We all see imitations of well-known architecture around the world. Do you know a particular term exists for this situation? Duplitecture refers to replicated or copied architecture, wherein structures are created as duplicates or imitations of existing architectural designs.
In her book, The Architecture of Influence: The Myth of Originality in the Twentieth Century, Amanda Reeser Lawrence describes influence as an “anxiety-ridden struggle” between creators and their ancestors. She also mentions Frank Lloyd Wright’s denial of being inspired by anything beyond the natural beauty of organic forms.
The difference between imitation and copying is in purpose and implementation. Imitation involves drawing inspiration and reinterpreting an idea with a personal twist, allowing for creativity. Copying, however, replicates something closely without much change or originality, focusing on reproduction rather than innovation.
Robert Venturi told the New York Times in 1983, “There is nothing wrong with being influenced, or even with copying. Imitating is how children learn. You have to acknowledge sources.” and added, “Quality is more important than originality. Doing something good is better than doing something first. In any case, originality is rare and not even the highest virtue of an artist. It may be better to do slight variations within established traditions and conventions.” So, what do you think?
Venturi’s view on imitation emphasizes that quality matters more than pure originality, which aligns with the essence of duplitecture. Rather than simple replicas, duplitecture often involves thoughtful recreations that respect the original design while allowing for modifications.
Duplitecture Around the World
Duplitecture should not be confused with reduced-scale copies commonly encountered in locations like Las Vegas or Disney World’s Epcot theme park. However, the constructions are typically replicated at a similar scale to the originals, with potential modifications resulting from factors such as the availability of materials or other relevant considerations. Additionally, there could be adaptations in the aesthetic aspects, such as modifications in color.
Besides the structure level, for example, China has a city that is a copy of Paris called Tianducheng, which is located in Zheijang. The town, known as the “Paris of the East,” initially proposed construction in 2007 as a luxury real estate project. At the center of the project is the Asia Eiffel Tower and boulevards inspired by the French capital. The city has a capacity of 30,000 people, but according to the report, currently, it is more like a Ghost Town, with only 2,000 people living there.
“In the Yangtze River Delta, a 108-meter replica of the Eiffel Tower graces Champs Elysées Square in what has been branded the “Oriental Paris,” a faithful reconstruction of Georges-Eugène Haussmann’s City of Light.” wrote Bianca Bosker on Original Copies: Architectural Mimicry in Contemporary China.
Tianducheng is not the only example. In China, there are replicas of various cities such as Jackson Hole, Wyoming, and Stratford-upon-Avon. Shanghai has a replica of Thames Town, while Fuyang has its own U.S. Capitol building. Furthermore, the Austrian UNESCO World Heritage town of Hallstatt has a duplicate in Guangdong.
This situation also shows that replicating European architecture in China is an authentically derived phenomenon, reflecting a form of Chinese globalization.
Initially, Shanghai launched the “One City, Nine Towns” urbanization program in 2001 to create ten new cities with thematic zones showcasing mainly European architecture. According to Martin Minost, the result was the construction of an “English neighborhood” at Songjiang, a “German neighborhood” at Anting, a “Dutch” one at Gaoqiao, a “Swedish” one at Luodian, and so on.
On the other hand, China is not the only country imitating existing structures; Imitation has a deeper meaning than your earthly existence. Architectural mimicry often accompanies cultural change. For example, Japan created its Western-style developments with replicas of Dutch buildings.
“The target of the replication program goes beyond architecture and construction techniques. In fact, the agenda is all-encompassing: to re-create not only the superficial appearance of Western historical cities but also the ‘feel’—the atmospheric and experiential local color—of the originals through such devices as foreign names, signage, and lifestyle amenities.” according to Bianca Bosker.
In the United States, immigrants brought European townscapes to the new continent in the 19th century. Revivalist architecture flourished in the Hudson River Valley, inspired by Dutch, Spanish, Italian, and English designs. Americans also showcased their prowess with Greek and Roman templates, such as a replica of the Parthenon constructed in Nashville for Tennessee’s Centennial Exposition in 1897.
Also, Las Vegas is arguably the birthplace of modern duplitecture in the West. For example, the Venetian Hotel recreates the canals of Venice, while the Luxor Hotel mimics the pyramids of Egypt.
The Controversial Practice of Duplitecture
It has been termed duplitecture, one of the most discussed topics in architecture, urbanism, and cultural heritage, meaning near-exact replicas of iconic buildings or even entire neighborhoods from a culture in another part of the world. Examples vary from a full-scale replica of Paris in Tianducheng, China, to an imitation of the canals of Venice in the USA in Las Vegas.
The developers might use the romantic appeal of overseas grandeur and give consumers a chance to experience the iconic environment without actually traveling. The debate about duplitecture arises in large measure from concerns about issues such as cultural appropriation, authenticity, and historical context. Such a displacement of architectural works from their native cultural and historical contexts, according to the critics, makes those replicas void of the deep symbolic meaning accompanying their authentic creation.
‘Meiquan 22nd Century’ in Chongqing was similar to Wangjing SOHO due to the alleged use of digital files or renderings from the original project. This sparked outrage and concern in the architecture community over counterfeiting in a supposedly plagiarism-free field. The project gained significant publicity as legal action unfolded, leading to accusations of a ‘thriving counterfeit culture’ in China. Chongqing Meiquan even released a slogan: ‘Never Meant to Copy, only to Surpass’.
The practice of duplitecture, while controversial, highlights the complex relationship between cultural identity and architectural innovation. Whether through respectful imitation or direct copying, these replicas serve as both homage and reinvention, often adapting iconic designs to new contexts. As seen in projects like Tianducheng or the legal battle over Wangjing SOHO, the line between inspiration and plagiarism can blur. Ultimately, duplitecture reflects a global dialogue in architecture, where the replication of familiar structures can both challenge and redefine originality.
