The geographical limits imposed by the Asia Minor Catastrophe informed the way people regarded their environment. It found expression in a special concern for Greek reality and a new way of treating Greek space. The city became the focus of interest as the role of urbanization in modern society became increasingly apparent, and also because the problems caused by the influx of thousands of refugees made more general and effective town planning essential. Significantly plans were drawn up for entire suburbs, such as Ekali (by Spyridonas Agapitos in 1922) and Psychiko (by Alexandros Nikoloudis in 1923), while a programme of school buildings was launched in which many established architects co-operated. The city was modernized and filled with the voices of people from various cultural backgrounds, all struggling to communicate. It was filled with messages from far-flung places courtesy of the newly arrived radio transmitters. The city was thus transformed into a network, a space made up of many separate areas. This rich environment of the Greek landscape - which included the countryside as well as the city - attracted the interest of artists who, in trying to shape their own plastic idiom, were drawing from tradition and history. In this way not only space but time became a solid expression and enriched the artistic references of each creator.