ral outsider to the consummate insider, and notes his disciplined, intellectual rather than emotional approach to architecture. Goldberger also suggests, however, that such an approach freed him from being an absolute slave to (say) steel and concrete when he notes that Johnson has found a way to attach modern ideas of form to designs that employ classical architectural forms. This latter approach has been described as neoclassical, which is to say that Johnson has found a way to breathe new life into ancient forms (Carter, 1986). Neoclassical, indeed, was the label attached to such projects as Johnson's design for the AT&T building in New York in the late 1970s (Goldberger, 1978; Huxtable, 1979; Jacobus, 1984).
To the degree that Johnson's career is circumscribed by the period of transition into widespread use of modern architectural lines on one hand, and balanced by his own
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