Matrix design enslaved between architecture and simulation
The theoretical basis of this world is that of Jean Baudrillard Simulators and simulation, a book which theorizes the saturation of signs and symbols in our society, which leads to a life full of simulacra which do not hide the truth but the absence of reality, symbols which no longer have a reference. All of the cast and several crew members had to read this book to work on the film. The movie itself is full of mockery, from the reality of The Matrix to the bottom. The portrayal of our world in this film lives on symbols, from the massive consumption of fashion (of which the film was a standard bearer) to, for example, the use of Chesterfield chairs in the iconic scene of the Blue Pill and the red pill. , when Neo has to choose between continuing to sleep or discovering the real reality by leaving the simulation.
Neo’s awakening in an unknown future is also a trauma for viewers, at the time oblivious to the dual nature of the film, who move from a calm and plausible world considered authentic (because it looks like ours) , to a rather freezing, gloomy world. , made of machines with animal design (insects and polyps), with obscured sun and structures like the great plantation of humans, with exasperated and inhuman functionalism.
How do we feel watching The matrix every time Neo leaves the real dystopian world and re-enters the cleansed world of simulation and returns to this metropolis between Sydney, Auckland and Chicago, made of buildings and neat streets? Once we discovered the simulated nature of these images, what does this architecture look like? And what does it look like when we come out of the cinema when we come across neighborhoods, towns or neighborhoods that remind us of it?