Digital architecture, as a proceeding architectural style, has caused fundamental evolutions in architectural design and building appearance via applying complex geometries and topologies. Computers and digital tools have truly altered the design process and architectural conception facilitating production of new eye catching forms. Avant-garde architectural forms have emerged from these changes in architectural design geometry which have influenced visual, physical and morphological features of cities. In this article, the impact of digital architecture and various architectural types (topological, isomorphic, motion kinematics, metamorphic architecture, parametric, genetic) on CITYSCAPEs of different periods (ancient, contemporary and future cities) is explored. Through these digital tools, the CITYSCAPE of ancient cities, which are not available to us today, can be revitalized. Digitally designed urban spaces and forms can influence contemporary CITYSCAPEs and urban landscape due to their complex geometry and free forms, assisting cities to become museums of avant-garde architectural elements and attractive magnets for capital and tourism in globalizing world. These digital tools will have a profound influence on future cities with their parametric design, morphological patterns, digital faç ade fabrication systems and other methods. This paper is mostly focused on digital production of forms and urban landscape by elite groups (designers, planners, digital experts etc) and thus the effects of other economic, policy-making and more procedural aspects of urban design on the final product (city scape, urban morphology etc) are not applied here.

The achievement of a sustainable practice of everyday urban life is directly linked to the urban landscape, beauty, and creative potential of its desirable spaces. Visual elements of urban landscape not only present aesthetical values but also verify the mutual relationships of these values in cultural, economic, and biological dimensions. Urban landscape is in an urban environment to meet the man-made environment on the natural environment in the material and spiritual aspects of the landscape needs. Urban landscape affects people's lives, psychological and rational arrangement of the public spaces to meet the people's needs, from the psychological and aesthetic demands of the city, to create the necessary environment. Urban landscape is a living system, that a complex assembly of flows, structures, connections, and owners form it. In order to have a safe, convenient, and beautiful urban environment we should fundamentally consider the aesthetics aspect of urban landscape. A desirable urban landscape would be accomplished when the shape, scale, and beauties of the buildings, which are participant in creation of this urban landscape, are being lauded. In addition, untimely changes in urban landscape and destruction of worthy of remarkable and memorable buildings should be prevented. In fact, a desirable urban landscape deserves something more than not only apartment complexes and non-built spaces, but also traditional and vernacular senses. The urban landscape could be called beautiful, when it gives the chance of living in an emotional, well ordered, peaceful, calm, and dreamful city to the people. When one passes through a city with beautiful urban landscape, his/her eyes will give him/her a satisfactory sight of buildings with their harmonic lines and pleasant outlooks. The beautiful urban landscape will not excite the fear, presentiment, and anxiety. It is mixed with natural theme and its well- configured ratio of natural spaces and buildings, provokes people to pass through city. The objective of this paper is to investigate the features and qualities of urban landscape, definition of aesthetics standards in urban landscape, categorizing the aesthetics theories of the urban landscape and eventually to introduce the elements and qualities of a beautiful urban landscape. The findings of this study show that the urban landscape is the perceptible or visible aspect of the environment, which has its own form, function, meaning, and particularly beauty. This study is an attempt to demonstrate the principles of a beautiful urban landscape in a chart with the following sections:Qualitative aspects of the elements which are used in creation of beautiful urban landscape;Qualitative aspects of correlation between the elements of beautiful urban landscape;Qualitative aspects of the elements which are used in creation of beautiful urban landscape in relation with urban context.This paper aims to show that the standards of aesthetics in urban landscape are completely dynamic, varied, comparative, and changeable. In addition, it demonstrates the connection between environmental meanings and urban aesthetics and introduces the variables like visual enrichment, lighting, sense of place and spatial opening as basic elements of beautiful and meaningful urban landscape.

Recent developments and the pace of construction in cities and subsequent urban disruption call for a more accurate look at the issue of townscape and, at a smaller scale, the urban faç ade and CITYSCAPE. One of the important elements of the urban landscape is urban bodies. Urban bodies are among the most effective elements affecting the quality of urban spaces, the modification of which can increase the quality of the visual landscape of the city. The constitutive surfaces of each body are called "faç ade", which is the most important vertical element of urban landscape. In the meantime, the street view should be considered as one of the main components of urban bodies. Codification a visual landscape management framework for urban bodies is of particular importance and should be proportionate to various components such as context, physical conditions, and land-use type. However, unfortunately, by looking at the bodies of most of the country's metropolises such as Tehran, it becomes clear that these views are not in good condition, especially in terms of aesthetics. What can be seen in Tehran, much more than the desirable features, are the problems of the urban landscape. This issue needs serious investigation and action. On the other hand, the existing practical approaches of urban landscape design only aim for organizing of urban faç ades. Hence, one of the biggest problems is how designers ignore the three-dimensional approach to urbanscape while considering the two-dimensional view and provide cosmetic-decorative solutions. Therefore, in this research different analytical tools of urban faç ades and the way they can be applied have been introduced. Since the comprehensive faç ade analysis must evolve a 3D output, the techniques are studied to reveal the principles, faç ade levels, measurement tools, and the applicable software. So, the purpose of this study is to explain the importance of faç ade analytical studies in urban design and to identify factors affecting their design, as well as to introduce faç ade analysis and modeling techniques. In this paper, we try to study the factors affecting CITYSCAPEs, to develop a conceptual-analytical framework of the relationships among these factors to present appropriate analysis techniques, methods, and software related to it. Therefore, the present study, with an applied-analytical approach and subject-oriented development, while analyzing the urban faç ade holistically and comprehensively and explaining the types of it based on location and uses, formulates and introduces its analysis techniques. As a result, a comprehensive analytical toolbox and up-to-date techniques, and the way each one could be applied in the analysis process, evaluation, and design of the urban faç ade and CITYSCAPE are presented to the experts with a succinct introduction of the software associated with each of the faç ade factors. Finally, an example of faç ade modeling is presented based on “ inverse modeling of faç ade layout” to demonstrate the power of applying modern techniques over traditional and manual analysis. This allows for a combination of modern and traditional approaches to take advantage of both.

Since urban spaces are the focal point of the inhabitants of the earth, they can be considered the most appropriate area of manifestation of human culture, social communication and the history of nations, but today what is happening in Iranian cities is a departure from the rich cultural and ancient values of the inhabitants of this land and by a deeper look "reversal of the art of the times". There is no doubt that CITYSCAPE design has been very influential in the formation of cities. This urban component and its symbols reflect the character, function and culture of the city's inhabitants, and therefore the spiritual effects of the city are worthy of credit. This CITYSCAPE has not had a single concept in different literary, artistic, mystical and urbanization yet and its position in the field of urbanization is still unclear. One of the most important foundations of religious art is the consideration of meaning behind the face and appearance in such a way that the discovery of any meaning for man is in the form in which the meaning of it is manifested. Mysticism also places two dimensions of appearance and interior for each reality, and believes that the survival of meaning is not possible except through the form and what the mind can understand is a meaning that appears in the order of a form. But the issue that has been addressed in this study is whether this form and appearance are the same as the CITYSCAPE in urbanization? This research attempts to recreate this notion of architectural descriptive-analytical method by comparing different theories in various literary, mystical and urban areas in order to clarify the paradox in the concept of CITYSCAPE. In Persian, the word "image" means a face, a face or a state in the form of a human being that represents internal states, which is the same as the one used in the field of mysticism, and ultimately, the form and the meaning in the unity that is the face of the same meaning and The meaning is the same, but in the area of urbanization, various and contradictory interpretations of the term image have been brought about, which is far removed from the general meaning of CITYSCAPE; so that for some urban planners, CITYSCAPE is the subjective aspect of Urban Landscape, and everything that one perceives after viewing the perspective, CITYSCAPE knows, but some others introduce CITYSCAPE to the same face and appearance of City. According to the data of this research in the field of the concept of the word image in various literary, artistic, mystical and urban areas, it seems that the word Image has not been correctly equated in the field of urbanization. Regarding the purpose of this study, the insight of this contradiction of the concept of image in various fields of study, it can be concluded that in the field of urbanization, as in the literary and mystical areas, the concept of the word CITYSCAPE should be the same face and appearance of the city and the term CITYSCAPE And nature as the equivalent and perhaps new replacement for the urban landscape that is being used today in urban planning with a different conception. This phrase also expresses the face and the face of the city, and it mirrors the meaning of the appearance.

Historical fabrics are our everlasting urbanism and architecture heritage which their preservations are our duty. Beside of the preserving these valuable collections, the link between new developments are a subject which wouldn’t be neglected. Neglecting the aesthetic feature and lack of management cause to make the new buildings based on the view of the users developer without attention to visual values of old body. In most cases existing design codes limited to the whole and only investigation about the bases of the valuable qualities in these fabrics benchmarking of them are presented superficially. Contemporary architecture and urbanism should respect on the existing context and in other case on the ability for creating a coordinate body according to the taste and the needs of life which can preserve the cultural continuity of these spaces. on the other hand collecting the exact code of design cause creating equality and modeling of these spaces which can hurt the identity of these sites. Therefore this research tries to investigate the ideas of the experts and extracting the common points in analyzing the built scale in order to get the criteria for modeling in this case. In order to get this target, this essay uses on the one hand description-analysis method and exploring the texts and documents. On the other hand, observation and collecting the information based on field studies are used and depend on subjective bases has presented qualitative indicators. For better detection of this discussion, historical district of Aligholiagha in Isfahan has been analyzed as a case study.

Semiotically speaking, the visual environments of cities manifest the societies' socio- cultural and economic values through an intricate system of 'signs'. Acting as an "interface" between man and environment, the visual settings of cities set the ground for environmental perception, cognition and evaluation to be made by citizens and visitors alike. The cities blessed with great visual environments enhance the aesthetic experience of their inhabitants, improve the self- image of the concerned communities as well as their image at the national and international level, and foster the cities competitiveness to attract more economic investment and larger number of creative – class- people. This article aims to explain the significance of the city visual environment, to provide a typology of different notions of "CITYSCAPE, and to model the evolutionary trajectory of the concept of visual environment. In this study, the "urban visual environment" is discussed as a dynamic concept, complying with the evolving nature of urban design discourse, the sustainable development paradigm and the Green (ecological) aesthetics model. The findings indicate that urban visual environment, as a concept, has been subject to fundamental change and modification in parallel to the sophistication process of urban design discourse as a whole. The article concludes the increasingly decline of "Abstract Environmental Aesthetics" and its associated cosmetic approach and highlights the rise of "Ecological Environmental Aesthetics" and its pertaining sustainable approach towards urban visual environment. The study, ultimately suggests a conceptual model to encompass and represent different notions of urban visual environment spanning from cosmetic/ ornamental position right through to ecologically sustainable stand.

Urban furniture is one of the most important symbols in shaping the city's landscape, which will lead to the diversity, uniqueness, and aesthetic appeal of the city. The city is a great work of art and people spend most of their time there, so the arrangement of space is closely related to the urban furniture and the creation of other facilities and equipment. Therefore, considering the importance of the topic, the purpose of this study is to evaluate citizen satisfaction with urban furniture using six selected indices (safety and durability, variety of shape, visual beauty, location, variety of color, and compatibility with local culture) in district 4 of Ahvaz metropolitan area. The research method is practical and based on a survey-evaluation approach with a focus on questionnaires. The statistical population of the study is the citizens of the selected research area, and a sample of 380 people was considered based on the Cochran formula. The study's findings, based on the calculation of the one-sample t-test, show that the average satisfaction of citizens in the studied area regarding urban furniture is 3. 46, which is at the medium level. Additionally, based on the results of the Kruskal-Wallis test, the level of significance of the selected indices is 0. 285 and greater than the confidence level of 0. 05. Therefore, it can be concluded that there is a difference of opinion among the statistical groups in the studied area.

Skyline is an effective factor in defining urbanscape features. This research examines the skyline with fractal dimension analysis and evaluates specified effects on urbanscape quality. This analysis is based on the definitions of urbanscape and visual analysis tools. The skyline can be studied as quantitative indicators to restrict and identity the CITYSCAPE or streetscape, it can be checked as a city brim and in the form of visual elements of the CITYSCAPE as well. According to the results, practical and documented responses to this concern are provided that how the "skyline" can be an effective component in improving the quality of the CITYSCAPE. This study evaluates the effect of height, form, and artifact and natural elements on the number of the fractal dimension of the skyline to match it to qualitative concepts. Using this hypothesis, by comparing the skyline (its fractal dimensional feature), in several different urban sequences, researchers can achieve criteria for the upper edges of the city. Also improves the urban ecosystem through its architectural features and urban landscape elements. This is a quantitative research based on libraries documents that is trying to analyze the Skyline as a fractal phenomenon by using concepts in the field of new mathematics and related software (Matlab-Benoit). In this study, the survay of the complexity and numerical properties of the "fractal dimension number analysis" about images has been selected as data collection method. In this method, the fractal number of the skyline is calculated in each image and this number specifies the spatial features and the space quality, in comparison to other sequences.

CITYSCAPE is a medium between man and the phenomenon of city as well as the visual-meaning related embodiment of the components of space; one component of CITYSCAPE is the signage and billboards. Advertising billboards, introducing products and services- can increase the activity and vitality of space or cause confusion. This is where the CITYSCAPEs of most of the active city-centers are covered with colour billboards. These colorful billboards have been juxtaposed overtime to satisfy the needs of shop-owners and seek the attention of the customers; therefore, they show the unique characteristic which is a particular visual identity and is the result of the effects of people’s culture and is in accordance with the needs and taste of the day. Chahar-Bagh-e Abbasi street is one of the oldest and most important streets of Isfahan city that is covered with the ad-billboards of shops and stores. Shop signs as one of the elements of CITYSCAPE can have positive or negative effects on qualities of public spaces. This article has used descriptive analytic way of research. Then by observing and collecting the information from the site, the strong and weak points of ad-billboards in Chahar-Bagh-e-Abbasi street were studied. Finally, it was concluded that the billboards have a form of harmony and arrangement with the fabric, though it does not contain visual attraction, due to the inappropriate use of color and lack of attention to the cultural background. And it is required to make reforms in this area. Three different approaches to accomplish these reforms are adopted. This article choosing the third approach establishes common quality and quantity principles provides suitable templates and examples and offers a design framework and general recommendations and organization of advertising signs on the Chahar-Bagh-e Abbasi street.

Today, the issue of identity crisis has become one of the main concerns in the domain of architectural spaces, especially in countries with culturally rich backgrounds which seek original features in a purposeful solution. This is also true of the Iranian architectural space which, connected deeply to its culture, can conceive an authentic model related to the architecture of the modern urban faç ades. The main inquiry of this study revolves around this fundamental question: “ What elements are analytically included inthe study of the semantic authenticity in urban facades of the city of Tehran? ” It could be concluded that, based on the theory of origin of Zancheti, et al., understanding the concept of “ originality” is possible through three elements: the physical – environmental element, the physical element and the element of meaning in urban landscapes. Furthermore, the authentic faç adesfollow three elements: first, the clarity in the building structure, second, the connection with the environment and the urban space and third, the affiliation to the longstanding and meaningful objects. In order to create original faç ades in today's urban architectural design, one needs to identify the construction of the building facade, followed by a systematic study of the physical and semantic relations to perceive its semantic authenticity as veiled codes in the facades. The aim of this study is to emphasize the structural authenticity in the city of Tehran by devising a framework in the original semantics. Therefore, a combination of quantitative and qualitative methods is used. Thus, in the qualitative phase, the characteristics are examined through “ Grounded-Theory” method. In the quantitative phase, however, the significance of the characteristics is determined using the SWARA method. The data collection method is based on field data, library research, and involves a questionnaire containing 24 questions. The selection of examples include monuments of contemporary architecture that have a wide range of impact and hold the following characteristics due to their superior views: 1-In the first and second “ Pahlavi” Era; 1931-1966. 2-Iranian cultural roots are also meticulously studied. 3-There are genuine architectural signs and patterns. In the selection of this study, twopoints are more conspicuous than others: the importance of the works of the selected buildings and the significance of their relative era. The physical analysis of the contemporary architectural works in the first and second “ Pahlavi” Erasuggests thatproper design methods were applied in the structural proportions widely employed by the architects of the timeto originate a basic method in architecture. They follow a pattern that facilitates the process of the original design by employing it in view and intensify the validity of the faç ade. According to this research, the production of an authentic urban facade has a direct connection with the creation of meaningful elements that are linkedto one another through time. This study considers roots as the basis of originalitywhich is perceived through an accuratedesign analysis of the architecture of PahlaviEra. The semantic authenticity of the faç ade is comprehended through semantic elements which areassociated with the city, the effective light, the turning point, the vitality and mobility, the memorability, and the domestic materials.