The term fake suggests forgery but also imitation and reproduction - all processes familiar to contemporary cultural production and everyday life. Fakes in the art world have been the subject of research and publications, while fake buildings and spaces have received less attention in contemporary discourse. This book represents a series of snapshots of the space between fake and real, an exploration that quickly leads to the two attributes being entangled in contemporary attempts to generate genuine authenticity by replicating nostalgic details and superficial references.

The first survey of the many redesigned and imitation historical landmarks and objects that dot the globe "John Darlington shows . . . it is not just written history that is malleable; it is also history on the ground, heritage in brick and stone, wood and metal."--Simon Jenkins, Times Literary Supplement What happens when the past--or, more specifically, a piece of cultural heritage--is fabricated? From 50 replica Eiffel Towers located around the world to Saddam Hussein's reconstructions of ancient cities, examples of forged heritage are widespread. Some are easy to dismiss as blatant frauds (the Piltdown Man), while others adhere to honest copying or respectful homage (the Parthenon in Nashville, Tennessee). This compelling book examines copies of historic buildings, faux archaeological sites, and other false artifacts, using them to explore the ethics and consequences of reconstructing the past; it also tackles the issues involved with faithful, "above-board" re-creations of ancient landmarks. John Darlington probes questions of historical authenticity, seeking the lessons that lurk when history is twisted to tell an untrue story. Amplified by stunning images, the narrative underscores how the issue of duplicating heritage is both intriguing and incredibly complex, especially in the twenty-first century--as communication and technology flourish, so too do our opportunities to be deceived.

A 108-meter high Eiffel Tower rises above Champs Elysées Square in Hangzhou. A Chengdu residential complex for 200,000 recreates Dorchester, England. An ersatz Queen’s Guard patrols Shanghai’s Thames Town, where pubs and statues of Winston Churchill abound. Gleaming replicas of the White House dot Chinese cities from Fuyang to Shenzhen. These examples are but a sampling of China’s most popular and startling architectural movement: the construction of monumental themed communities that replicate towns and cities in the West. Original Copies presents the first definitive chronicle of this remarkable phenomenon in which entire townships appear to have been airlifted from their historic and geographic foundations in Europe and the Americas, and spot-welded to Chinese cities. These copycat constructions are not theme parks but thriving communities where Chinese families raise children, cook dinners, and simulate the experiences of a pseudo-Orange County or Oxford. In recounting the untold and evolving story of China’s predilection for replicating the greatest architectural hits of the West, Bianca Bosker explores what this unprecedented experiment in “duplitecture” implies for the social, political, architectural, and commercial landscape of contemporary China. With her lively, authoritative narrative, the author shows us how, in subtle but important ways, these homes and public spaces shape the behavior of their residents, as they reflect the achievements, dreams, and anxieties of those who inhabit them, as well as those of their developers and designers. From Chinese philosophical perspectives on copying to twenty-first century market forces, Bosker details the factors giving rise to China’s new breed of building. Her analysis draws on insights from the world’s leading architects, critics and city planners, and on interviews with the residents of these developments.

Essays at the intersection of philosophy and architecture explore how we understand and inhabit space. To be outside allows one a fresh perspective on the inside. In these essays, philosopher Elizabeth Grosz explores the ways in which two disciplines that are fundamentally outside each another—architecture and philosophy—can meet in a third space to interact free of their internal constraints. "Outside" also refers to those whose voices are not usually heard in architectural discourse but who inhabit its space—the destitute, the homeless, the sick, and the dying, as well as women and minorities. Grosz asks how we can understand space differently in order to structure and inhabit our living arrangements accordingly. Two themes run throughout the book: temporal flow and sexual specificity. Grosz argues that time, change, and emergence, traditionally viewed as outside the concerns of space, must become more integral to the processes of design and construction. She also argues against architecture's historical indifference to sexual specificity, asking what the existence of (at least) two sexes has to do with how we understand and experience space. Drawing on the work of such philosophers as Henri Bergson, Roger Caillois, Gilles Deleuze, Jacques Derrida, Luce Irigaray, and Jacques Lacan, Grosz raises abstract but nonformalistic questions about space, inhabitation, and building. All of the essays propose philosophical experiments to render space and building more mobile and dynamic.

Reality Modeled After Images: Architecture and Aesthetics after the Digital Image explores architecture’s entanglement with contemporary image culture. It looks closely at how changes produced through technologies of mediation alter disciplinary concepts and produce political effects. Through both historical and contemporary examples, it focuses on how conventions of representation are established, maintained, challenged, and transformed. Critical investigations are conjoined with inquiries into aesthetics and technology in the hope that the tensions between them can aid an exploration into how architectural images are produced, disseminated, and valued; how images alter assumptions regarding the appearances of architecture and the environment. For students and academics in architecture, design and media studies, architectural and art history, and related fields, this book shows how design is impacted and changed by shifts in image culture, representational conventions and technologies.

Thames Town—an English-like village built in Shanghai—is many places at once: a successful tourist destination, an affluent residential cluster, a city of migrant workers, and a ghost town. The Real Fake explores how the users of Thames Town transform a themed space into something more than a “fake place.” Piazzoni understands authenticity as a dynamic relationship between people, places, and meanings that enables urban transformations. She argues that authenticity underlies the social and physical production of space through both top-down and bottom-up dynamics. The systems of moral and aesthetic judgments that people associate with “the authentic” materialize in Thames Town. Authenticity excludes some users as it inhibits access and usage especially to the migrant poor. And yet, ideas of the authentic also encourage everyday spontaneous appropriations of space that break the village’s staged atmosphere. Most scholars criticize theming by arguing that it produces a “fake,” controlling city. Piazzoni complicates this view by demonstrating that although the exclusionary character of theming remains unquestionable, it is precisely the experience of “fakeness” that allows Thames Town’s users to develop a sense of place. Authenticity, the ways people construct and spatialize its meanings, intervenes holistically in the making and remaking of space.

New developments in design in Dubai have changed forever the face of world architecture. Here, the traditional Islamic culture co-exists with a radical movement towards modernity, resulting in a futuristic architecture, dominated by skyscrapers that seem to defy gravity, and constructions that embody the cutting-edge of technology. A valuable resource for architecture students and design professionals alike, this book is packed with more than 650 photographs and an authoritative text that explores the new glass and steel masterpieces of Dubai. From state-of-the-art hotels to luxury residences to the headquarters of some of the world’s most important financial institutions, specially commissioned photographs showcase the innovations that make this an area of great interest to design professionals. Superb images depict the graceful sail-shaped silhouette of the opulent seven-star hotel Burj Al Arab and convey the majesty of the twin Emirates Towers. Other remarkable structures featured in this book include Dubai Sports City, Hydropolis Underwater Resort Hotel, Media-1, and Abu Dhabi Investment Authority Tower, to name just a few.