OPENINGS is an interactive storefront installation, built into the façade of the Los Angeles Contemporary Exhibitions (LACE) gallery in Hollywood. Located at a border condition between the urban context of Hollywood Blvd. and the art gallery environment of LACE, OPENINGS uses architectural strategies and interactive media to address these two seemingly disparate zones.

A system of modular vacuum-formed panels, LCD displays, and LED lights is built into both the interior and exterior sides of the LACE storefront wall. The white LEDs glow in intensity according to the motion and proximity of pedestrians on Hollywood Blvd's 'Walk Of Fame'. LCDs on the exterior side of the wall show animated text describing art exhibits culled from the 30-year history of LACE, while LCDs on the interior show text derived from artist Douglas McCulloh's project '60,000 Photographs in Hollywood' describing and quoting various characters encountered on Hollywood Blvd.

OPENINGS functions as the active membrane between two zones on either side of the storefront wall, pulling Hollywood Blvd. into LACE gallery and LACE gallery onto the street.

Andrea Boeck and Jihyun Kim are recent graduates of the UCLA Departments of Architecture + Urban Design and Design | Media Arts, respectively. Justin Lui is a graduate of the UCLA Department of Design | Media Arts, and the UCLA Department of Architecture + Urban Design.

OPENINGS was developed in David Erdman's Superficial Superglow Tech Seminar at UCLA Department of Architecture + Urban Design. Funding is made possible by the UCLA School of the Arts and Architecture Arts Forum grant, a UCLA Department of Architecture + Urban Design Charles Moore Traveling Fellowship, the UCLA Department of Design | Media Arts, the UCLA Center for Embedded Networked Sensing, and cityLAB.

Thanks to David Erdman, Casey Reas, Jeff Burke, Mark Hansen, Dana Cuff, Jon Oelschig, and Carol Stakenas.

Video by Chris O'Leary, with additional thanks to Sarah Smith, Shaheen Seth, Eric Siu, Pinar Yoldas, Alex Seth and Mike Dudek.

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