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，修复通常被认为是一种不真实的模仿活动。这是西方对物理遗产地的关注的症状，这是由科学唯物主义和视觉美学的融合所支撑的。这项研究位于后现代概念化的遗产日益动态、社会化和无形化，表明修复与真实性之间的关系越来越与当代观点脱节，并将受益于批判性的目光。本研究借鉴鲍德里亚的“超现实”理论，为建筑遗产范式中的两个关键概念留出了空间：作为涌现和流动的真实性；以及将模仿合法化为有效活动。这些都与苏格兰希尔之家的修复有关，并将其封装在“Hill House Box”中。从后现代的鲍德里亚式观点来看，该场地成为修复后的建筑（理想化本质的有形“模拟”）和 Hill House Box 的用户（一种无形的仪式化体验）之间的动态表演。因此，这证明了模仿和无形的融合如何克服原始/复制的二元观点；真实的/不真实的，导致了盒子创造并被吞没在其中的紧急真实性和光环的创造。这展示了模仿和无形的融合如何克服原始/复制的二元观点；真实的/不真实的，导致了盒子创造并被吞没在其中的紧急真实性和光环的创造。这展示了模仿和无形的融合如何克服原始/复制的二元观点；真实的/不真实的，导致了盒子创造并被吞没在其中的紧急真实性和光环的创造。