Body in space — again
Draw a trail.
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Apple open-sourced SHARP in December 2025: a single-image to gaussian-splat model that runs on a laptop and converts a flat frame into a three-dimensional scene in roughly ten seconds. The studio is feeding it two source pools — the ten-year 360 walking archive (her own routes, named in the camera-evolution piece) and a steadily-growing pile of London CCTV grabs (TFL JamCams and other public feeds). Each generated splat gets pinned here at the latitude and longitude of its source frame and rendered as a three-dimensional scene on its own page.
This page is the destination. The pipeline that produces the splats runs locally on the bench; the runbook is in SHARP_PIPELINE.md. The map below is built; the splats are generating one at a time. Most zones are pending. The pipeline is here; the bench is filling it.
The neo-London being assembled is being assembled out of two kinds of footage: footage the studio captured herself on a walking pole, and footage the city captured on her without asking. That is the political shape of the project, named on this page so it does not have to be named anywhere else. The two source streams sit in the same data model and end up on the same map.
10 zones on the map. The tally is honest. A zone only moves forward when the file lands.
Hand-traced Thames + canal spines, not survey data. Regent’s Canal, Limehouse Cut, and the River Lea are the three corridors the eventual gameplay treats as canal-fast-travel. Click a pin to open the zone page.
South Bank strip in front of Tate Modern; one of the most-walked frames in the archive, dusk and morning both repeat here.
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Where the Cut opens onto Bow Locks; the canal corridor the eventual game will treat as a fast-travel spine.
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The back-of-market alleys behind Smithfield at six in the morning; Victorian ironwork and a working market in the same frame.
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The first lock of the Camden-to-Lea walk; the bridge frame here is a recurring composition across four cameras’ worth of kit.
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End of the Camden-to-Lea spine; the towpath opens into the marshes and the sky doubles in size.
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Foreshore at low water near Wapping Old Stairs; the river bed is briefly a walkable surface here.
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The undercroft turn at Royal Festival Hall that becomes a wind tunnel at dusk; the camera-tested truth of the article.
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The kerbside where the home-built 360 rig waited thirty minutes for a hotspot association in 2014; origin chapter of the whole practice.
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The closing line of the 360-walking article landed here; the river bend the studio walks to when the light goes.
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The Mile End stretch where the towpath narrows and the gasholder frame opens up; midway on the Camden-to-Lea route.
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Two reasons. First, the obvious one — the studio wants a walkable model of the bits of London she has walked. Each splat is a frame she stood in front of. Once the renderer lands, the page is a small standing record of the walk. Second, the less-obvious one — the same scaffold accepts CCTV grabs. The city is being captured by its own infrastructure all the time. The splat pipeline turns those grabs into walkable scenes too, which is what the eventual game runs on top of. Same data model, same map, two sources.
The article that names the routes seeded into this map. Bankside, Limehouse Cut, Smithfield, Regent’s Canal, the tideway, Rotherhithe. The source archive end of the pipeline.
Position four of the loop is the trail cast into a body that holds. A walkable splat is one of those bodies; the map is the surface that surfaces them.
Where the AR side of the studio’s game sits. Neo-London is the world the eventual long-form version walks the player through; the solo levels at /play are its grammar lessons.
The companion piece on disembodied capture — why having a model of a place you have walked is not the same as having walked it. The footnote this page is built against.