The level of complexity of maps created by monocular SLAM is on the rise. Increases in computational power have taken us from sparse feature maps to fully dense 3D reconstructions. Still, none of these are making full use of the wealth of information available from a live, monocular video feed. Aside from geometry there are the effects of lighting, reflection and shadow which are often ignored but give us vital clues into the types of surfaces being observed. We take some steps to extend the maps generated by monocular SLAM by considering real-time acquisition of surface reflectance and lighting information. In robotics, such information could be used to help determine materials, aiding object detection and semantic under- standing, thus enabling better interaction with the environment. In augmented reality lighting and reflectance information is essential to make virtual objects blend seamlessly into the real world. In this thesis we will demonstrate real-time capture of planar surface light-fields, a convenient representation to infer lighting and reflectance information. On a tangent we then investigate how sculptors manipulate geometry to alter the effects of illumination and reflectance, changing our perception and enhancing details; a technique required to bring a piece of work to life when sculpting in a medium of constant albedo. We attempt to apply some of these sculptors techniques in a mesh editing tool we call sculptural stylisation. Finally, we investigate methods for recovering the geometry of surfaces from a monocular camera in an attempt to extend our work on planar surface light-fields to work in 3D: we present various ways to generate depth-maps from a monocular video stream and detail a system to fuse them together into a consistent 3D model.

This thesis examines the mechanisms of site-specific installation in photography, drawing on contemporary architectural debates around relationships between image and space, as well as debates in fine art around participatory practices involving installation. The project has involved a synthesis of practical research, through the production of artwork, throughout the research period. I consider the outcomes of writing, photographing and photographic installation to be at parity with one another, in the spirit of what Jane Rendell calls 'critical spatial practice'. The focus and physical context for this inquiry is the former Lilian Baylis School, built in 1964 by the Architects' Co-Partnership (ACP) for the London County Council in the Borough of Lambeth. It served its function as a school up until 2005 after which it was used for community programmes. In 2011 the site, by then Grade II listed, was restored and converted into new flats. The concept of visual memory serves as a theoretical basis of my project. I take up architect Aldo Rossi's idea of acting as a way of tracing a process of transformation, and also using these traces as a form of site-specific intervention, as an action in relation to this transformation. These aspects of transformation inform the work of making visible the memory of a place through photography and its spatial installation, engaging viewers in this process.