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.