The composition of this house cites, in a cultured tone, architectural types stratified in Mediterranean history, in which the poetic heritage of vernacular architecture is rediscovered in the sign and meaning of the modern language, the deepest thrust of which is “this hunt for images, without beginning or end, goaded by the demon of analogy” . Thanks to this tension, the accord between the parts forming the T/A House conjures up a reference system that embraces within its indefinable radius the Catalan masìa, the southern Italian masseria and the traditional houses of Jaffa – the ancient city beside which Tel Aviv embarked on its race for modernity – the tripartite design of which allows routes to flow and makes the spaces permeable, smoothly linking public functions with the more private domestic ones.
The canon adopted by Paritzki & Liani is strongly rooted in a construction skill that has survived weak and transient tastes but it is also driven by a desire for abstraction that, in their work, never appears as an end in itself but as a means to a purer and more absolute reality. To satisfy the ends of a quest moving in this direction, we see, to paraphrase Mondrian: only what is essential of nature and what is universal of man. There is a desire for stable architecture that is always consistent with the more intimate nature of places but also manages to interpret modern theory and contextualise it in an informed and free code of expression.
 R. Calasso, La Folie Baudelaire, Allen Lane, 2012, p. 13