This is a 360-degree panoramic photo of the scan location.
This is the first test i got from the location above, and the purpose for this instance is just to test the workflow and the equipments. Overall, this is a quite successful and I will apply this workflow for the rest locations.
The raw point cloud I got from the software was a great starting point, but it wasn’t perfect. For the final work, I will need to do some cleanup to remove any “noise” or stray data points that didn’t belong in the model.
Here are the views of physical location where the scans were conducted, showing the trees and the specific path used for data capture.
For this project, I followed the typical photogrammetry workflow, using a camera to capture a physical location and then turning those images into a point cloud. Here’s a look at the process I used, from start to finish.
This post shares a personal email exchange between myself and Ukrainian artist Andriy Yermolenko. I reached out to request permission to use his digital scans of buildings in Ukraine that were destroyed by the Russian invasion—artworks that hold both beauty and unbearable loss. With his generous response, this conversation became more than a formal request; it became a quiet collaboration rooted in respect, memory, and the power of visual storytelling.
This is the Andriy Yermolenko’s personal website and it have all his scans restored.
With Andriy’s permission, I plan to create a series of 3D models based on his scans of buildings in Ukraine that were damaged or destroyed during the Russian invasion. These models aren’t meant to be pristine reconstructions—they’re meant to preserve the emotional and physical texture of loss, resistance, and memory.
For this initial phase, I aim to create 14 models. Each model will be carefully developed to retain the character of the original structure while translating it into a digital artifact for public sharing, education, and remembrance.
I’ll be embedding these models directly into this blog post as they are completed. Scroll below to explore them interactively.
A 6½-minute, fully scripted VR journey through five serene London environments (Regent’s Canal, Tower of London courtyard, Kensington Gardens promenade, Shoreditch market, Paddington Station nook).
Act II – “Ruins of Ukraine”
The same five camera paths replayed, now overlaid with photogrammetry and LiDAR scans of actual wartorn sites in Ukraine. Subtle shader glitches and shifting soundscapes bridge the two acts, culminating in a moment of silence and textual prompt (“This was not here—yet.”). Visitor takeaway: a visceral sense of how ordinary places can be irrevocably transformed.
ACT III – Interactive Desktop
Viewer (PC Station) VR A standalone Unreal build loaded with the identical 3D scans. Visitors navigate via mouse and keyboard to rotate, zoom, and pan each model at their own pace. And can select the model they want to view in VR. Simple UI overlays model metadata (location name, date of scan, photographer/scan credits). Visitor takeaway: an open invitation to explore the raw digital data, inspect details, and draw personal connections.
2. Physical Exhibition (Gallery)
Photographic Prints.
High-resolution stills of the Ukrainian sites featured in Act II, framed and wall-mounted at eye level.
3D-Printed Models.
Scaled, tactile replicas of those same photogrammetry scans on individual pedestals beside each print. Visitor takeaway: tangible evidence of place, texture, and scale—encouraging quiet, contemplative engagement.
