Neo-classical style of architectural and interior design; as Egyptomania or Egyptiennerie it reached its peak during the late 18th century and early 19th. Napoleon’s campaign in Egypt (1798) coincided with emerging tastes both for monumental and for richly ornamental forms, enhanced by the literary and associational concerns of Romanticism. Unlike its Greek and Gothic counterparts, the Egyptian Revival never constituted a coherent movement with ethical or social implications. Indeed, since its earliest manifestations occurred in the later Roman Empire, the Revival itself can be seen as one in a series of sporadic waves of European taste in art and design (often linked to archaeological inquiry), acting as an exotic foil to the Classical tradition with which this taste was and remains closely involved (see fig.). On a broader plane of inquiry, the study of Egyptian art and architecture has continued to promote a keen awareness of abstraction in design and a decorative vocabulary of great sophistication. These are among the most enduring contributions of ancient Egypt to Western art and design. ...
American architectural, urban planning, exhibition, and furniture design partnership formed in 1980 by Robert Venturi , John Rauch (b Philadelphia, 23 Oct 1930), and Denise Scott Brown [née Lakofski] (b Nkana, Northern Rhodesia [now Zambia], 3 Oct 1930). Venturi studied architecture at Princeton University, NJ (BA 1947, MFA 1950), and between 1950 and 1958 he worked in various offices including those of Oskar Stonorov , Saarinen family, §2 , and Louis Kahn . He also spent a period (1954–6) as Fellow at the American Academy in Rome. In 1957 he joined the staff of the University of Pennsylvania, Philadelphia, the start of an extensive teaching career. He was then in partnership with Paul Cope and H. Mather Lippincott (1958–61), with William Short (1961–4) and from 1964 with Rauch, who graduated from the University of Pennsylvania in 1957. Denise Scott Brown studied at the University of the Witwatersrand, Johannesburg (...