ABSTRACT

Restoration is often problematised within built heritage practice as an inauthentic activity of imitation. This is symptomatic of a Western focus on physical heritage sites, which is underpinned by an amalgam of scientific materialism and visual aesthetics. Situated within a postmodern conceptualisation of heritage as increasingly dynamic, social and intangible, this study suggests the relationship between restoration and authenticity is increasingly out of step with contemporary perspectives and would benefit from a critical gaze. Drawing on Baudrillard’s theory of ‘hyperreality’, this study makes space for two key concepts within the built heritage paradigm: authenticity as emergent and fluid; and the legitimisation of imitation as a valid activity. Together, these are explored in relation to the restoration of the Hill House, Scotland, and its encapsulation within the ‘Hill House Box’. From a postmodern, Baudrillardian outlook, the site becomes a dynamic performance between the restored building (a tangible ‘simulation’ of an idealised essence) and the users of the Hill House Box (an intangible, ritualised experience). Consequently, this demonstrates how the amalgamation of imitation and intangibility can overcome binary views of original/copy; authentic/inauthentic, resulting in the creation of emergent authenticity and aura that the Box both creates and is engulfed within.

摘要

在建筑遗产实践中，修复常常被质疑为一种不真实的模仿活动。这是西方对自然遗产的关注的症状，这是科学唯物主义和视觉美学的融合。这项研究表明，在后现代的遗产概念中，它变得越来越具有活力，社会性和非物质性，该研究表明，恢复与真实性之间的关系与当代观点越来越脱节，并会因挑剔的目光而受益。借鉴鲍德里亚的“超现实主义”理论，这项研究为已建成的遗产范式中的两个关键概念留出了空间：真实性作为突发事件和流动性；并将模仿合法化为有效活动。一起探讨这些与苏格兰山之屋的修复有关的问题，并将其封装在“ Hill House Box”中。从后现代的鲍德里亚式的观点来看，该场所成为恢复后的建筑（理想化本质的有形“模拟”）和Hill House Box用户（无形的，仪式化的体验）之间的动态表现。因此，这证明了模仿和无形的融合如何克服原始/副本的二元观点。真实/不真实，导致出现了盒子的真实性和灵气，盒子既创造又吞没了它。这证明了模仿和无形的融合如何克服原始/副本的二元观点；真实/不真实，导致出现了盒子的真实性和灵气，盒子既创造又吞没了它。这证明了模仿和无形的融合如何克服原始/副本的二元观点；真实/不真实，导致出现了盒子的真实性和灵气，盒子既创造又吞没了它。