This research project extends my creative work and unpacks my interest in the use of sonification and mapping as compositional strategies, both in my own practice and more broadly. The thesis reflects on the installed composition, 'Building Materials', synthesising a methodology for the creation of similar works by exploring research problems arising from its creation. The thesis considers the tension between the apparently objective process of mapping and the personal, intuitive, nature of creative practice. This tension establishes a space of uncertainty into which viewers can respond imaginatively to a work built on unseen mappings, granting an audience a sense of the sonified phenomenon. These themes are discussed, and two discrete terms are arrive at: 'installed composition' and 'reverse mapping'. The first contextualises my practice with a descriptor that can help an audience usefullly situate the work and by extension others similar, while the second proposes a model for reading work made using these processes that centres on the relationship between the actual mapped phenomenon and a speculative version in an audience's mind.