The film is the thing that matters the most.

So if the back standard (the film) is level right to left and "flat" in relation to the face of the building, in the sense that if you walked up to the building you could paste the film to the face of the building without changing its orientation; then the verticals and horizontals should look exactly vertical and horizontal right to left. Lines leading away from the camera into the distance will still converge.

This happens regardless of how the front standard (the lens) or the base of the camera are oriented, just the orientation of the film to the subject.

Front shift, rise, and fall change what the film sees. Rise for example is used to make the camera see up and is very normal for shooting tall buildings from street level, a cliche example is a church steeple. Fall is regularly used for portraits, it allows the back/film/ground glass to be head high, level, and square but with the lens lower the framing can be from toes to hair with little wasted film. Shift works the same just sideways.

Front tilt and swing manipulates the "plane of sharp focus". For the face of a building you simply square up like was described above for the back, that church steeple or a standing portrait can then easily be focused to be sharp top to bottom without stopping down to f/64. If the subject is a ridge that crosses your composition at a diagonal you can swing the plane of sharp focus to match, schliemflug works in both horizontal and vertical.

Generally the biggest limit to these movements is the image circle the lens projects.