Architecture in Movies – The Matrix Trilogy

The 1999 Science Fiction Action movie, The Matrix, directed by The Wachowskis and starring Keanu Reeves, Laurence Fishburne and Hugo Weaving is undoubtedly one of the most complex and entertaining movies of the late 20th century. The Matrix Trilogy began with the feature film The Matrix and continued with two sequels, The Matrix Reloaded in May, 2003 and The Matrix Revolutions in November, 2003. It features a cyberpunk story incorporating references to several religious and philosophical ideas. It also shows influences of various mythologies, anime and different martial art forms. Amidst all the breath taking visuals and action sequences this futuristic fantasy movie gives a lot of prominence to architectural styles and design. The Wachoski brothers’ keen interest in detailing was also evident in their recent release, Jupiter Ascending. The Matrix surprisingly contains many of the real world buildings along with the fictional virtual reality cities within The Matrix.

Mega City can be considered as a conglomeration of many cities fused into one large city with a gigantic downtown and an impressive skyline
Mega City can be considered as a conglomeration of many cities fused into one large city with a gigantic downtown and an impressive skyline

The most notable of architectural features in the movie is the Mega City, an enormous virtual city in which the inhabitants of the Matrix live. Mega City can be considered as a conglomeration of many cities fused into one large city with a gigantic downtown and an impressive skyline. The city was designed to represent an amalgam of major cities in the United States and Australia during the 1990s characterized by grey and utilitarian areas with small pockets of colour and entertainment. The cities that provided inspiration for the Mega City include Sydney (where most of the film as shot), Oakland (where some of the car chase sequences in The Matrix Reloaded were filmed) and Chicago (the birthplace of The Wachowskis). Hence we see yet another movie in which the major city is designed based on existing cities. Other examples include the Gotham City in Batman Trilogy and the fascist architecture inspired structures of Equilibrium.

The concept of the city in The Matrix is actually an archetype of the hyper reality theory developed by prominent author Umberto Eco, who wrote the popular novel, The Name of the Rose, which was filled with detailed description of the cathedrals of Italy. The hyper reality theory states that the virtual city constructed by the machines controlling the society is more convincing and realistic to its inhabitants than the real world itself.

The logic behind the creation of the harsh grey and uninteresting landscape was to ensure that the unknowing inhabitants of the Matrix did not question their living space given that they lacked an alternative. It can also be possibly said that the City is an inhabitant-unique environment, where no one sees things the same way. Other theories state that the visualization of the City could possibly be a result of the redpills’ experience outside of the Matrix. Further, Agent Smith (Hugo Weaving) describes to Morpheus (Laurence Fishburne) that earlier instances of the Matrix which were cheerier did not meet the expectations of the humans hosted within. The Architect later expands on that explanation telling Neo (Keanu Reeves) that the first versions failed because they were designed around the two extremes of perfect paradise and absolute hell that the human mind was unable to accept.

A map of Mega City later provided to the designers of the game The Matrix Online by The Wachowskis splits the city into four main districts Downtown, International, Richland and Westview
A map of Mega City later provided to the designers of the game The Matrix Online by The Wachowskis splits the city into four main districts Downtown, International, Richland and Westview

A map of Mega City later provided to the designers of the game The Matrix Online by The Wachowskis splits the city into four main districts: Downtown, International, Richland (ironically called the slums by the redpills), and Westview. The map shows that the actual shape of the city represents the Y-shaped symbol which can also be seen at the end of the code sequence in The Matrix Revolutions.

The beautifully designed mansion is based on the traditional designs and is lined inside with numerous Greek like statues and ancient armours and weapons
The beautifully designed mansion is based on the traditional designs and is lined inside with numerous Greek like statues and ancient armours and weapons

An architectural feature that stands in stark contrast to the modern or futuristic styles in the old fashioned Chateau or the Merovingian mansion located in the mountains. The beautifully designed mansion is based on the traditional designs and is lined inside with numerous Greek like statues and ancient armours and weapons. The Chateau provides the audience a real world atmosphere amidst all the virtual reality.

As mentioned earlier, many of the real world buildings and structures are either referred to or are seen in the film. The Sydney Tower is visible on the construct TV screen. In the famous roof top bullet scene the audience can catch a glimpse of the UTS Tower building. Other prominent buildings from Sydney that are visible include Martin Place and St. James railway station. Early drafts of the movie’s screenplay identified the city as Chicago and most of the street and landmark names referenced are from Chicago, such as Wabash and Lake, Franklin and Erie, State Street, Balbo Drive, Cumberland Ave, the Adams Street Bridge and the Loop Train. Apart from the cities of Sydney and Chicago, the film also refers to the Heathrow Airport, the United States Congress to name a few.

Overall we can say that The Matrix Series captures the design of a futuristic all inclusive city with great detail and accuracy. With the huge influx of population to urban areas, the future cities would in all probability end up resembling the Mega City of The Matrix with loose connection to the base city from which it expanded.

Jorn Utzon – Sydney Opera House

Life and career:

Utzon was born in Copenhagen, the son of a naval engineer, and grew up in Denmark. From 1937 he attended the Royal Danish Academy of Fine Arts where he studied under Kay Fisker and Steen Eiler Rasmussen. After graduating in 1942, he went to Sweden to work for Gunnar Asplund. After the end of World War II and the German Occupation of Denmark, he returned to Copenhagen. In 1946 he visited Alvar Aalto in Helsinki. From 1947–48 he travelled in Europe in 1949 in the United States and Mexico. In America he attended Frank Lloyd Wright’s school in Arizona. In 1950 he established his own studio in Copenhagen.

Pritzker prize for Sydney Opera House:

—  In 1957 he unexpectedly won the competition to design the Sydney Opera House. Although he had won six other architectural competitions previously, the Opera House was his first non-domestic project. The designs he submitted were also little more than preliminary drawings. One of the judges,Eero Saarinen, described it as “genius” and declared he could not endorse any other choice.

—  Utzon refined his original conceptual designs for the shells over several years. One particular difficulty was that the Cahill government was so eager to commence the project that they arranged for the engineers, Ove Arup and Partners, to put out tenders for the podium without adequate working drawings; this work actually began in 1959 while Utzon was still in Denmark working on the final plans.

Concept:

The extraordinary structure of the shells themselves represented a puzzle for the engineers. This was not resolved until 1961, when Utzon himself finally came up with the solution. He replaced the original elliptical shells with a design based on complex sections of a sphere. Utzon says his design was inspired by the simple act of peeling an orange: the 14 shells of the building, if combined, would form a perfect sphere. Although Utzon had spectacular, innovative plans for the interior of these halls

Description:

—  he Sydney Opera House is a modern expressionist design, with a series of large precast concrete “shells”, each composed of sections of a sphere of 75.2 metre (246 ft 8½ in) radius , forming the roofs of the structure, set on a monumental podium. The building covers 1.8 hectares (4.5 acres) of land and is 183 metres (605 ft) long and 120 metres (388 ft) wide at its widest point. It is supported on 588 concrete piers sunk as much as 25 metres below sea level.

—  Although the roof structures of the Sydney Opera House are commonly referred to as “shells” (as they are in this article), they are in fact not shells in a strictly structural sense, but are instead precast concrete panels supported by precast concrete ribs.The shells are covered in a subtle chevron pattern with 1,056,006 glossy white- and matte-cream-coloured Swedish-made tiles from Höganäs AB,though, from a distance, the shells appear a uniform white.

—  Apart from the tile of the shells and the glass curtain walls of the foyer spaces, the building’s exterior is largely clad with aggregate panels composed of pink granite quarried in Tarana. Significant interior surface treatments also include off-form concrete, Australian white birch plywood supplied from Wauchope in northern New South Wales, and brush box glulam

—  Of the two larger spaces, the Concert Hall is located within the western group of shells, and the Opera Theatre within the eastern group. The scale of the shells was chosen to reflect the internal height requirements, with low entrance spaces, rising over the seating areas and up to the high stage towers. The smaller venues (the Drama Theatre, the Playhouse, and The Studio) are located within the podium, beneath the Concert Hall. A smaller group of shells set to the western side of the Monumental Steps houses the Bennelong Restaurant. The podium is surrounded by substantial open public spaces, of which the large stone-paved forecourt area with the adjacent monumental steps is also regularly used as a performance space.

—  The Sydney Opera House was made a UNESCO World Heritage Site on 28 June 2007. It is one of the 20th century’s most distinctive buildings and one of the most famous performing arts centres in the world.

—  The Sydney Opera House is situated on Bennelong Point in Sydney Harbour, close to the Sydney Harbour Bridge. It sits at the northeastern tip of the Sydney central business district (the CBD), surrounded on three sides by the harbour (Sydney Cove and Farm Cove) and neighboured by the Royal Botanic Gardens.

Performance venues and facilities inside the opera house:

—  The Opera House houses the following performance venues:

—  The Concert Hall, with 2,678 seats, is the home of the Sydney Symphony and used by a large number of other concert presenters. It contains the Sydney Opera House Grand Organ, the largest mechanical tracker action organ in the world, with over 10,000 pipes.

—  The Opera Theatre, a proscenium theatre with 1,507 seats, is the Sydney home of Opera Australia and The Australian Ballet.

—  The Drama Theatre, a proscenium theatre with 544 seats, is used by the Sydney Theatre Company and other dance and theatrical presenters.

—  The Playhouse, an end-stage theatre with 398 seats.

—  The Studio, a flexible space with a maximum capacity of 400 people, depending on configuration.

—  The Utzon Room, a small multi-purpose venue, seating up to 210.

—  The Forecourt, a flexible open-air venue with a wide range of configuration options, including the possibility of utilising the Monumental Steps as audience seating, used for a range of community events and major outdoor performances.

—  Other areas (for example the northern and western foyers) are also used for performances on an occasional basis. Venues at the Sydney Opera House are also used for conferences, ceremonies, and social functions.

Origin:

—  Planning for the Sydney Opera House began in the late 1940s, when Eugene Goossens, the Director of the NSW State Conservatorium of Music, lobbied for a suitable venue for large theatrical productions. The normal venue for such productions, theSydney Town Hall, was not considered large enough. By 1954, Goossens succeeded in gaining the support of NSW Premier Joseph Cahill, who called for designs for a dedicated opera house. It was also Goossens who insisted that Bennelong Point be the site for the Opera House. Cahill had wanted it to be on or near Wynyard Railway Station in the northwest of the CBD.

—  A design competition was launched by Cahill on 13 September 1955 and received 233 entries, representing architects from 32 countries. The criteria specified a large hall seating 3000 and a small hall for 1200 people, each to be designed for different uses, including full-scale operas, orchestral and choral concerts, mass meetings, lectures, ballet performances and other presentations.The winner, announced in 1957, was Jørn Utzon, a Danish architect. According to legend the Utzon design was rescued from a final cut of 30 “rejects” by the noted Finnish architect Eero Saarinen. The prize was £5,000. Utzon visited Sydney in 1957 to help supervise the project. His office moved to Sydney in February 1963.

Design and construction:

—  Stage I: Podium

Stage I commenced on 2 March 1959 by the construction firm Civil & Civic, monitored by the engineers Ove Arup and Partners. The government had pushed for work to begin early, fearing that funding, or public opinion, might turn against them. However, Utzon had still not completed the final designs. Major structural issues still remained unresolved. By 23 January 1961, work was running 47 weeks behind, mainly because of unexpected difficulties (inclement weather, unexpected difficulty diverting stormwater, construction beginning before proper construction drawings had been prepared, changes of original contract documents). Work on the podium was finally completed in February 1963. The forced early start led to significant later problems, not least of which was the fact that the podium columns were not strong enough to support the roof structure, and had to be re-built.

—  Stage II: Roof

The shells of the competition entry were originally of undefined geometry, but, early in the design process, the “shells” were perceived as a series of parabolas supported by precast concrete ribs. However, engineers Ove Arup and Partners were unable to find an acceptable solution to constructing them. The formwork for using in-situ concrete would have been prohibitively expensive, but, because there was no repetition in any of the roof forms, the construction of precast concrete for each individual section would possibly have been even more expensive.

Interiors:

—  The major hall, which was originally to be a multipurpose opera/concert hall, became solely a concert hall, called the Concert Hall. The minor hall, originally for stage productions only, had the added function of opera and ballet to deal with and is called the Opera Theatre. As a result, the Opera Theatre is inadequate to stage large-scale opera and ballet. A theatre, a cinema and a library were also added. These were later changed to two live drama theatres and a smaller theatre “in the round”. These now comprise the Drama Theatre, the Playhouse, and the Studio, respectively. These changes were primarily because of inadequacies in the original competition brief, which did not make it adequately clear how the Opera House was to be used. The layout of the interiors was changed, and the stage machinery, already designed and fitted inside the major hall, was pulled out and largely thrown away.

—  Externally, the cladding to the podium and the paving (the podium was originally not to be clad down to the water, but to be left open).

—  The construction of the glass walls (Utzon was planning to use a system of prefabricated plywood mullions, but a different system was designed to deal with the glass).

—  Utzon’s plywood corridor designs, and his acoustic and seating designs for the interior of both major halls, were scrapped completely. His design for the Concert Hall was rejected as it only seated 2000, which was considered insufficient. Utzon employed the acoustic consultant Lothar Cremer, and his designs for the major halls were later modelled and found to be very good. The subsequent Todd, Hall and Littlemore versions of both major halls have some problems with acoustics, particularly for the performing musicians. The orchestra pit in the Opera Theatre is cramped and dangerous to musicians’ hearing. The Concert Hall has a very high roof, leading to a lack of early reflections onstage—Perspex rings (the “acoustic clouds”) hanging over the stage were added shortly before opening in an (unsuccessful) attempt to address this problem

 

Harry Seidler – Capita Center

The building:

  • Type: Office Building
  • 34 levels above ground (3 storey lobby), 2 basements
  • Total floor area: 32,155 sqm
  • Material: composite steel/concrete
  • Support Structure: External columns and lateral bracing beams

Site:

  • Location: Castlereagh Street in the centre of Sydney city
  • Irregular,tight, landlocked site
  • Open only to the East

Architect’s Desire:

  • Modernist
  • Ground floor is open to the public
  • controlling sunlight with external louvres to the North and East
  • Bold and expressed structural system

Design Decisions:

  • Core is located at the perimeter of the site
  • Clear rectangular area
  • ž6 col free spaces => manipulated as 1/3rd of each floor is a void
  • žprovide all parts of the floor with some level of natural light from the atrium
  • žmaximum integration of services to minimize ceiling depth to allow for a higher ceiling appropriate to a prestige office building
  • žAs done by HELMUT JAHN in BARTLE EXHIBITION HALL
  • žProvided a small oasis in the middle.
  • Favourable to the client: enabled them to build an additional five floors, under the FSR regulations at the time.
  • Underground parking
  • The building lacked adequate lateral stiffness -voids through the building restrict the opportunity to gain continuity within the structure
  • Only possible on east façade => east wall-shear wall
  • A composite system -faster construction, services penetrations through the beams and efficient spanning of the large grid.
  • The floor system allows the office areas and glazed facades to be free of columns
ž

This slideshow requires JavaScript.