For over a decade, the “Wall of Names” was one of the many celebratory monuments of BK. Furthermore, it represented, by action or omission, what our faculty accepted to be the paradigms of relevance, achievement and success in architecture. Now that it is gone, understanding this wall and its background might open a window for questioning the way in which we created a monument that was supposed to represent an international and diverse community and ended up normalising gender inequality and colonialism.

'Artefact' is a recurring two-page spread, which features a beloved object presented by one of the BK City staff members. Every month, the author passes on the 'Artefact'contributorship to the next. Last month's contributor Nathalie de Vries chose Paul Vermeulen, who is a professor in the department of Architecture and leads Belgium based architecture office de Smet Vermeulen.

During the Christmas Holidays, I was trying my best to avoidwatching dull family movies on the couch. The ones I dislike most are adventure movies with heroic protagonists,like in Indiana Jones and The Mummy. What triggers me most in these movies isthe representation of the archaeologist as a handsome, tomb-discovering acrobat.In these movies, the archaeologist is combatting and unveiling the traces ofthe past, reading landscape, object and architecture like a true detective. Asdesigners of the built environment, our interest similarly lies in the readingof traces, albeit, gratefully not receiving the status of a pop-culture hero indoing so.