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As times evolves, through the invention of the printing press in fifteenth century, architectural ideas were spread through the increased availability of design cannons and books, and by growing number of architects who themselves now found it practicable to work across wider geographical areas Watson, :. By the middle of the nineteenth century, in the industrialising parts of the world, relatively cheap transportation meant that building materials, for instance, could be drawn from larger range of sources. It can be argued that the drive of colonisation, particularly from the empires in Western Europe, further facilitates the exchange of architectural styles and construction technology all across the world.

Modernism and Regionalism.Throughout the first half of the th century, modernism, through its sub-theme of internationalism, proclaimed universality and worldwide application of certain values or architecture Pallasmaa :. The dawn of the industrial age, the globalising effects of western-driven colonisation followed by the massive reconstruction in post-world-war periods means that regional building activities are almost discarded.

The schools of architecture, the building industry, and popular taste all united in the reinforcement of internationalism until it became an ideology representing the aspirations of all sectors of modern societies across the world. Internationalism in style became synonymous with the representation of ‘contemporaneity’ Ozkan, :.

Subsequently, a main critical movement arose as a reaction specifically to internationalism, or implicitly to modernism. ‘Regionalism’, or ‘regionalist approach’, recognises the vernacular modes of building at the one extreme, and ‘abstract regionalism’ as propounded by Ozkan , at the other. Even though it covers a wide variety of subthemes, regionalism has respect to local culture, to climate, and at times technology, at its core.

Critical Regionalism.In their article “The Grid and the Pathway,” Alexander Tzonis and Liane Lefaivre coined the ‘critical regionalism’ as another strand of ‘regionalist approach’, and furthermore, as a ‘critical response’ to modernism in architecture.

In the context of architecture in Greece, they defined the term ‘critical regionalism’ as the third and latest type of regionalism, following the English picturesque of “nationalist regionalism,” and the Neoclassical “historicist regionalism.” They further argued that modern architecture is impersonal and monolithic, destroying the humanistic qualities in architectural expression which would be reinstated by a new form of regionalism. Tzonis & Lefaivre,

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