 This contribution has to do with how and why cities took the shape they did. The intention is to explore history in a manner that analyzes the historical record in service of the design of buildings, rather than a specialty of history. In simple terms, architectural history can and should serve the needs of architecture as a world, responding to the role of designers in bringing historical precedent to bear on the present practice of architects as source material to be understood. I have found a good example of this attitude on the comic from Hell by Alan Moore and Eddie Campbell, who speculates on the identity and motivation of the pneumatic murderer, Jack the Ripper. The man said to the driver, do you begin to understand the great war that is London? It's a true textbook that we can use when doing our own great works. We will investigate the metaphors and structure in order to finally understand their meaning. We will read it carefully and with respect. And then they go through London with the courage of discovering some relationship between the process of thinking the architectural design and the history of the profession. To explore the urban form of Morella in Spain, we have searched on pictures, historical drawings, plans, ethnographic and archeological reports, and on the current and ancient cartography. The methodology includes urban morphology and typology, space syntax, and ethnographic and archeological reports. As a result, we can identify the architectural characteristics of the territory and the specific qualities of the cultural and geographical environment of the city. An analysis of the typology makes evident the formal characteristics of places that are repeated in more contexts and in time. The purpose in this case is not to establish a classificatory model. My contribution will show that we read form correctly only if we are familiar with the precise cultural condition that generated. Spiro Kostov pointed out that the more we know about cultures, about the structure of a society in various periods of history in different parts of the world, the better we are able to read the built environment. In addition to the characteristics given by the geography, it's fundamental to identify some artistic principles in the art of urban form. In the Redificatoria, Leon Battista Alberti observed that since antiquity, two types of urban form have been used for shaping urban fabrics, the orthogonal gear and or the semi-circular form. These two main types of form used for building the geometry of walls are still visible today in the skylines and the perimeters of most of urban fabrics in Europe. Morella is a wallet city located in the slope of better solar orientation of a hill that has got a castle on the top. The city has a semi-circular form and an urban layout of concentric perimeters. Traditionally, Morella has been considered a medieval city because its settlement can be identified with the morphotypological model of medieval settlements of castles and wallet cities on top of the hills, located on strategic points of the territory with high visual control, with good defensive condition before the probable attacks due to frequent confrontation between peoples. A territorial morphotype is characterized by the formal interpretation of the relationship between the urban fabric and its environment. The separation between countryside and city in different units of analysis makes more difficult to understanding the urban form. As Aristotle recorded in his urban theories, pedestrian know-how was inherited in ancient Greek town planning and was carried through the rest of Europe through the ancient institution of the Roman disaster, dividing private and public property. Originally, the purpose was to collect taxes from agricultural and this ancient planning tax policy still exists in many countries. Saverio Muratori defended that all the territory of the Roman Empire was plundered from a gear, the Roman disaster. I have developed hypotheses of centurion in Morega from the current disaster and this gear. On this picture, we find the Roman logic because the gear is perpendicular to the Burgandes River where there are the most fertile lands. Moreover, this gear is aligned with the castles shape and with the layout of some of the main streets of the city. Their collogical evidence shows that since the Neolithic period, the rocks on the top of the hill where Morega is located has been edited. I will attempt to exemplify the contribution that urban morphology can make to the historical reconstruction of the physical form of urban areas. In this map of the building types of this town, priority is given to historical periods and there's our morphological periods, having unity in terms of the physical form that were created. We can see that the main streets of the city are the continuation of the main access roads. The old fortification walls separate outside and inside the city. There was a link of interdependence. Thanks to the old fortification walls, the gates, the streets, we know that there was a total architectural and urban interaction between the design inside and outside of Morega. Urban design is, of course, an art. And like all design, it does to consider human behavior. People were forbidden to build houses attached to the fortification walls and were only allowed to enter through the gates of the ancient city for few walls during the day. Therefore, people were aware not only of the security the defense walls offer, but also of the kind of use they were able to make of their architectural structures. Use of space was regulated by law. The physical aspect of urban settings can only be mindful in this context when they are studied together with the legal codes that rule people's behavior. An aspect of plots was their dimension. For example, by analyzing measurements of plots weird, we are able to detect regularities, speculate about the intention of the medieval surveyor when the town was laid out and inferred the original plot width and how they were subsequently subdivided or aggregated. In the picture in number one, we can see how the street was formed with regularity of plot widths of approximately four meters and the old palaces in the street are probably the result of the purchase of three consecutive plots. Another aspect of plots were their shapes. Residential plots are likely to have been created as a series of rectangular shapes. In number two of the picture, we see an overtaking of the plots on the street because we find irregular dividing lines. Finally, in number three, we see an alignment of plots in different blocks. When more than three lines are aligned, it cannot be casual. The main hypothesis is that there was a street that was closed in the past. These three hypotheses are only three examples to see the potential of information that the disaster keeps as memory in the form. Another important source to the historical reconstruction of the physical form of Euronarias is the study of historical documents. In the historical archive of Morella, we found some documents of the late 18th century about the construction of a neighborhood. The process of creating houses plots began in 1789 when a rural property within the old fortification walls was sold in order to build houses. The historic documents specifies the dimension of the plots. We can see isn't in the number four, this neighborhood. And this structure has remained until the present, as we see, also was destroyed and revealed after suffering major damage in successive wars. Space syntax represent a more technical, logical, and absurd version of public life studies. This map was made with the help of information from a computer program about the probability that pedestrians and drivers would choose one way or another. The color scale illustrates the result. In blue, the less likely, and in red, the most likely. The red line is the main street of Morella, where urban life is concentrated. In this map, the color scale illustrates a degree of visual integration. This map captures the essence of Morella, people moving and interacting in space, sharing, creating, and innovating. A social and economic network played out in the streets and public spaces. The red color indicates a good visual integration and accessibility regarding the war for the city. Nevertheless, in the map, an important red line goes from the town hall to the old fortification wall. This red line indicates a good visual control from far away to this place. But in this place, there is no public life. It's a priority car street. In historical documents, military maps, and engravings, we can identify a gate of the fortification wall that has disappeared on the road outside. In addition to the historical images and plans, visual exploration is essential in locating the gate. If we look at the old fortification wall next to the tower, we can find some of the stones of the destroyed arc of the city gate. And outside, there is a water source. This arc is five meters below the street. In the municipal archive of Morella, we have found the memory of the project in 1934 of the creation of a highway for cars that did not have the need to stop in the population. The creation of this road for cars supposed to break the old fortification wall and to raise the level on the street, hiding the old gate. When applying space syntax on these hypotheses of historical growing of the city, we see that each new street that appears modifies the complex structure of the city. The disappearance of a historic road that the road from countryside affects the entire street structure. The interesting thing about space syntax is that it's a specific tool that measures change, not in an intuitive way, but in a more scientific way from a system theory. The computer analysis with depth maps is useful in this case to systematize what we had seen with the previous analysis overlapping historical maps. In conclusion, space syntax adds to traditional urban morphology methodology and proves to be extremely useful. A prerequisite shown in this paper claimed the need for an accurate choice of historic maps and ethnographic reports that are previously graphed at a qualitative interdisciplinary level. Future studios are needed to predict the impact of new infrastructure and design upon a cultural heritage and upon social life. Thank you.