Modern Ruin

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June 9, 2016

8pm

A documentary by Matthew Silva

The New York State Pavilion, once the shining star of the 1964-65 World’s Fair, now sits in the middle of New York City as a haunting reminder of what became of the age of optimism that was the early 1960’s. This film tells the story of Philip Johnson’s masterpiece during its glory days, chronicles its post-fair use as a 60’s concert venue and 70’s roller rink, and shines a spotlight on the years of neglect that have led to growing advocacy to save and restore this one-of-a-kind place. 

 

Festival Lawn - Flushing Meadows Corona Park (behind Queens Theatre)
Feel free to bring your own chair or blanket.
In case of inclement weather, the screening will take place inside the theater.
Food and drinks available for purchase.

Sponsored by tthe National Trust for Historic Preservation

Presented by Queens Theatre

 

FREE OUTDOOR SCREENING

An interview with director Matthew Silva

What first inspired your interest in the New York State Pavilion?

I, like many people my age (born in the ‘80s, but a kid of the ‘90s), would always pass the building in the back seat of my parents’ car on the way to my grandmother’s house and anywhere on my way to New York City. I would see it and I’d say to my parents, “What is that?” [But] my parents didn’t go to the fair because they’re both immigrants that came after the World’s Fair had ended, and so they didn’t have any explanation other than “Oh, it’s from the  World’s Fair.”

It wasn’t until many years later when I was really curious and I googled, “What is that spaceshipy-looking thing on the side of the Long Island Expressway.”

 

What did you think about the building once you learned what it was?

I was fascinated. I’m a lover of design architecture and design thinking, and as a middle school and high school technology teacher I’m always looking for ways to incorporate architecture, but also creative thinking, into my curriculum. So I looked at the New York State Pavilion as a really great design problem that kind of sits in limbo at this crossroads: It can be knocked down and forgotten by future generations, or it can be repurposed into something new that can really benefit future generations of New Yorkers or tourists.

In setting up that lesson plan, I started to do more research on the Internet and realized that there wasn’t any kind of established place to learn about this building. There were a lot of venues, a lot different sources to learn about the World’s Fair but not a whole lot specifically about this building. So I said, “I want to try and get in touch with people who actually visited, actually went to the building and experienced firsthand during this era, maybe even through the years.”

 

So what was your next step?

I looked on Facebook for a group about the New York State Pavilion and there wasn’t anything like that. So I started one [in spring 2012] and I called it People for the New York State Pavilion. And people started joining it and sharing their memories of the World’s Fair, but specifically the New York State Pavilion. I started to establish relationships with people who have worked over the years to try and save the building, and I collected this really unique network of people who know about the building or were really passionate about the building.

I was going to write a book about the building and use my resources from people who I’d met and other academic articles and newspaper articles, etc. [But] I decided that it might be more interesting if I sat down with them with camera and interviewed them. And this idea quickly evolved into what has become this documentary Modern Ruin.

 

 

 

Why did you decide to title the film with the word “ruin” -- a term that can sometimes construed as a place beyond saving?

Philip Johnson himself referred to the building as a modern ruin. And it’s no secret he remarked about this on more than one occasion that he thought the building looked nice as a ruin. But he also did kind of feel like something should be done. Either do something with it or get rid of it, stop going back and forth -- that was his attitude about it.

It’s interesting to me that in such a short period of time this really monumental and cool piece of architecture has been left to ruin. And it appears from the road, and up close, to be a ruin. There are similarities in appearance to that of the Roman ruins, I think. That is controversial; some people take issue with that. They don’t like to compare the “historic” or “ancient” Roman ruins to something that was really from a pop-culture, sort of bubble-gummy event. But I think it’s undeniable that there’s something kind of alluring, whimsical, and haunting, and romantic about the New York State Pavilion in the current state that it’s in.

 

What do you hope this film will achieve?

I hope that the film reaches a wider audience beyond people who are just interested in architecture or historic preservation. I hope that people see the film and they’re able to learn about that thing they always see from the side of the road. It is an internationally known piece of architecture, but a lot of people -- if they know it was from the World’s Fair -- they don’t remember what it looks like or they don’t even know what it looked like. And when they see the contrast, I think they’ll start to dream.

Ultimately, that was the thing that started the whole project with my students. It was like, “Ok, here’s this piece of decaying architecture, but let’s have a little bit of vision, let’s not see it just as this rotting piece of concrete. What’s the dream? Let’s dream about what it can be in the same way the people who dreamed up the High Line, dreamed it into something so amazing and beautiful.”

So I hope that the film helps people re-imagine the space and are inspired to dream for what it can be in the future.

 

If people see the film and they walk out and remember nothing else about the Pavilion, what one message (or one idea) do you hope they will walk away with?

How can I help? What can I do to revive this building? That’s the feeling I want them to have. Because ultimately, one thing I’ve learned about becoming involved in preservation just in the last couple of years is [that] it really takes a large community and the effort of a lot of people to make change happen. And the more people that feel inspired to voice their opinion for saving a structure, the better. So I really hope the film reaches a wider audience and more people come into the effort of saving the building.

Interview by Julia Rocchi for Preservation Nation Blog.

Cast & Crew

Written, Produced and Directed by 

Matthew Silva

 

Executive Producers

Jake Gorst

Tracey Rennie Gorst

 

Associate Producer

Susan Weiner

Nicole Silva

 

Creative Consultants

Jake Gorst

Tracey Rennie Gorst

Ryan McCulloch

 

Cinematography

Matthew Silva

 

Second Camera

Jake Gorst

Michael Kennedy

 

Lighting

Matthew Silva

Jake Gorst

Michael Kennedy

Editing 

Matthew Silva

 

Original Music

Elizabeth Lim

 

Production Assistants

Louis Silva

Phillip Silva

Michael Kennedy

 

Film Transfers

DiJiFi

Jesse Crowder

Lily Sheng

Pedro Vidal

 

Sound Design and Mixing

Carmen Borgia