The movement specifically rejects the tendency of contemporary architects to construct buildings instead of cities, neglecting the fact that the value of a building is found in the architectural ensemble in which it is integrated,[5] and considers that the contrast of modern architecture with nature or the context out of desires for innovation is selfish and inevitably destructive.[10][11] Its adherents postulate that in the century the abandonment of decorative elements and traditional forms was considered a sign of a new simplicity, solidarity and sacrifice for part of the socialist side and conveniently economically efficient part of the capitalist side of the political scene, and, by extension, that "virtually all buildings built before the century were beautiful" and that the question of beauty in contemporary architecture is simply a question of "recovering old customs."[12]

Virtually all of the traditional and formal architecture produced before the century is complementary architecture due to inherent material and cultural restrictions, as are many works inspired by some contemporary movements such as new classical architecture, contextual architecture, indigenous architecture, organic architecture or New Urbanism.

The complementary architecture methodology is especially useful in contemporary developments that penetrate a compact historic urban fabric.[8]​ Complementary design shows respect for its architectural context, while carefully introducing contemporary design elements.[9]​.

The movement specifically rejects the tendency of contemporary architects to construct buildings instead of cities, neglecting the fact that the value of a building is found in the architectural ensemble in which it is integrated,[5] and considers that the contrast of modern architecture with nature or the context out of desires for innovation is selfish and inevitably destructive.[10][11] Its adherents postulate that in the century the abandonment of decorative elements and traditional forms was considered a sign of a new simplicity, solidarity and sacrifice for part of the socialist side and conveniently economically efficient part of the capitalist side of the political scene, and, by extension, that "virtually all buildings built before the century were beautiful" and that the question of beauty in contemporary architecture is simply a question of "recovering old customs."[12]