Within this stratified, fragmentary conception of the work area, Cubism is, for Siza, a living tool that allows diverse fragments to be used while maintaining a sense of overall order. Siza's gaze discovers a series of overlapping layers that underlie each place, the insertion point of his work, actively interrelated with them in such a way that the resulting building becomes part of its context but also a new totality. It is a blend of the form and the dimensions of spaces, the light that illuminates them, the concatenated perceptions when we pass from one to the next and, particularly in the case of Siza, the varied perceptions of the outside experienced from the different interiors.Another key aspect is his attention to the specific location and the urban or natural environment - with his 'intuition of lines of force in the topography' - and his ability to see what the site and the context contain and suggest. This is the promenade 'architecturale', which Le Corbusier probably never fully explained because the spatial experience is inexplicable. Perhaps one of the most notable aspects of Siza's work identified in these essays is his exploration of the experience of movement as an architectural itinerary, not without perceptive ambiguities, in which light and views play a fundamental role. Siza unflinchingly tackles all of these and also other issues in his everyday design work, in which he also wisely handles fundamental aspects of architecture like scale and character, which are also interrelated. Another issue is the difficult balance between modernity and tradition, particularly between modernity and classicism, and the overlap between modernity and classicism, and the overlap between universal and local, international and vernacular. In conjunction with the above-mentioned critical framework, Siza provides exemplary solutions to several major issues in the form of the convergence between opposites mentioned in the initial quote, such as the reconciliation between architecture and naturem between the built object and the landscape, between the building and its urban environment and, in some cases, between the historic building and the newwork that is done on it.
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