successful periods of the football team at the college.City of Waukesha, Wisconsin "Waukesha's History"  The university honored his contributions by inducting him into the school's "Hall of Fame" in 1973.Carroll College Athletics  Hall of Fame

Key games for Carroll under Armstrong included the 1925 victory over Great Lakes Naval by a score of 73–0, and an undefeated 1925 season. The program never had anything but winning seasons under Armstrong, with the worst record being 4–3 in 1929; the worst loss that year was a 46–0 defeat by the Iowa Hawkeyes.Carroll University  Season by Season Results

After retiring from coaching, Armstrong remain with Carroll College to become athletic director and later a trustee of the college.The Evening Independent "A Football Legend is Dead" October 13, 1981

Head coaching record

References

External links

Category:1898 births
Category:1981 deaths
Category:American football halfbacks
Category:American football tackles
Category:Basketball coaches from Arkansas
Category:Centenary Gentlemen football coaches
Category:Centre Colonels football players
Category:Carroll Pioneers football coaches
Category:Carroll Pioneers men's basketball coaches
Category:All-Southern college football players
Category:Sportspeople from Fort Smith, Arkansas
Category:Coaches of American football from Arkansas
Category:Players of American football from Arkansas

Playing career Centre thumb|upright=.9|left|Centre after defeat of West Virginia in 1919 .

- Tuesday, February 8 1921 -
Kentucky - 27 (Head Coach: George C. Buchheit)
|Player||Pts|
|Basil Hayden||2|
|William King||13|
|Paul Adkins||6|
|Bob Lavin||2|
|Sam Ridgway||0|
|James Wilhelm||4|
|Totals||27|
Centre College - 29 (Head Coach: Charles McDowell)
|Player||Pts|
|Bo McMillin (*)||8|
|George Maver||19|
|James 'Red' Roberts||0|
|Norris Armstrong||0|
|William Walden||2|
|Totals||29|
Halftime Score: Centre 17, Kentucky 7Halftime Score: Centre 17, Kentucky 7
|Prior Game|||||Next Game|
|Auburn 40 - 25|||||Georgetown College 56 - 11|
Game Writeup - Lexington HeraldGame Writeup - Lexington Herald
Centre Defeats University of Kentucky by Score of 29 to 27
WILDCATS STAGE SENSATIONAL COMEBACK IN SECOND HALF, BUT LOSE BY TWO POINTS
Danville, Ky., Feb. 8 -- The University of Kentucky basketball team lost to the Centre College five here tonight by the margin of two points, after having staged the most sensational rally in the second half ever seen on the Centre court. The final score was 29 to 27.
The Wildcats played rings around the Gold and White during the last 20 minutes of the turmoil, but a lead of 17 to 7 the Colonels had acquired in the first period was too much for the visitors to overcome.
The teamwork of the Wildcats, admitted by many old basketball fans to be the best ever seen on the Centre court, was the outstanding feature of the contest. The visitors were outplayed during the first half and seemed not to get heated up, but during the last period they got down to work with a near perfect system of passing that was dazzling in its speed and accuracy.
It had been reported that Bill King, forward on the visiting team, would not be able to play, but he was in the line-up tonight, and he played the best game of the whole Kentucky squad. He made a total of 13 points. Maver was the outstanding star of the Centre team, making 21 of Centre's 29 points.
"Bobby" Lavin, diminutive running guard on the visiting team, was slightly injured during the first half, and had to be taken from the floor. Jimmie Wilhelm, who went in his place did good work, making two field goals during the last half.
Centre's victory tonight was its fourth consecutive win and the first defeat of the university team. This game leaves the superiority of the two teams about as much in doubt as ever, as the Kentucky five was completely outplaying the Colonels during the last half and would probably have won with another minute or two to play. The return game will be at the Lexington gymnasium on February 18.
Game Writeup - Louisville Courier-Journal
Centre Wins Net Honors From State
Colonels Vanquish Wildcats By Two Points in Hard-Fought Basketball Contest
MAVER STAR OF GAME
DANVILLE, Ky., Feb. 8. - Centre College tonight made fast its claim to the basketball championship of Kentucky by defeating Kentucky University in a hard-fought contest by the score of 29 to 27. The Colonels now have won five games and lost none, while the Wildcats have been vanquished in only the one game.
To Maver goes chief credit for the Danville victory. His floor work was remarkable, while his basket shooting was the best ever witnessed in the local gym. He tallied twenty-one of Centre's points, six being made by McMillan and two by Walden.
The Colonels ran away with the first half and at its close led by a score of 17 to 7, but the Wildcats came back with rare gameness in the final period and scored twenty points to Centre's twelve. AT the outset of the contest Maver threw three baskets, starting his team in a lead that was never overcome.
King was State's mainstay. He performed brilliantly a-floor and shot baskets in a brilliant manner.
The Colonels are scheduled to meet Georgetown Friday night.
Game Writeup - Kentucky Kernel
CLOSE CONTEST GOES TO CENTRE COLONELS
Wildcats Stage Up-hill Battle, But Are Nosed Out by Two Points
LAVIN IS INJURED
The Wildcats lost to Centre, at Danville, Tuesday evening by a score of 29-27. The lead of the "wonder team" in the first half could not be overcome in the last period of play by the most sensational rally ever seen on the Centre court.
A local paper, commenting on the game said: "This game leaves the superiority of the two teams about as much in doubt as ever, as the Kentucky five was completely outplaying the Colonels during the last half and would probably have won with another minute or two of play."
Lavin had the ligaments of his shoulder torn a few minutes after the game started and had to be taken out of the contest. The extent of the injury is unknown, as yet, but it is doubtful whether he will be able to play during the remainder of the season. Wilhelm filled the position held by "Bobby."
Coming back in the last half, despite a 17 to 7 point lead, the Kentucky five almost succeeded in giving Centre the much looked for defeat. King was the outstanding player for the Wildcats making 13 out of 27. Buchheit's men run up 20 points in the last half to Centre's 13, besides displaying a near perfect system of passing that was dazzling for its speed and accuracy. The two teams meet again on February 18 on the local Gym floor.
Game Writeup - Kentucky Advocate
CENTRE WINS
Takes Sensational Basket Ball Contest From Kentucky State Score of 29 to 27
In a thrilling basketball classic that will go far toward deciding the championship of Kentucky and of the South as well, the Centre College Colonels defeated the Kentucky State Wildcats by 29 to 27 at the Centre gymnasium here last night. The first half belonged to Centre and indicated a walk-away, but the rally of State in the last ten minutes of play made the game look perilously near a beating for the Colonels.
Maver, Centre's wizard net tosser, scored on a free throw in the first three minutes of play. King shot a foul for State, tying the count. A brief period of battling elapsed and he registered another free throw when Armstrong fouled. The Wildcats took time out when Lavin sustained an injured shoulder which will keep him out of the game for the remainder of the season. When the play was resumed Lavin caged a basket from the center of the floor. This proved to be Lavin's last basket for he had to retire from the game on account of his injured shoulder.
Maver dropped a free throw thru the net. Playing sensationally, he sent the ball sliding through the cage three times in less than a minute. This performance with similar ones, brought expressions of the belief that the contest was the fastest ever played on the Centre floor.
"Red" Roberts, in his first net game of the season, hung on a Wildcat forward's neck. At this period of the fracas King converted the foul. The hard play at this time necessitated the taking of time out.
McMillin, of Colonel gridiron fame, made his first goal upon resumption of the bout. A sensational Centre shot from mid-floor brought the crowd to their feet. King then found the net and encouraged the State rooting section. After two minutes more of hard play, Walden dropped in the leather. McMillin fell on the ball in true football style. Maver dropped in a foul just before the initial period closed at 17 to 7.
The second half belonged to State. King, at forward, was responsible for the Wildcats' comeback towards the end of the final period. He found the net after three minutes of play. McMillin made another scintillating shot. Centre started playing rings around her opponents. Walden rung up his second goal. Hayden tipped the sphere over the ring for the Wildcats. McMillin and Maver followed in rapid succession with scores for Centre.
At this point Kentucky's big rally started, King, Atkins, Wilhelm and Hayden following each other with field goals. The situation was tense. McMillin then scored Centre's last basket. Baskets by King and Hayden in the last two minutes of play set the large State following to roaring, as the Wildcats were then within two points of the leaders. The Centre supporters madly cheered for their team. With the yells from both sides Young Gymnasium rocked. The result of the contest was dangerously near a tie when the firing of the pistol closed the game with a glorious triumph for Centre.

Question: when did west virginia lose to usa

Answer: 1919

Question: which us state defeated the usa in 1919 to win the national championship

Answer: West Virginia

Question: what is the left side of the centre

Answer: thumb

Question: what is the left side of the left foot

Answer: Centre thumb

Question: what position does the left hand guard play in football

Answer: Centre

Question: what was the name of the first game in which the left side of the centre was

Answer: defeat of West Virginia

Question: what position does the thumb belong to

Answer: Centre

Coaching career Centenary Armstrong 's first coaching position was in 1922 at Centenary College of Louisiana .

The Beta Pi " Gridiron Coaches " Summer 2003 Here he was assistant to his college teammate ( and future professional teammate ) Bo McMillinPulaski Past Pulaski County Biographies where they produced an impressive record of eight wins and one lossCollege Football Data Warehouse Centenary Yearly Results , 1920 - 1924 while outscoring opponents 295 to 41.College Football Data Warehouse Centenary College 1922 Results

Centenary Yearly Results
|
|
1920:
0-1-0
|
|
Coach:
|
|
Homer H. Norton
|
|
|
|
W/L
|
|
Date
|
|
PF
|
|
Opponent
|
|
PA
|
|
Location
|
|
Notes
|
|
L
|
|
1920
|
|
0
|
|
College of Marshall (TX)
|
|
13
|
|
?
|
|
|
|
1921:
3-3-0
|
|
Coach:
|
|
Homer H. Norton
|
|
|
|
W/L
|
|
Date
|
|
PF
|
|
Opponent
|
|
PA
|
|
Location
|
|
Notes
|
|
W
|
|
1921
|
|
30
|
|
College of Marshall (TX)
|
|
0
|
|
?
|
|
|
|
W
|
|
1921
|
|
7
|
|
Louisiana College
|
|
6
|
|
?
|
|
|
|
L
|
|
10-29-1921
|
|
0
|
|
Northwestern St. (LA)
|
|
7
|
|
Shreveport, LA
|
|
|
|
L
|
|
1921
|
|
0
|
|
Louisiana-Lafayette
|
|
1
|
|
?
|
|
Centenary Forfeits
|
|
W
|
|
11-19-1921
|
|
21
|
|
Millsaps (MS)
|
|
7
|
|
?
|
|
|
|
L
|
|
11-24-1921
|
|
7
|
|
Louisiana Tech
|
|
14
|
|
Shreveport, LA
|
|
|
|
1922:
8-1-0
|
|
Coach:
|
|
Alvin N. "Bo" McMillin
|
|
|
|
W/L
|
|
Date
|
|
PF
|
|
Opponent
|
|
PA
|
|
Location
|
|
Notes
|
|
W
|
|
09-30-1922
|
|
77
|
|
Wiley (TX)
|
|
0
|
|
Shreveport, LA
|
|
|
|
W
|
|
10-07-1922
|
|
34
|
|
Louisiana College
|
|
0
|
|
Shreveport, LA
|
|
|
|
W
|
|
10-14-1922
|
|
21
|
|
Millsaps (MS)
|
|
7
|
|
Jackson, MS
|
|
|
|
L
|
|
10-21-1922
|
|
0
|
|
Tennessee Medical College
|
|
14
|
|
?
|
|
|
|
W
|
|
10-25-1922
|
|
28
|
|
Northwestern St. (LA)
|
|
7
|
|
Shreveport, LA
|
|
|
|
W
|
|
11-04-1922
|
|
48
|
|
Loyola (LA)
|
|
0
|
|
Shreveport, LA
|
|
|
|
W
|
|
11-11-1922
|
|
28
|
|
Henderson St. (AR)
|
|
0
|
|
Shreveport, LA
|
|
|
|
W
|
|
11-18-1922
|
|
39
|
|
Louisville (KY)
|
|
13
|
|
Louisville, KY
|
|
|
|
W
|
|
11-30-1922
|
|
20
|
|
Louisiana Tech
|
|
0
|
|
Shreveport, LA
|
|
|
|
1923:
10-2-0
|
|
Coach:
|
|
Alvin N. "Bo" McMillin
|
|
Louisiana Intercollegiate Athletic Association Champions
|
|
|
|
W/L
|
|
Date
|
|
PF
|
|
Opponent
|
|
PA
|
|
Location
|
|
Notes
|
|
W
|
|
09-22-1923
|
|
35
|
|
Louisiana-Lafayette
|
|
0
|
|
Lafayette, LA
|
|
|
|
W
|
|
09-29-1923
|
|
40
|
|
Henderson St. (AR)
|
|
3
|
|
Shreveport, LA
|
|
|
|
W
|
|
10-06-1923
|
|
46
|
|
Tennessee-Chattanooga
|
|
7
|
|
Shreveport, LA
|
|
|
|
W
|
|
10-12-1923
|
|
31
|
|
Hendrix (AR)
|
|
13
|
|
Conway, AR
|
|
|
|
W
|
|
10-20-1923
|
|
46
|
|
Northwestern St. (LA)
|
|
0
|
|
Shreveport, LA
|
|
|
|
W
|
|
10-27-1923
|
|
23
|
|
Texas Christian
|
|
0
|
|
Fort Worth, TX
|
|
|
|
W
|
|
11-03-1923
|
|
75
|
|
Western Kentucky
|
|
0
|
|
?
|
|
|
|
L
|
|
11-10-1923
|
|
0
|
|
Boston College (MA)
|
|
14
|
|
Boston, MA
|
|
|
|
W
|
|
11-17-1923
|
|
34
|
|
Southwestern (TX)
|
|
0
|
|
Shreveport, LA
|
|
|
|
L
|
|
1923
|
|
0
|
|
College of Marshall (TX)
|
|
3
|
|
?
|
|
|
|
W
|
|
11-24-1923
|
|
14
|
|
Oglethorpe (GA)
|
|
0
|
|
Atlanta, GA
|
|
|
|
W
|
|
11-29-1923
|
|
27
|
|
Louisiana Tech
|
|
0
|
|
Shreveport, LA
|
|
|
|
1924:
8-1-0
|
|
Coach:
|
|
Alvin N. "Bo" McMillin
|
|
|
|
W/L
|
|
Date
|
|
PF
|
|
Opponent
|
|
PA
|
|
Location
|
|
Notes
|
|
W
|
|
10-04-1924
|
|
51
|
|
Loyola (LA)
|
|
0
|
|
Shreveport, LA
|
|
|
|
W
|
|
10-11-1924
|
|
13
|
|
Trinity (TX)
|
|
7
|
|
Shreveport, LA
|
|
|
|
W
|
|
10-18-1924
|
|
9
|
|
Butler (IN)
|
|
7
|
|
Indianapolis, IN
|
|
|
|
L
|
|
10-25-1924
|
|
6
|
|
Tennessee Medical College
|
|
7
|
|
Shreveport, LA
|
|
|
|
W
|
|
10-31-1924
|
|
20
|
|
Howard Payne (TX)
|
|
10
|
|
Brownwood, TX
|
|
|
|
W
|
|
11-08-1924
|
|
7
|
|
Central Oklahoma
|
|
6
|
|
Shreveport, LA
|
|
|
|
W
|
|
11-15-1924
|
|
10
|
|
Boston College (MA)
|
|
9
|
|
Chestnut Hill, MA
|
|
|
|
W
|
|
11-27-1924
|
|
23
|
|
Saint Louis (MO)
|
|
13
|
|
Saint Louis, MO
|
|
|
|
W
|
|
12-04-1924
|
|
38
|
|
Lombard (IL)
|
|
0
|
|
Shreveport, LA
|
|

Question: when was the first college football game played

Answer: 1922

Question: who was inducted into the college football hall of fame in 1922

Answer: Bo McMillinPulaski

Question: where did centenary armstrong begin his college coaching career

Answer: Centenary College of Louisiana

Question: how many college football championships did centenary armstrong have

Answer: eight

Question: what was the margin of victory for the gridiron teams in 1920-1924

Answer: 295 to 41

Question: during what years was the college football data warehouse centenary

Answer: 1920-1924

Question: when was the last time a college football team won a national championship

Answer: 2003

Question: when did the beta pi gridiron coaches start

Answer: Summer 2003

Carroll thumb|right|Carroll Pioneers , c. 1920 After completing one year as an assistant coach , Armstrong was named the 15th head football at Carroll College — now known as Carroll University — in Waukesha , WisconsinWisconsin Rapids Daily Tribune September 19 , 1923 and he held that position for eight seasons , from 1923 until 1930 .

Is it a sloppy Joe, hot tamale or barbecue? Depends where you're from
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Fact check: Would Evers' plan have added a dime per gallon to cost of gas? One year into clergy investigation, state has received over 200 reports of abuse Silver Alert canceled for 70-year-old Rusk County woman missing since Monday More in News
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Superb pitching, deft distance running and a contentious comeback: Who was prep athlete of the week? Tommy Thompson says he won't run for governor Here are Tuesday's high school sports results for the Wausau and Stevens Point area Fact check: Would Evers' plan have added a dime per gallon to cost of gas? Get a six-month Daily Tribune subscription for $1

Question: where did carroll college rank in college football

Answer: 15th

Question: how many seasons did carroll coach before waukesha

Answer: eight

Question: what is carroll college football record

Answer: 44–11–6

Question: what is the current name of carroll college

Answer: Carroll University

Question: when did carroll start playing football in wisconsin

Answer: 1920

Question: who was the head football coach at carroll college

Answer: Armstrong

Question: how many years did carroll coach football

Answer: eight seasons

Question: when did carroll college become carroll university

Answer: September 19, 1923

Armstrong oversaw one of the most successful periods of the football team at the college .

City of Waukesha , Wisconsin " Waukesha 's History " The university honored his contributions by inducting him into the school 's " Hall of Fame " in 1973.Carroll College Athletics Hall of Fame

Carroll College is proud to honor individuals who have earned the highest level of
success in athletics at Carroll, either as an athlete, coach or supporter, and/or who have demonstrated commitment and
leadership in athletics beyond Carroll. These awards are presented every other year during Homecoming Weekend.
Athletics Hall of Fame
|1973
|
Norris "Army" Armstrong
Vincent Batha '21
John Breen '35
Art Buck '38
John Budde '63
Clinton Copps '11
Charles Foster '53
Clifford Goerke '31
Alvin Hanke '50
Walter Lemm '42
Steve Reega '42
Vic Reinders '29
1974
Kenneth Binder '40
Herbert Bizer '30
Don Huddleston '32
Jean "Teach" Kilgour
James Knoblauch '39
Emil Pontow '53
Vincent Radecke '58
1976
Maynard Black '28
Irie Grant '65
Kenneth Hill '62
Leif Holm '47
Peter Rempe '61
Steve Sippy '63
August Vandermeulen '32
1979
Jerry Barnes '37
Howard Fuller '62
Garvin Smith '53
Tom Winkauf '66
Oliver Van Male '22
1982
James Bruinooge '31
Edward "Ned" Demming '41
Ralph Frank '48
Dr. Charles Lomas '29
Frederick Schulze '27
Elmer Lampe
1984
Robert Duckett '47
Dr. Lucile Eising '29
F.J. "Mickey" McCormick
Donald Moncher '50
G. Henry Ottery '32
William Wick '70
1986
Mike Chitjian '56
John Fries '10
Bob Helf '75
Earl Orlebeke '31
Gerry Reichert '66
|1988
|
Clifford Juedes
Peter Dellios '52
Joseph Sydow '57
Dave Shaw '77
Mary Ellen Uhalt Langenfeld '78
1990
Jack Schlicht '62
Dave Anschuetz '73
Tim Moncher '76
Dave Vetta '76
Audrey Kleppe Perk '79
1992
Ron Jensen '60
Donald Oncken '54
Glenn Braunschweig '58
Greg Schleicher '83
1994
Vincent Di Francesca
Donald Natalizio '62
George Schussler '56
Stephen Thompson '77
1996
Jon Rechner '62
Debra Arps Munyer '79
Lynn Dusold '87
Doug Irwin '62
Amy Vanden Langenberg '86
1998
Gary Bosak '69
Anne (Goldsworthy) DeLoye '86
Diane (White) Peterson '75
Dave Weber '88
Jane Swanson
2000
Steven Albinger '86
Pamela DuBiel '85
Brian Erickson '88
Carol (Ferch) Rose '84
Peter Thompson '79
2002
Claude Covelli '69
Jeff Cummisford '73
John Schreiber '58
Kevin Sippy '90
Daniel Steffen
Denise White ‘75

Question: when was armstrong inducted into the carroll college hall of fame

Answer: 1973

Question: who was inducted into the carroll college hall of fame in 1973

Answer: Armstrong

Question: in what state is carroll college located

Answer: Wisconsin

in what state is carroll college located

Question: what is the name of the hall of fame for carroll college athletics

Answer: Carroll College Athletics Hall of Fame

Question: what is the name of the city of waukesha, wisconsin

Answer: Waukesha's History

Question: where is carroll college located

Answer: City of Waukesha, Wisconsin


thumb|upright=1.2|Vanna Venturi House
Robert Charles Venturi Jr. (June 25, 1925 – September 18, 2018) was an American architect, founding principal of the firm Venturi, Scott Brown and Associates, and one of the major architectural figures of the twentieth century.

Together with his wife and partner, Denise Scott Brown, he helped shape the way that architects, planners and students experience and think about architecture and the built environment. Their buildings, planning, theoretical writings, and teaching have also contributed to the expansion of discourse about architecture.

Venturi was awarded the Pritzker Prize in Architecture in 1991; the prize was awarded to him alone, despite a request to include his equal partner, Scott Brown. Subsequently, a group of women architects attempted to get her name added retroactively to the prize, but the Pritzker Prize jury declined to do so. Venturi is also known for having coined the maxim "Less is a bore", a postmodern antidote to Mies van der Rohe's famous modernist dictum "Less is more". Venturi lived in Philadelphia with Denise Scott Brown. He is the father of James Venturi, founder and principal of ReThink Studio.

Early life and education
Venturi was born in Philadelphia to Robert Venturi Sr. and Vanna (née Luizi) Venturi and was raised as a Quaker.The Nassau Herald 1947, Princeton University yearbook Venturi attended school at the Episcopal Academy in Merion, Pennsylvania. in Introduction by Robert Venturi  He graduated summa cum laude from Princeton University in 1947 where he was a member-elect of Phi Beta Kappa and won the D'Amato Prize in Architecture. He received his M.F.A. from Princeton in 1950. The educational program at Princeton under Professor Jean Labatut, who offered provocative design studios  within a Beaux-Arts pedagogical framework, was a key factor in Venturi's development of an approach to architectural theory and design that drew from architectural history and commercial architecture in analytical, as opposed to stylistic, terms.Robert Venturi 1991 Laureate  Pritzker Architecture Prize  In 1951 he briefly worked under Eero Saarinen in Bloomfield Hills, Michigan, and later for Louis Kahn in Philadelphia.  He was awarded the Rome Prize Fellowship at the American Academy in Rome in 1954, where he studied and toured Europe for two years.

From 1959 to 1967, Venturi held teaching positions at the University of Pennsylvania, where he served as Kahn's teaching assistant, an instructor, and later, as associate professor. It was there, in 1960, that he met fellow faculty member, architect and planner Denise Scott Brown. Venturi taught later at the Yale School of Architecture and was a visiting lecturer with Scott Brown in 2003 at Harvard University's Graduate School of Design.

Architectural theories
A controversial critic of what he saw as the blithely functionalist and symbolically vacuous architecture of corporate modernism during the 1950s, Venturi was one of the first architects to question some of the premises of the Modern Movement. He published his "gentle manifesto", Complexity and Contradiction in Architecture in 1966; in its introduction, Vincent Scully called it "probably the most important writing on the making of architecture since Le Corbusier's Vers Une Architecture of 1923." The work was derived from course lectures at the University of Pennsylvania, and Venturi received a grant from the Graham Foundation in 1965 to aid in its completion. The book demonstrated, through countless examples, an approach to understanding architectural composition and complexity, and the resulting richness and interest. Citing vernacular as well as high-style sources, Venturi drew new lessons from the buildings of architects familiar (Michelangelo, Alvar Aalto) and, at the time, forgotten (Frank Furness, Edwin Lutyens). He made a case for "the difficult whole" rather than the diagrammatic forms popular at the time, and included examples — both built and unrealized — of his own work to demonstrate the possible application of such techniques. The book has been published in 18 languages to date.
thumb|left|Venturi's wife and business partner Denise Scott Brown
Immediately hailed as a theorist and designer with radical ideas, Venturi went to teach a series of studios at the Yale School of Architecture in the mid-1960s. The most famous of these was a studio in 1968 in which Venturi and Scott Brown, together with Steven Izenour, led a team of students to document and analyze the Las Vegas Strip, perhaps the least likely subject for a serious research project imaginable. In 1972, Venturi, Scott Brown and Izenour published the folio, A Significance for A&P Parking Lots, or Learning from Las Vegas. It was revised using the student work as a foil for new theory, and reissued in 1977 as Learning from Las Vegas: the Forgotten Symbolism of Architectural Form. This second manifesto was an even more stinging rebuke to orthodox modernism and elite architectural tastes.  The book coined the terms "Duck" and "Decorated Shed," descriptions of the two predominant ways of embodying iconography in buildings. The work of Venturi, Scott Brown, and John Rauch
adopted the latter strategy, producing formally simple "decorated sheds" with rich, complex, and often shocking ornamental flourishes. Venturi and his wife co-wrote several more books at the end of the century, but these two have so far proved to be the most influential.

Architecture
thumb|The Guild House, completed 1964, on Spring Garden Street, Philadelphia
The architecture of Robert Venturi, although perhaps not as familiar today as his books, helped redirect American architecture away from a widely practiced modernism in the 1960s to a more exploratory design approach that openly drew lessons from architectural history and responded to the everyday context of the American city. Venturi's buildings typically juxtapose architectural systems, elements and aims, to acknowledge the conflicts often inherent in a project or site. This "inclusive" approach contrasted with the typical modernist effort to resolve and unify all factors in a complete and rigidly structured—and possibly less functional and more simplistic—work of art. The diverse range of buildings of Venturi's early career offered surprising alternatives to then current architectural practice, with "impure" forms (such as the North Penn Visiting Nurses Headquarters), apparently casual asymmetries (as at the Vanna Venturi House), and pop-style supergraphics and geometries (for instance, the Lieb House).

thumb|Chapel at the Episcopal Academy, Newtown Square, PA. (2010)
Venturi created the firm Venturi and Short with William Short in 1960. In his architectural design Venturi was influenced by early masters such as Michelangelo and Palladio, and modern masters including Le Corbusier, Alvar Aalto, Louis Kahn and Eero Saarinen. After John Rauch replaced Short as partner in 1964, the firm's name changed to Venturi and Rauch. Venturi married Denise Scott Brown on July 23, 1967, in Santa Monica, California, and in 1969, Scott Brown joined the firm as partner in charge of planning. In 1980, The firm's name became Venturi, Rauch, and Scott Brown, and after Rauch's resignation in 1989, Venturi, Scott Brown, and Associates. The firm, based in Manayunk, Philadelphia, was awarded the Architecture Firm Award by the American Institute of Architects in 1985.  The practice's recent work includes many commissions from academic institutions, including campus planning and university buildings, and civic buildings in London, Toulouse, and Japan.

Venturi's architecture has had worldwide influence, beginning in the late 1960s with the dissemination of the broken-gable roof of the Vanna Venturi House and the segmentally arched window and interrupted string courses of Guild House. The playful variations on vernacular house types seen in the Trubeck and Wislocki Houses offered a new way to embrace, but transform, familiar forms.  The facade patterning of the Oberlin Art Museum and the laboratory buildings demonstrated a treatment of the vertical surfaces of buildings that is both decorative and abstract, drawing from vernacular and historic architecture while still being modern. Venturi's work arguably provided a key influence at important times in the careers of architects Robert A. M. Stern, Rem Koolhaas, Philip Johnson, Michael Graves, Graham Gund and James Stirling, among others.

Venturi was a Fellow of the American Academy in Rome, the American Institute of Architects, The American Academy of Arts and Letters and an Honorary Fellow of the Royal Institute of British Architects.

Death
Venturi died on September 18, 2018, in Philadelphia from complications of Alzheimer's disease. He was 93.

In the wake of Venturi's death, Michael Kimmelman, the current architecture critic for the New York Times,  tweeted..."RIP the great, inspiring Robert Venturi who opened millions of eyes and whole new ways of thinking about the richness of our architectural environment, and whose diverse work with Denise Scott Brown contains a mix of wit and humanity that continues to transcend labels and time".

Notable students
Venturi's notable students include Amy Weinstein and Peter Corrigan.

Selected works
thumb|225px|right|Freedom Plaza in Washington, D.C., with inlay depicting parts of Peter Charles L'Enfant's 1791 plan for the city
thumb|Sainsbury Wing of the National Gallery, London
thumb|Inside the Seattle Art Museum
thumb|Entrance to Wu Hall at Princeton University
right|thumbnail|Trabant Student Center, University of Delaware

 Vanna Venturi House; Philadelphia (1964) won the AIA Twenty-five Year Award and was recognized as a "Masterwork of Modern American Architecture" by the United States Postal Service in May 2005.
 Guild House; Philadelphia (1964)
 The Lieb House located in Barnegat Light, New Jersey was designed by Venturi and his wife Denise Scott Brown and built in 1967. It is best known for the huge number 9 on its front, and the sailboat-shaped window on one side. A Long Island, New York couple purchased this home in early March 2009 for just $1 to save it from demolition, paying at least $100,000 to move it on a barge to Glen Cove, Long Island.
 Fire Station #4; Columbus, Indiana (1968)
Hartford Stage; Hartford, Connecticut (1968)
 Trubek and Wislocki Houses; Nantucket, Massachusetts (1971)
 Brant House; Greenwich, Connecticut (1972)
 Dixwell Fire Station, New Haven, CT (1974)
 Allen Memorial Art Museum modern addition, Oberlin College; Oberlin, Ohio (1976)
 BASCO Showroom; Philadelphia (1976)
 Franklin Court; Philadelphia (1976)
 Best Products Catalog Showroom; Langhorne, Pennsylvania (1978)
 Western Plaza, later renamed to Freedom Plaza, Washington, D.C. (1980)
 The Park Regency Terrace Residences, later renamed to Park Regency Condominium Houston Texas (1981)
 Coxe-Hayden House and Studio; Block Island, Rhode Island (1981)
Abrams House; Pittsburgh, Pennsylvania (1982)
 Gordon Wu Hall; Princeton University, New Jersey (1983)
 House in New Castle, Delaware (1983)
 Lewis Thomas Laboratory, Princeton University, New Jersey (1986)
 House in East Hampton, Long Island, New York (1990)
 Gordon and Virginia MacDonald Medical Research Laboratories, UCLA; Los Angeles, California (1991)
 Sainsbury Wing, National Gallery, London; United Kingdom (1991)
 Seattle Art Museum; Seattle, Washington (1991)
 Restoration of the Fisher Fine Arts Library, University of Pennsylvania; Philadelphia (1991)
 Children's Museum; Houston, Texas (1992)
 Charles P. Stevenson Jr. Library, Bard College; Annandale-on-Hudson, New York (1994)
 University of Delaware, Trabant Student Center (1996)
 Museum of Contemporary Art San Diego, La Jolla; California (1996)
 Mielparque Nikko Kirifuri Resort; Nikko National Park, Japan (1997)
 Gonda (Goldschmied) Neurosciences and Genetics Research Center, UCLA; Los Angeles, California (1998)
 Provincial Capitol Building; Toulouse, France (1999)
 Frist Campus Center, Princeton University; New Jersey (2000)
 Rauner Special Collections Library, Dartmouth College; Hanover, New Hampshire (2000)
 Perelman Quadrangle, University of Pennsylvania; Philadelphia (2000)
 Baker Memorial Library, Dartmouth College; Hanover, New Hampshire (2002)
 Dumbarton Oaks Library, Harvard University; Washington, D.C. (2005)
 Undergraduate Science Building, Life Sciences Institute and Palmer Commons complex, University of Michigan; Ann Arbor, Michigan (2005)
 Biomedical Biological Science Research Building (BBSRB), University of Kentucky; Lexington, Kentucky (2005)
 Congregation Beth El Synagogue - Sunbury, PA. (2007)
 Episcopal Academy Chapel; Newtown Square, Pennsylvania (2008)

Awards

Fellow, American Academy in Rome; 1954-1956Directory 1951 to 1960  Society of Fellows of the American Academy in Rome
 AIA Medal for Complexity and Contradiction in Architecture; 1978
 Fellow in the American Institute of Architects, 1978
 AIA Architecture Firm Award, to Venturi, Rauch and Scott Brown; 1985
 Commendatore of the Order of Merit, Republic of Italy; 1986
 AIA Twenty-five Year Award to the Vanna Venturi House; 1989
 Elected to the American Academy of Arts and Letters; 1990
 The Pritzker Architecture Prize; 1991
 National Medal of Arts, United States Presidential Award; 1992 (with Denise Scott Brown)
 Commandeur de L'Ordre des Arts et Lettres, Republique Française, Ministère de la Culture et de la Communication; 2000
 Vincent Scully Prize, National Building Museum; 2002 (with Denise Scott Brown)
Elected to the American Philosophical Society; 2006
 Design Mind Award, Cooper-Hewitt National Design Awards; 2007 (with Denise Scott Brown)
 AIA Gold Medal (with Denise Scott Brown) 2016

Writings

References

External links

 Venturi, Scott Brown and Associates, Inc. firm web site
 Online profile of Venturi, Scott Brown and Associates, Inc.
 Stories of Houses: The Vanna Venturi House in Philadelphia, by Robert Venturi
 Design Strategies of Robert Venturi and Denise Scott Brown

 Robert Venturi interview

Category:1925 births
Category:2018 deaths
Category:Architects from Philadelphia
Category:Architecture educators
Category:Architectural theoreticians
Category:American architecture critics
Category:American male non-fiction writers
Category:American people of Italian descent
Category:Architecture firms based in Pennsylvania
Category:Fellows of the American Institute of Architects
Category:Members of the American Academy of Arts and Letters
Category:Members of the European Academy of Sciences and Arts
Category:Postmodern architects
Category:Princeton University School of Architecture alumni
Category:Pritzker Architecture Prize winners

Category:United States National Medal of Arts recipients
Category:University of Pennsylvania faculty
Category:Urban theorists
Category:Members of the American Philosophical Society
Category:Preservationist architects
Category:Episcopal Academy alumni
Category:Recipients of the AIA Gold Medal

Venturi was awarded the Pritzker Prize in Architecture in 1991 ; the prize was awarded to him alone , despite a request to include his equal partner , Scott Brown .

The Pritzker Prize jury will not revisit its decision to exclude the architect Denise Scott Brown from the 1991 prize given to her design partner and husband, Robert Venturi, with whom she worked side by side.
Two students at the Harvard Graduate School of Design had started an online petition calling for the panel that administers architecture’s highest prize to reconsider that decision. The case has brought to the fore the status and recognition given to women in the field.
“Insofar as you have in mind a retroactive award of the prize to Ms. Scott Brown, the present jury cannot do so,” said Peter Palumbo, the Pritzker chairman, in a letter to the two students. “Pritzker juries, over time, are made up of different individuals, each of whom does his or her best to find the most highly qualified candidate. A later jury cannot reopen or second guess the work of an earlier jury, and none has ever done so.”
Ms. Scott Brown could not be reached for comment. It was her remarks that prompted the students, Arielle Assouline-Lichten and Caroline James, to start the petition in the first place. “They owe me not a Pritzker Prize but a Pritzker inclusion ceremony,” Ms. Scott Brown had said. “Let’s salute the notion of joint creativity.”
Ms. Assouline-Lichten said in an interview on Friday, “It takes time for institutions to admit historical wrongs, so we’re hopeful they’ll continue to work with us and over time acknowledge that the Pritzker Prize will need to respond and adapt.”
Mr. Palumbo said in his letter that Ms. Scott Brown “remains eligible for the Pritzker award” and commended the students for raising awareness about women in architecture.
“We should like to thank you for calling directly to our attention a more general problem, namely that of assuring women a fair and equal place within the profession,” he wrote. “To provide that assurance is, of course, an obligation embraced by every part of the profession, from the schools that might first encourage students to enter the profession to the architectural firms that must facilitate the ability of women to fulfill their potential as architects.”

Question: when was venturi awarded the pritzker prize in architecture

Answer: 1991

Question: who was venturi's partner in the 1991 pritzker prize

Answer: Scott Brown

Question: what prize did venturi win in 1991

Answer: Pritzker Prize in Architecture

Question: venturi was awarded what prize in 1991

Answer: Pritzker Prize

Question: venturi won the 1991 pritzker prize in what field

Answer: Architecture

Early life and education Venturi was born in Philadelphia to Robert Venturi Sr .

and Vanna ( née Luizi ) Venturi and was raised as a Quaker .

The Nassau Herald 1947 , Princeton University yearbook Venturi attended school at the Episcopal Academy in Merion , Pennsylvania .

William L. Price: Arts and Crafts to Modern Design
Princeton Architectural Press, 2000 - Architecture - 362 pages
Architect George Howe thought there were three pioneers of American architecture: Louis Sullivan, Frank Lloyd Wright, and William L. Price. Although history has borne out Howe's observation on Sullivan and Wright, Will Price still awaits discovery.
Architect George Howe thought there were three pioneers of American architecture: Louis Sullivan, Frank Lloyd Wright, and William L. Price. Although history has borne out Howe's observation on Sullivan and Wright, Will Price still awaits discovery.
Price, a disciple of Frank Furness who practiced in Philadelphia from 1833 to 1916, established the architectural character of the two of the nation's greatest resorts, Atlantic City and Miami, thus shaping the architecture of the Roaring Twenties. Although his biggest and best-known projects, the Art Deco Traymore Hotel in Atlantic City and the Chicago Freight Terminal, are both destroyed, his arts and crafts utopian community in Arden, Delaware survive to attest to the vigor of his ideas and the leadership he exerted.
Price left a legacy of exquisite houses, railway stations, and commercial structures stretching from Atlantic City to Chicago and from Canada to Florida taht were widely emulated and reacall the best works of Frank Lloyd Wright and Greene & Greene. In addition, Price was accomplished writer and furniture designer whose work was regularly featured in Gustav Stickley's The Craftsman.
Price's role in shaping American architecture in uncovered in this lavishingly illustrated volume, which documents the architects complete works—including over 350 hotels, houses, and pieces of furniture—bringing to light this unknown American master.
What people are saying - Write a review
WILLIAM L PRICEUser Review - Not Available - Book Verdict
Regrettably, Philadelphian Price has largely eluded the attention of critics and historians. Thomas, who developed this book from a dissertation, ably corrects the oversight. Early in Price's career ... Read full review
Time has changed but the greed of wealth remain in hearts of those of envy. The places are nice and should be a monument historically for public not private resort for the ritch
Contents
On the Brink of the Twentieth Century
|1|
Nationality Ethnic Continuity and Christian Civilization
|31|
Prices Utopian Visions
|75|
Architecture as the Utterance of the Living
|115|
Epilogue
|175|
Color Plates
|183|
Catalogue
|199|
The Arts and Crafts Furniture of William L Price Robert Edwards
|319|
Is American Art Captive to the Dead Past? William L Price
|331|
Modern Architecture William L Price
|335|
Chronology of the Works and Projects of William L Price
|347|
Bibliography of William L Price
|356|
|359|

Question: what religion was venturi raised as

Answer: Quaker

Question: where was venturi born

Answer: Philadelphia

Question: where did venturi go to school

Answer: Episcopal Academy

Question: what newspaper was venturi a member of

Answer: The Nassau Herald

Question: what quaker was born in philadelphia

Answer: Robert Venturi

Question: what year was venturi born

Answer: 1947

Question: where was the episcopal academy located

Answer: Merion, Pennsylvania

Question: who was venturi's father

Answer: Robert Venturi Sr. and Vanna

The educational program at Princeton under Professor Jean Labatut , who offered provocative design studios within a Beaux - Arts pedagogical framework , was a key factor in Venturi 's development of an approach to architectural theory and design that drew from architectural history and commercial architecture in analytical , as opposed to stylistic , terms .

Robert Venturi 1991 Laureate Pritzker Architecture Prize In 1951 he briefly worked under Eero Saarinen in Bloomfield Hills , Michigan , and later for Louis Kahn in Philadelphia .

He was awarded the Rome Prize Fellowship at the American Academy in Rome in 1954 , where he studied and toured Europe for two years .

Architecture's Historical Turn: Phenomenology and the Rise of the Postmodern
University of Minnesota Press, 2010 - Architecture - 310 pages
Architecture's Historical Turn traces the hidden history of architectural phenomenology, a movement that reflected a key turning point in the early phases of postmodernism and a legitimating source for those architects who first dared to confront history as an intellectual problem and not merely as a stylistic question. Jorge Otero-Pailos shows how architectural phenomenology radically transformed how architects engaged, theorized, and produced history. In the first critical intellectual account of the movement, Otero-Pailos discusses the contributions of leading members, including Jean Labatut, Charles Moore, Christian Norberg-Schulz, and Kenneth Frampton. For architects maturing after World War II, Otero-Pailos contends, architectural history was a problem rather than a given. Paradoxically, their awareness of modernism's historicity led some of them to search for an ahistorical experiential constant that might underpin all architectural expression. They drew from phenomenology, exploring the work of Bachelard, Merleau-Ponty, Heidegger, and Ricoeur, which they translated for architectural audiences. Initially, the concept that experience could be a timeless architectural language provided a unifying intellectual basis for the stylistic pluralism that characterized postmodernism. It helped give theory—especially the theory of architectural history—a new importance over practice. However, as Otero-Pailos makes clear, architectural phenomenologists could not accept the idea of theory as an end in itself. In the mid-1980s they were caught in the contradictory and untenable position of having to formulate their own demotion of theory. Otero-Pailos reveals how, ultimately, the rise of architectural phenomenology played a crucial double role in the rise of postmodernism, creating the antimodern specter of a historical consciousness and offering the modern notion of essential experience as the means to defeat it.
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Question: under whom did robert venturi work at princeton

Answer: Professor Jean Labatut

under whom did robert venturi work at princeton

Question: in what year was robert venturi awarded the pritzker prize

Answer: 1951

Question: who did robert venturi briefly work with in 1951

Answer: Eero Saarinen

who did robert venturi briefly work with in 1951

Question: in what year was venturi awarded the rome prize

Answer: 1954

in what year was venturi awarded the rome prize

Question: where did venturi study with jean labatut

Answer: Princeton

where did venturi study with jean labatut

Question: for whom did robert venturi work after winning the pritzker prize

Answer: Louis Kahn

Question: who was the professor of pedagogical at princeton who mentored venturi

Answer: Jean Labatut

Question: where was venturi awarded the rome prize fellowship

Answer: American Academy in Rome

Robert Venturi has been described as one of the most original talents in contemporary architecture. He has also been credited with saving modern architecture from itself. He has done this by being eloquent verbally with his writings and visually with the appearance of his buildings. Like other Pritzker Architecture Prize Laureates before him, he is a writer, a teacher, an artist and philosopher, as well as an architect.
Venturi graduated summa cum laude from Princeton University in 1947 and received his Master of Fine Art degree, also from Princeton, in 1950. He furthered his studies as a Rome Prize Fellow at the American Academy in Rome from 1954 to 1956. Shortly after his return to the United States, he taught an architectural theory course at the University of Pennsylvania, School of Architecture. In the following three decades, he has lectured at numerous institutions including Yale, Princeton, Harvard, University of California at Los Angeles, Rice University and the American Academy in Rome.
In his first book, Complexity and Contradiction in Architecture, published in 1966 by the Museum of Modern Art, Venturi posed the question, "Is not Main Street almost all right?" He was arguing for what he called "the messy vitality" of the built environment. As he puts it, "We were calling for an architecture that promotes richness and ambiguity over unity and clarity, contradiction and redundancy over harmony and simplicity." He was challenging Modernism with the multiple solutions available from history—a history defined as relating not only to the specific building site, but the history of all architecture. He wanted architecture to deal with the complexities of the city, to become more contextual.
In his original preface to the book, Venturi states, "As an architect, I try to be guided not by habit but by a conscious sense of the past—by precedent, thoughtfully considered." He continues later, "As an artist, I frankly write about what I like in architecture: complexity and contradiction. From what we find we like—what we are easily attracted to—we can learn much of what we really are."
Venturi is an architect whose work cannot be categorized; to him, there is never a single solution. Lest anyone try to pigeon-hole him as a postmodernist, he declared that he was practicing modern architecture, and paraphrased his own words earlier about Main Street, "the modern movement was almost all right." emphasizing his close affinity to the basic tenets of modernism, while still giving importance to human use, memories, comfort and entertainment. Venturi has made it possible to accept the casual and the improvised in the built environment.
Venturi's early professional work was in the office of Eero Saarinen, where among other projects, he worked on the design of the Milwaukee County War Memorial Center. He also worked in the offices of Louis I. Kahn and Oscar Stonorov in Philadelphia.
One of his first projects to be built that captured the attention of the architectural community was a house for his mother in the Chestnut Hill section of Philadelphia, Pennsylvania. In 1989, it received the American Institute of Architecture’s Twenty-five Year Award as a design of "enduring significance that has withstood the test of time." Other well-known works include: Guild House (1964) in Philadelphia, comprised of 91 apartment units for the elderly, the Allen Memorial Art Museum (1976) in Oberlin, Ohio, the extension to Britain’s National Gallery of Art, begun in 1986 in London, and the recent Seattle Art Museum (1991).
Robert Venturi's wife, Denise Scott Brown, is an architect, planner, author, and educator. She has been a partner in the firm since 1969 and his collaborator in the evolution of architectural theory and design for the past 30 years. She is noted for bringing particular attention to the relationship of architecture, planning and social conditions, and is primarily responsible for planning, urban design and architectural programming.
Robert Venturi, Denise Scott Brown and Steven Izenour collaborated on another book, published in 1972, Learning from Las Vegas, a further exploration of urban sprawl and the suburbs in relation to their architectural theories. A collection of their writings was also published in 1984, A View from the Campidoglio: Selected Essays, 1953-1984.
In one of the essays in the latter collection, Robert Venturi confessed, "Alvar Aalto's work has meant the most to me of all the work of the Modern masters. It is for me the most moving, the most relevant, the richest source to learn from, in terms of its art and technique. Like all work that lives beyond its time, Aalto's can be interpreted in many ways. Each interpretation is more or less true for its moment because work of such quality has many dimensions and layers of meaning." With a characteristic Venturi human, humorous touch, he added, "But Aalto's most endearing characteristic for me as I struggle to complete this essay, is that he didn't write about architecture."
In one of his essays in A View from the Campidoglio, Venturi says, "When I was young, a sure way to distinguish great architects was through the consistency and originality of their work...This should no longer be the case. Where the Modern masters' strength lay in consistency, ours should lie in diversity."
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Question: what was the first name of quaker vanna venturi

Answer: Luizi) Venturi

what was the first name of quaker vanna venturi

Question: what was venturi's middle name

Answer: Luizi

Question: who was the father of the quaker

Answer: Robert Venturi

Question: what was the first name of quaker robert venturi

Answer: Vanna

what was the first name of quaker robert venturi

Question: what was venturi raised as

Answer: a Quaker

He made a case for " the difficult whole " rather than the diagrammatic forms popular at the time , and included examples — both built and unrealized — of his own work to demonstrate the possible application of such techniques .

The book has been published in 18 languages to date .

thumb|left|Venturi 's wife and business partner Denise Scott Brown Immediately hailed as a theorist and designer with radical ideas , Venturi went to teach a series of studios at the Yale School of Architecture in the mid-1960s .

Episode 302
Lessons from Las Vegas
On the University of Pennsylvania Campus, the Library of Fine Arts is a richly ornate and eclectic structure belonging to the School of Design. Completed in 1890, it is currently designated a National Historic Landmark. But in the late 1950s and early 60s, there was serious discussion of tearing it down altogether. Denise Scott Brown, then a new faculty member at Penn, was very much against the demolition proposal.
In the early 60s, a lot of architects were very into tearing down old frilly buildings, and replacing them new, sleek modernist buildings. The dean wanted the historic library gone — “it was what a Modernist would do, you see,” explains Denise.
Denise herself wasn’t against all of Modernism — she liked the look of sleek glass and steel buildings themselves. The thing is, she was getting tired of paternalistic Modernist ideology. Many Modernists thought they knew better than other people did how a building (or city) should function. They were building for people without asking people what they wanted. Still, Denise saw value in some of aspects of the Modern Movement. “Yes, I am a Postmodernist, but,” she clarifies, “also a Modernist, an admirer of the principles of early Modernism of the 20s and 30s and of their ‘New Objectivity.'” Although she rejects the “Modernism of the 50s and 60s, and also today’s Neomodernism,” she sees “Postmodernism as updating Early Modern principles for today.”
So while Denise wasn’t strictly opposed to Modernism, she also didn’t like the way some Modernists sought to devalue and supplant other styles of historical architecture. And in 1960, at her first faculty meeting at Penn, Denise took a stand against the dean on the subject of demolishing the historic campus library. After a long argument, she convinced the rest of the faculty the building should be saved — that there was value in observing and appreciating historical architecture.
After the meeting was over, Scott Brown says, “this young man came up to me and said ‘I agree with everything you said. And my name is Robert Venturi.’ And I said ‘well why didn’t you say something then?'” Robert, already something of an outsider at Penn, hadn’t wanted to stick his nose out.
But in Denise, Robert found a kindred spirit — they were both into Mannerism and other kinds of decorative architecture with fun and elaborate visual expressions. They began to share ideas and research, even teaching theory courses in conjunction with one another. One colleague, Scott Brown remembers, told her “you should marry Robert Venturi.” But it wasn’t like that. Scott Brown was actually a young widow at the time. She had recently lost her husband in a car crash and wasn’t interested in Venturi romantically …at least, not yet.
Denise did, however, want to take her friend Robert to a very special place: an anti-Modernist mecca. A place that most of her colleagues in architecture and urban planning looked at with disdain. Las Vegas.
To this day, architects tend to turn their noses up at Las Vegas, or simply dismiss it as irrelevant to serious design theory. “From an architecture perspective, its a city that’s known for neon, a city known for kitsch,” explains Stefan Al, a practicing architect and author of the book The Strip: Las Vegas and the architecture of the American Dream. “It’s exactly the opposite of what conventionally trained architects would like.”
At the same time, it’s hard to argue with the fact that people love Las Vegas. The stretch of highway attracts tens of millions of visitors a year, often more than famous urban destinations like Paris.
Flanked by casinos, the strip technically sits outside of the city limits, and is thus unaffected by Las Vegas zoning laws. This legal flexibility allows the strip to change and build new structures almost every decade. Old casinos are imploded to make way for newer, more profitable ones, perpetually redesigned to attract new tourists with each new iteration. The Strip is designed and redesigned, over and over again, for its visitors.
The very first casino-hotel complex on the strip was called El Rancho Vegas, and it had a Western theme. In the 1940s, Western movies were popular, so it functioned a bit like a dude ranch. In addition, the western theme made gambling seem a little more patriotic and rugged, since gambling was a key part of a Wild West town experience. In reality, there were never any cowboys in Vegas at all. The Strip was fake from the start.
In 1950s, as the fake Western fad got tired out, bales of hay and wagon wheels were traded in for fake mid-century suburban glamour. Casinos with fancy bungalows and kidney-shaped pools started to pop up along the strip. But these glamorous hotels were all starting to look more or less the same.
So then came signs. The sign for the Stardust Hotel and Casino was over 200 feet long, and it upped the ante for Strip competition. More and more big hotels with even bigger and more elaborate signs popped up.
By the 1960s, the Las vegas strip was a cacophony of competing neon signs, all calling out for attention over each other. And that’s what the Strip looked like when Denise Scott Brown first encountered it in 1965.
Upon her arrival, she felt a cold shiver. “‘Is this love or is this hate?'” she recalls asking herself. She wasn’t sure, but she did know she needed to photograph it before it disappeared.
At the time, Denise had taken a job at Berkeley. And unlike most modernist architects, who would have ignored a place like Vegas, Denise was fascinated by it. “Las Vegas was a place people voted for with their feet,” she explains, and “they went there in droves. They really showed they liked it.” The 1960s Strip was the exact opposite of what Modern architects thought the world should look like. Vegas was loud, garish, dazzling — full-blown populism. Denise was fascinated, and she knew she had to show Robert Venturi. So she invited him out to see it. In 1966 they spent four days there together.
“When Bob and I went to Las Vegas and had this wonderful time together,” she remembers fondly, “suddenly he became a much more relaxed human being! We took photographs. We drove the strip. We had music on. We stopped in the desert and we took pictures of each other. We fell in love.” After five years as colleagues, it all happened in four days in Las Vegas. “We were in a bar,” she recalls “and suddenly we held hands. That’s about all that happened. And then we began to get more and more fond of each other.”
Denise Scott Brown eventually moved back east. ” And then one day in a taxi I just said to him: “Will you marry me?” and he said yes and yes and yes!” They got married in 1967, and together went to teach at Yale. But even back east, neither Venturi nor Scott Brown forgot their experience in Vegas, a place that epitomized sprawl, advertising, shopping centers. A city that was American culture on steroids.
Denise and Robert planned a twelve-week-long studio in Las Vegas for thirteen Yale students. Ten days of this studio would be spent on the Strip itself. They were given free rooms at the Stardust and spent their days in the field, drawing sketches, taking photos and making notes. They even managed to get access to the the grand opening gala of the Circus Circus Casino, for which all the students dressed up in clothes from the local thrift store.
In the midst of all the fun, the students were still really engaged with the labor of truly looking at a place. They observed traffic patterns, conducted interviews and made maps and diagrams. Basically, they did all the things architecture students would normally do to observe a famous subject of study, like Athens or Rome, except in this case they were sitting and drawing sketches of parking lots and neon signs.
Students were encouraged to compare, contrast, and figure out how people, activity and architecture were distributed here versus other places. They compared The Strip to conventional cities but also bazaars and marketplaces. In some ways, the strip was like a bazaar, but on a scale built for cars, with wide roads and big signs of various types to draw people in.
And in observing the strip, and the way cars and people navigate it, they realized that Las Vegas worked. The place might seem filled with bright and colorful chaos to an outsider, but the signs served their function.
In the end, Robert Venturi and Denise Scott Brown took all the maps and notes and observations that they and the students had collected, then, together with their teaching assistant and co-author, Steven Izenour, they put it all in a book. Published in 1972, it was called Learning from Las Vegas, and it would go on to be hugely influential.
The book forced architects to consider design in the age of American car culture, and the kinds of everyday places people occupy (and love). Even now, decades later, it is still regularly assigned in architecture schools.
“Why did it catch on?” asks architecture critic and author Alexandra Lange. “Because people we searching for a way out of the dead end of Modernism. And this book, written by kind of the coolest kids in architecture, seemed like it might be that way out. By 1980, Learning from Las Vegas becomes a text assigned in every architecture school.”
Robert Venturi, however, got most of the credit– in 1991, he was awarded the prestigious Pritzker Prize and Denise was left out.
Venturi and Scott Brown also went on to practice together — they loved recognizable historical elements of architecture, like gables to indicate houses and columns to signal important buildings like banks. So they began incorporating those kinds of signifiers into their work.
In their design of the Children’s Museum of Houston, for instance, they put these oversized classical columns in the front, because it is a children’s museum, the columns are bright canary yellow. And the columns hold up a massive sign that says “MUSEUM” in big red letters. Visitors don’t have to wonder if they’ve made it to the right spot.
And they did this for adult museums, too, like the Seattle Art Museum, which features historical decorative motifs, but also supergraphics etched into the building that say “SEATTLE ART MUSEUM” in big letters.
Not every structure needed a sign, of course, but the point is that the duo didn’t shy away from signage or color or historical ornamentation. Their architecture and writing were about making buildings legible, though it also led to one of the most controversial movements: Postmodernism.
In theory, Postmodernism was a way for buildings to be communicative and deeply meaningful but also fun — but a lot of designers just focused on that last part. Many so-called Postermodernists took the colors and neon of Vegas, but arguably took them too far, which dovetailed quite well with the extreme aesthetics of the 1980s and its bold shapes and colorful craziness. And as Postmodernism became sillier and sillier, it strayed further and further from what Denise Scott Brown and Robert Venturi were originally trying to do. It became hard for clients to see how deeply intentional and thoughtful their work was, which also led to lean years for their architectural practice.
In the end, Postmodernism’s peak was relatively short-lived. It started to gain some steam in the early 1960s, but really hit its stride in the 1980s and early 90s, then fell back out of fashion. Some new directions were spawned, like Deconstructivism, but a lot of clients and architects went back to Modernism, with its glassy simplicity and vertical repetition.
And if people want it, Las Vegas will deliver it.
As Postmodernism was gaining traction elsewhere, Vegas was actually leaving it behind. In 1967, the state of Nevada passed the Corporate Gaming Act, which allows big corporations and hotel chains to own and operate casinos. In the wake of that rule, companies like Hilton began building big corporate Modernist structures.
And the Strip continued to reinvent itself, responding to what consumers want. The big glassy towers continued to rise until Steve Wynn stuck a giant erupting volcano in front of the Mirage Hotel in 1989. This ushered in a kind of ‘Disneyland’ era with crazy expensive new attractions, like Treasure Island and its big sinking pirate ship and Castle Excalibur.
The next phase of The Strip were replicas of real places: fake Venice, complete with canals and singing gondoliers, as well as a fake Paris and a fake Eiffel Tower.
Then in the 2000s, Vegas welcomed a batch of new casinos designed by big-name prestigious architects, trying to appeal to urban-oriented millennials. Soon, without a doubt, the Strip will shift shape again.
In short: the Vegas strip is in such a constant state of flux and renewal, that it only barely resembles that city that was chronicled in Learning from Las Vegas. But it almost doesn’t matter that Vegas has changed, or that Postmodernism, as an architectural movement, was a short one. As Denise Scott Brown herself has often said, Learning from Las Vegas is not about Las Vegas itself. The book is about applying the same critical processes and tools architects employ elsewhere to everyday spaces –reserving judgment and learn from places people go and enjoy. And if one wants to observe the ever-shifting state of the American landscape, there’s still no better place to see it than the Las Vegas strip.
Denise went to Vegas a few more times, and witnessed many of these changes. But it’s been a while now. “I haven’t been there recently,” she says. And she and Robert never designed a casino — that wasn’t at all the point for them. But they are still together, currently living in Philadelphia, just thirty minutes away from the design library at Penn. In fact, in 1968, Robert Venturi and Denise Scott Brown worked on the masterplan for the restoration of that library — the very building that brought their lives and their ideas together.

Question: how many languages has venturi's book been published in

Answer: 18

Question: what was venturi's wife's name

Answer: Denise Scott Brown

Question: where did venturi teach in the 1960s

Answer: Yale School of Architecture

Question: venturi's book made a case for what

Answer: the difficult whole

Question: what did venturi make a case for in his book

Answer: the difficult whole"

what did venturi make a case for in his book

Question: what did venturi make a case for rather than diagrammatic forms

Answer: "the difficult whole

In 1972 , Venturi , Scott Brown and Izenour published the folio , A Significance for A&P Parking Lots , or Learning from Las Vegas .

It was revised using the student work as a foil for new theory , and reissued in 1977 as Learning from Las Vegas : the Forgotten Symbolism of Architectural Form .

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Born:
10/23/1930
Born in Philadelphia to John K. and Marjorie G. Rauch, John Rauch was Managing Principal for Venturi Rauch & Scott Brown for some 23 years, withdrawing from the office in 1989. He graduated from Lower Rancocas Valley Regional High School in Mt. Holly, NJ, in 1948 and then attended Wesleyan University in Middletown, CT for over two years. In 1958 he earned his B. Architecture at the University of Pennsylvania, later returning for courses in City Planning (1964-1965). By 1956 he was employed as a draftsman during the summer in Pennsauken, NJ, in the office of Hettel & Albert. In summer, 1957 he remained in New Jersey and worked for Charles F. Donnehower in Ocean City; but in 1958 he moved to Philadelphia and fulltime employment with Cope & Lippincott (1958-1961). By 1961 he had joined the Venturi & Short office in Philadelphia, and there he remained, with the name changing to Venturi & Rauch in 1964.
Rauch joined the AIA in 1965. In 1978 he was elevated to fellowship status and later made emeritus. He served as President of the Philadelphia Chapter in 1974, as a member of the Documents Board for the national AIA in 1973-1976. As a member of the American Arbitration Association he often was called in to mediate in construction industry disputes, a role for which he had trained in several workshops and training programs offered by the Association.
Other memberships and civic activities included: President, Reading Termain market Preservation Fund, beginning in 1988; Treasurer and board member, Philadelphia Rehabilitation, Inc., beginning in 1984; Advisory Council, The Foundation for Architecture, 1987- ; Director, United Cerebral Palsy Association, 1988-1990; members, Campus Design Review Committee, University of Pennsylvania, beginning in 1990.
Written by
Sandra L. Tatman.
Clubs and Membership Organizations
- Pennsylvania Society of Architects
- American Institute of Architects (AIA)
- Philadelphia Chapter, AIA
- American Arbitration Association
School Affiliations
- University of Pennsylvania
- Wesleyan University (CT)
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Question: when was learning from las vegas published

Answer: 1972

when was learning from las vegas published

Question: when was learning from las vegas reissued

Answer: 1977

when was learning from las vegas reissued

Question: what was the name of venturi's book

Answer: Learning from Las Vegas

Question: what was the folio a significance for a&p parking lots used as

Answer: new theory

Question: who published a significance for a&p parking lots

Answer: Venturi, Scott Brown and Izenour

who published a significance for a&p parking lots

Question: what was the title of venturi's 1977 folio

Answer: Learning from Las Vegas: the Forgotten Symbolism of Architectural Form

what was the title of venturi's 1977 folio

Question: what was the name of venturi's book learning from las vegas

Answer: A Significance for A&P Parking Lots

Question: where was learning from parking lots published

Answer: Las Vegas

where was learning from parking lots published

Death Venturi died on September 18 , 2018 , in Philadelphia from complications of Alzheimer 's disease .

The family of Pritzker-prize winner and giant of contemporary architecture Robert Venturi has reported to AN that Venturi has passed away at the age of 93. Venturi was a pioneering author of books on architectural theory (especially Learning from Las Vegas and his introduction to the history of Rome) and, along with his wife and partner Denise Scott Brown, founded Venturi Scott Brown Associates—later renamed VSBA. Together they have been credited with ushering in the Postmodern period in architecture. The firm would go on to design a number of important postmodern buildings, many of which are currently under threat, though Venturi himself retired from VSBA in 2016.
Venturi accrued a number of architecture’s highest honors during his life and worked with Eero Saarinen and Louis Kahn during his early career. Besides his Pritzker win in 1991, Venturi was an honorary fellow of the Royal Institute of British Architects, a fellow of the American Institute of Architects, a Rome Prize Fellowship winner, and a fellow of the American Academy of Arts and Letters.
AN will follow this announcement up with a more complete obituary and remembrances from friends and colleagues in the coming days. Venturi’s family requests that their privacy be respected at this time.
See the following statement from Venturi’s family on his passing:
“Last night, Robert Venturi passed away peacefully at home after a brief illness. He’s been surrounded by his wife and partner, Denise Scott Brown and his son, Jim Venturi. He was 93.

Question: what disease did death venturi die of

Answer: Alzheimer's disease

Question: where did death venturi die

Answer: Philadelphia

Question: when did death venturi die

Answer: September 18, 2018

Question: what did death venturi die of

Answer: complications of Alzheimer's disease

Question: what disease did death venturi die from

Answer: Alzheimer's disease.

Question: who is the person who died from alzheimer's

Answer: Death Venturi

who is the person who died from alzheimer's

Question: in which month of the year does death venturi die

Answer: September

in which month of the year does death venturi die

Notable students Venturi 's notable students include Amy Weinstein and Peter Corrigan .

- Article by Online Editor
Image above by Anthony Geernaert.
Renowned Australian architect Peter Corrigan AM passed away on Thursday 1 December. Corrigan received the Australian Institute of Architect’s highest honour, the Gold Medal, in 2003 for his contribution to architecture across built works, set and stage design, and academia.
When awarding him with the Medal, the jury expressed that Corrigan “has challenged the orthodoxy of the architectural establishment in Australia with his provocative ideas, which have encouraged positive debate within the profession. His self-projected images, both larrikin and laid-back, conceal a gentle person with an intensely passionate and intellectual approach to architecture.”
A graduate of Melbourne University, Corrigan studied under post-modernist architect Robert Venturi at Yale University in 1969, then went on to work for pre-eminent architects of the time, including Philip Johnson, Paul Rudolph, César Pelli and Kevin Roche.
Returning to Australia in 1974, Corrigan established his architecture practice Edmond & Corrigan with his partner in work and life, Maggie Edmond. They received many accolades over the years – including multiple state level awards from the Institute and several National Architecture Awards.
Corrigan really made a mark in both the academic space and in theatre design, having worked on more than 100 productions. In 1989, RMIT bestowed Corrigan with an honorary Doctorate of Architecture for his contribution to ‘Australian architectural theory and design.’
Throughout his career, Corrigan was invited to be a guest professor at Harvard University’s Graduate School of Design and the Polytechnic University of Turin – honours that solidify his standing as an internationally-respected academic.
In terms of built works, one of the most well-known projects completed by Edmond & Corrigan is the RMIT Building 8. Visible from Swanston street, the postmodern building uses coloured stones and polygonal shapes in the façade, pulling influences from a range of historic Melbourne buildings in a patchwork manner. Unabashedly colourful, Building 8 houses a library, the student union and various workshops for photography, fashion and rapid prototyping technology.
The Institute’s National President, Prof. Ken Maher, has expressed that “Peter was a stalwart of the architectural community, inspiring through his teachings and his practice. He nurtured an enduring architectural culture in Melbourne that has been influential throughout the country and beyond. Peter will be greatly missed yet his presence will be sustained through a true legacy carried by those who were fortunate to learn from him and work with him throughout his extraordinary career.”
David Neustein reviewed Conrad Hamann’s updated monograph of Edmond & Corrigan – Cities of Hope: Remembered/Rehearsed in AR129.

Question: who is a notable student at venturi

Answer: Peter Corrigan

Question: who are two of venturi's notable students

Answer: Amy Weinstein and Peter Corrigan

who are two of venturi's notable students

Question: who are amy weinstein and peter corrigan

Answer: Notable students

who are amy weinstein and peter corrigan

Question: where did amy weinstein and peter corrigan attend college

Answer: Venturi

Question: what is the nickname of venturi's students

Answer: Notable

what is the nickname of venturi's students

Question: what is the first name of venturi's student body president

Answer: Amy

Question: where did amy weinstein go to college

Answer: Venturi's


London (European Parliament constituency)

London was a constituency of the European Parliament from 1999 until the UK exit from the European Union on 31 January 2020.

Between 2009 and 2020, it returned eight MEPs, using the D'Hondt method of party-list proportional representation.

 Boundaries
The constituency corresponded to the Greater London region of England, in the south east of the United Kingdom.

 History

Prior to 1999, London was represented by a number of single-member constituencies. These were London Central, London East, London North, London North East, London North West, London South East, London South Inner, London South West, London West, and parts of London South and Surrey East.

The European Parliamentary Elections Act 1999 reduced this to a single constituency returning a number of MEPs.
 MEPs for former London constituencies, 1979 – 1999 Election 1979 – 1984 1984 – 1989 1989 – 1994 1994 – 1999 London South (until 1984)London South and Surrey East (from 1984) James MoorhouseConservative, Liberal Democrats (from 1998) London South West Shelagh RobertsConservative Anita PollackLabour London North West Lord BethellConservative Labour London South East Brandon Rhys-WilliamsConservative Peter PriceConservative Shaun SpiersLabour London North John Leslie MarshallConservative Pauline GreenLabour/Co-operative London Central David NicolsonConservative Stan NewensLabour/Co-operative London West Brian HordConservative Michael ElliottLabour London East Alan TyrrellConservative Carole TongueLabour London  Richard BalfeLabour London North East Alfred LomasLabour

 Returned members
Below are all the members since the creation of the London constituency. The number of seats allocated to London had been reduced from 10 to 8 between 1999 and 2009 due to EU enlargement. Members elected in 1999 who previously represented a London constituency were Pauline Green (London North, elected 1989) and Robert Evans (London North West, elected 1994).
 MEPs for London, 1999 onwardsElection      MEPParty Jean LambertGreen Scott AinslieGreen MEPParty Lord BethellConservative Gerard BattenUKIP Ben HabibBrexit Party MEPParty Theresa VilliersElected to Chipping Barnet in the 2005 UK general election.Conservative Syed KamallAppointed in May 2005 to replace Theresa Villiers.Conservative Lance FormanBrexit Party (May–December 2019)Independent (December 2019 to 2020), Conservative Party (2020 to present) MEPParty Charles TannockConservative Irina von WieseLiberal Democrat MEPParty John BowisConservative Conservative Lucy AndersonLabour Dinesh DhamijaLiberal Democrat MEPParty Pauline GreenResigned in December 1999.Labour Mary HoneyballLabour Luisa PorrittLiberal Democrat MEPParty Claude MoraesLabour MEPParty Sarah LudfordLiberal Democrat Seb DanceLabour MEPParty Robert EvansLabour Seat abolished MEPParty Richard BalfeLabour (1999–2002) Seat abolished

Returned Members by seat

Seats allocated using d'Hondt method, in order. Transfers within parties between elections omitted for simplicity.

http://www.europarl.europa.eu/unitedkingdom/resource/static/files/elections2014/2014-london-region-results.pdf https://s3-eu-west-1.amazonaws.com/londondatastore-upload/GLA-mayoral-election-2004.pdf
http://www.europarl.europa.eu/unitedkingdom/resource/static/files/european_elections/http___www.europarl.org.uk_section_1999_1999-election-candidate.pdf

 Election1st MEP2nd MEP3rd MEP4th MEP5th MEP6th MEP7th MEP8th MEP9th MEP10th MEP1999 Labour(Pauline Green) Con(Theresa Villiers) Labour(Claude Moraes) Con(Charles Tannock) Labour(Robert Evans) LD(Baroness Sarah Ludford) Con(Nicholas Bethell) Labour(Richard Balfe) Con(John Bowis) Green(Jean Lambert)2004 Con(Theresa Villiers) Labour(Claude Moraes) LD(Baroness Sarah Ludford) Con(John Bowis) Labour(Mary Honeyball) UKIP(Gerard Batten) Con(Charles Tannock) Green(Jean Lambert) Labour(Robert Evans)2009 Con(Charles Tannock) Labour(Claude Moraes) LD(Baroness Sarah Ludford) Con(Syed Kamall) Green(Jean Lambert) UKIP(Gerard Batten) Labour(Mary Honeyball) Con(Marina Yannakoudakis)2014 Labour(Claude Moraes) Con(Syed Kamall) Labour(Mary Honeyball) UKIP(Gerard Batten) Labour(Lucy Anderson) Con(Charles Tannock) Labour(Seb Dance) Green(Jean Lambert)2019 LD(Irina von Wiese) Labour(Claude Moraes) Brexit(Benyamin Habib) LD(Dinesh Dhamija) Green(Scott Ainslie) Labour(Seb Dance) LD(Luisa Manon Porritt) Brexit(Lance Forman)

 Election results
Elected candidates are shown in bold.  Brackets indicate the number of votes per seat won.

 2019
thumb|2019 results

2014
thumb|2014 results
The 2014 results were delayed by Tower Hamlets, where there were recounts needed for six local election wards.

2009

2004

1999

References

Category:Constituencies established in 1999
Category:European Parliament constituencies in England (1999–2020)
Category:Politics of London
Category:1999 establishments in England
Category:1999 in London
Category:Constituencies disestablished in 2020

2014 thumb|2014 results The 2014 results were delayed by Tower Hamlets , where there were recounts needed for six local election wards .

Tower Hamlets Council ballot count resumes
- Published
Counting has resumed in the east London borough of Tower Hamlets to establish the political make-up of the council's chamber.
Counting was suspended on Saturday morning after the processing of ballots for the executive mayor ran over.
Lutfur Rahman of Tower Hamlets First was elected as mayor.
His party had won 15 seats to Labour's nine when counting was suspended on Saturday. Six wards need to be re-counted because of the close margins.
Tower Hamlets is the last borough to declare the council election results following Thursday's vote.
Since 2010, it has been run by an executive mayor and a cabinet of councillors, plus a chamber.
A spokesman said the returning officer made the decision to suspend counting after officers had spent 24 hours processing ballots at Troxy theatre.
The re-count and the European Election count have been moved to Mile End Leisure Centre.

Question: where were the 2014 election results delayed

Answer: Tower Hamlets

Question: how many wards were recounts needed in tower hamlets

Answer: six

Question: what caused the recounts in tower hamlets

Answer: 2014 thumb

Question: when were the tower hamlets election results delayed

Answer: 2014

Question: what part of the body were the election results delayed by

Answer: thumb