Toxic landscape, social scars, and the history of global capitalism bridge Brumadinho in Brazil and Katanga in the Democratic Republic of the Congo. These two parts of the world are central to, respectively, Gloria Cabral’s architectural practice reusing demolition and Sammy Baloji’s visual art interrogating central Africa’s colonial heritage. Together, Cabral and Baloji create a transmedial structure in which construction debris and bricks made of mining waste from Congo’s former metropolis – Brussels, Belgium – form ornamental patterns echoing the architectural textiles of the historical Kongo kingdom, as well as their Brazilian Indigenous cognates. Theorised in conversation with art historian Cécile Fromont from a common interest in the Tenture des Indes of the Villa Medici in Rome, the project weaves a tapestry of bricks. The wall and its motifs highlight the value of debris and the potential of patterns to form architectural, historical, and social structures for a reimagined future.