"The obstacles and the obscurities of the theories of architecture undermine the description and the comprehension of architecture. The difficulties to explain the architecture of Greek cultural landscape are one of the cases. For instance, despite the fact that for long periods of time the aegean and specifically the cycladic architecture is the favorite paradigrne for the architects, a substantial part of its understanding is missing. If we accept that syntactic structures represent a crucial chapter of a theory of architecture, some constructive observations may come out. Since there is not one coherent syntactic approach, I' 11 apply my own approach. As I tried elsewhere to argue, we may classify syntactic structures of space and geometry in four categories: Concepts, morphomes, types and stereotypes. These categories organize the situations from the more abstracts to the more concretes. It is obvious that this is a very schematic description and the thresholds between them are not clear. Following this way of thinking the cycladic architecture is expressed by types elaborated through a very long period of time and based on what I call morphomes of space. In many cases strong stereotypes have been established. The closed enclosure -the cell- and the roofless enclosure - the yard.- are put together and tightened within a very dense tissue, which is also based on a few morphomes, such as the narrow passage -the streets- and theoofless enclosure -the square This is of course a simplifying description. The dense tissue is strongly associated with the site as a geometry and as a correspondence and reflection of various "obstacles" -slopy, hard, smooth etc- as well as with the climatic conditions and, of course, the techniques and materials. It is that techniques and materials, generally speaking, through all this period remain almost the same, enhancing the use of this syntactic structure. Prehistoric, archaic, classical and medieval Greek architecture belong in this continuoum. Especially the aegean islands for centuries during the medieval and the early modern period were captured by various conquerors and pirates, who brought their synthesis and techniques. The fact that all of them used, more or less, the same basic morphomes and typologies means that it was a continuous development of variations of the same morphomes and typologies. This long continuous use, the experimentations and differentiations may represent the main reason of the specific character of the cycladic architecture. In this continuous process, the ritual relationship with nature plays a first role. Especially since in Greek culture nature and ritual are interwoven, and nature is not simply a paysage or landscape and ritual is not simply some functions. The symbioses within a way of life of a limited number of syntactic structures, materials, techniques, nature and rituality result not to a simplistic system of repetitions and variations but to complexities, hidden similarities and contradictory spatial events. What will be the evolution of this multidimentional entity under the pressure of the contemporary way of life, the dominance of the homogenised and centralized ways of production and cultural imperatives, imposed by the mass media is an open question. But this is not the case only for the cycladic architecture, it is true for the contemporary architecture as well, as for the contemporary way of life and thought."