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Watch towers, dotting the coasts of countries bordering the Mediterranean, characterize the landscape in which they rise and constitute a system of architectural emergencies of absolute relevance. At the end of the sixteenth century, Spanish crown upgraded a massive fortification of the Mediterranean coasts. The aim of this paper is the comparison between the solutions adopted for the watch towers in Sicily and those existing along the Valencian coast. In the Kingdom of Valencia the towers come from the military engineer Giovanni Battista Antonelli school (Gatteo, 1527 - Toledo, 1588); in Sicily, the towers are often works of the military engineer Camillo Camilliani (Florence, XVI century - Palermo, 1603), from whom they take their name "camillianee". In this paper we propose four towers: Manfria and Sant’Anna regarding the Sicilian coast, San Vicente and Torre Nostra as for Valencian one. They were analyzed by taking advantage of the current digital technologies (photo modeling and 3D laser scanning), in support of several analysis such as geometric-spatial, material and technical-built, with the aim of providing an appropriate approach to the correct knowledge of the artifacts and proceed with a possible strategy to safeguard and exploitation of these towers. This contribution was made in the frame of the R & D project entitled "Surveillance and Defense Towers of the Valencian Coast. Metadata generation and 3D models for interpretation and effective enhancement" TOVIVA proyect, reference HAR2013-41859-P. The project is funded by the National Program for Fostering Excellence in Scientific and Technical Research, National Sub-Program for Knowledge Generation, Ministry of Economy and Competitiveness (Government of Spain).

[IT] La fotografia ha cambiato per sempre il modo di vedere e rappresentare il mondo reale (dai paesaggi alle grandi architetture di culture diverse). Tuttavia, l’inclusione dell’immagine fotografica all’interno del processo di sviluppo grafico del progetto (sia nella fase ideativa, sia nella fase di documentazione architettonica) ha dovuto attendere fino all’ultimo quarto del secolo scorso. Inoltre, l’avvento delle immagini digitali ha portato un grande cambiamento nelle modalità di produzione e di gestione delle informazioni fotografiche. Oggi, dopo una lunga maturazione, l’utilizzo dell’immagine fotografica emerge ancor più decisamente e si è anche ricavato un posto preminente anche nel rilievo più rigoroso e realistico. Non potremmo intendere alcun percorso di documentazione senza questa risorsa, né per le fasi preliminari né per il processo di realizzazione del modello di progetto. Nella maggioranza dei casi (di progetto e di rilievo) l’immagine fotografica si presenta sempre più ai nostri occhi come elaborato di sintesi, il “disegno” più comprensibile anche per i non tecnici., [ES] La fotografía cambió para siempre nuestra manera de ver y conocer el mundo, desde los lejanos paisajes a las grandes obras arquitectónicas de distintas culturas. Sin embargo, la inclusión de la imagen fotográfica en el proceso del desarrollo gráfico del proyecto, tanto en la fase de documentación arquitectónica como en la fase conceptual, tuvo que esperar hasta el último cuarto del siglo pasado. Además, la llegada de la imagen digital trajo un gran cambio en la producción y gestión de la información fotográfica. Hoy, después de un largo período de maduración podemos ver cómo el uso de la imagen fotográfic resurge con más fuerza, reclamando un lugar en primea línea de los levantamientos más exigentes y realísticos. No podemos entender ningún proceso de documentación gráfica sin este importante recurso ya sea en la etapa preliminar o en el proceso de realización del proyecto. En la mayoría de los casos (levantamiento gráfico y proyecto) la imagen fotográfica siempre se nos muestra como la síntesis más correcta, el “dibujo” más comprensible incluso para los no-técnicos, [EN] Photography changed forever the way that we see and understand the world, from remote landscapes to outstanding architectural features from different cultures. However, the inclusion of the photographic imagine in the graphic development of the project, both at the stage of architectural documentation and in the conceptual phase, had to wait until the last quarter century. Furthermore, the arrival of digital imaging brought a big change in the production and ma- nagement of photographic information. Today, after a long period of development we can see how the use of the photographic imagine reap- pears strongly, claiming a place in first line of surveys more precise and realistic. We can not understand any graphic documentation process without this important resource, either at the preliminary stage or in the process of imple- menting the project. In most cases (drawing and project life cycle) the photographic image always shows the most accurate synthesis, the most un- derstandable “drawing” even for non-technicals.