So back in 2019, Eric Joris and I wanted to make large environments for our VR experiences. Most people were using photogrammetry at the time, but it wasn’t really suitable for us.
We made a couple of appointments with manufacturers of different scanners and landed on the BLK 360, a kind of prosumer device that has many flaws but is well suited to our tasks.
The scanner is underpowered for very large environments, but it just about cuts it.

In the videogame industry, 3D scans are mostly used as a reference to reconstuct a scene manually.
In media arts, most people use point clouds, which look really nice but they also all look the same.
I went through a long and arduous process of different, often very obscure software packages to find the right algorithm for turning point clouds into 3D meshes that fit our aesthetic.

I use these at ridiculous unoptimized resolutions in a very raw way, so that all the artefacts are kept and the scanned space becomes like damaged, ruiny moulds of the original space, recognisable, but very different in atmosphere.
I then proceed to cut them up and reassemble in different ways.
There are limits to this approach, much like organic material, if you manipulate it too much, it just disintegrates into a mess.