Opening on Thursday, January 12 at the Yale School of Architecture in New Haven, “Archaeology of the Digital: Complexity and Convention” is a new exhibition that considers the integration of digital technologies in architecture practice during the 1990s and 2000s. The exhibition, which is curated by Greg Lynn, is the third and final exhibition of the “Archaeology of the Digital” series organized by the Canadian Centre for Architecture (CCA). The series highlights 25 seminal projects while considering the preservation challenges posed by digital archives.

Unlike the first two exhibitions, “Complexity and Convention” looks at similarities, rather than distinctions, in the approaches of various projects. The exhibition is divided into five themes: high fidelity 3D, structure/cladding, data, photorealism, and topography/topology.

Projects featured in the exhibition include:

Erasmus Bridge (Rotterdam, The Netherlands; 1990-1996) by Van Berkel & Bos Architects; Chemnitz Stadium (Chemnitz, Germany; 1995) by Peter Kulka with Ulrich Königs; O/K Apartment (New York; 1995-1997) by Kolatan/Mac Donald Studio; Yokohama International Port Terminal (Yokohama, Japan; 1995-2002) by Foreign Office Architects; Interrupted Projections (Tokyo; 1996) by Neil M. Denari Architects; Kansai National Diet Library (Kyoto, 1996) by Reiser + Umemoto; Hypo Alpe-Adria Center (Klagenfurt, Austria; 1996-2002) by Morphosis; Jyväskylä Music and Arts Center (Jyväskylä, Finland; 1997) by OCEAN North; Witte Arts Center (Green Bay, United States; 2000) by Office dA; Phaeno Science Centre (Wolfsburg, Germany; 2000-2005) by Zaha Hadid Architects; Eyebeam Atelier Museum (New York; 2001) by Preston Scott Cohen; Carbon Tower (prototype, 2001) by Testa & Weiser; BMW Welt (Munich, Germany; 2001-2007) by COOP HIMMELB(L)AU; Villa Nurbs (Empuriabrava, Spain; 2000-2015) by Cloud 9; and Water Flux (Évolène, Switzerland; 2002-2010) by R&Sie(n).

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