This thesis critically assesses the architectural origin and developmental discourse of Cape Dutch buildings in South Africa, tracing back their formation under Dutch colonialism and questioning the ethical and ecological implications of their preservation in the present day. Structured around the key tension between vernacular adaptation and colonial imposition, the study observes the assumption that buildings constructed under the very real agency of enslaved and indigenous labour have been subjected to historical revivalism and modern conservation practices. With a focus on archival research, discourses of architects, theorists and writers, and material studies, this thesis observes the environmental substantiation for vernacular materials including clay and thatch, looking at the integrity of modern conventions that highlight aesthetically driven renovation versus viable, historical conservation. Although Cape Dutch architecture has been the subject of deep historical analysis, its ongoing relevance in forming contemporary heritage narratives and conservation strategies remains underexamined. Furthermore, heritage tourism exudes an additional burden on the redevelopers. This is explored with a particular focus on the revivalist efforts of, namely the architect and significant contributor to the trajectory of Cape Dutch discourse, Sir Herbert Baker, in the first decades of the twentieth century. His role in redefining Cape Dutch architecture as a national style is explored, as well as the implications for British colonial and Afrikaner nationalist identity projects. Additionally, the case studies of Groot Constantia and Vergelegen Wine Estate act to unpack this narrative and underexplored field, through revealing how architectural conservation collides with commercialisation, heritage tourism, and uncertainties of post-apartheid architectural identity. Finally, this thesis surfaces that rather than being preserved only as an aesthetic legacy, Cape Dutch architecture needs attention as a continued focus of negotiation, one that is evidently aware of its colonial past but also opens space for participatory practices of heritage. By connecting architectural history to issues of material authenticity, power and memory, this study contributes to broader conversations about how colonial-era architecture should be critically conserved today.