ABSTRACT
The most well-known architectural historians of the pre-and post-WWII period, namely Nikolaus Pevsner, Sigfried Giedion, and Henry Russell Hitchcock, ignored the particularity of these ‘regional stories’, in their accounts of the rise and triumph of modern architecture.1 They looked at modernization of buildings and cities as an international phenomenon, a story of worldwide of struggles to apply new materials, new technologies, and a new repertory of forms displacing regional particularities. Likewise, Alberto Sartoris, in his massive ‘global’ overviewof modern architecture from countries as dierent as France and Germany, Czechoslovakia and Greece (coinciding with the 1932 New York Museum of Modern Art International Style Exhibition, as the exhibition came to be known) showed the works of architects of that period as specimens of a universal modernization stressing their standard appearance irrespective of the country they were built.2
