In this paper, we present the development and outcomes of a pilot Mixed Reality (MR) co-creative serious game about the virtual coloring of a small Victorian wallabysized plant-eating polar dinosaur Leaellynasaura amicagraphica (Little L). The experience enables museum visitors to learn about local dinosaur heritage as well as about science and its methodologies, i.e., how paleontologists determine the color of dinosaurs. While immersed into Little L’s Virtual Reality (VR) environment or viewing it on a large screen, users can pat a 3D printed reconstruction of the dinosaur. This case study assists us to explore how multimodal tactile-immersive MR museum experiences can interpret heritage that is hard to access and subject to misconceptions (e.g., all dinosaurs are large) through authentic and scientifically proven content. We also investigate how to develop meaningful, engaging interactions for improving access to heritage content through learning-by-doing and users’ creative explorations. This experience is a part of an experimental museum exhibition The Little L Project, developed by an interdisciplinary team of museum professionals, engineers, paleontologists and designers in collaboration with the local government and its community, in the context of the newly appointed UNESCO City of Design – City of Greater Geelong.

This paper focuses on examining the scope of virtual architectural archaeology in forms of digital geospatial platforms and immersive tools such as Virtual Reality (VR) and Augmented Reality (AR) to be used for achieving social cohesion, particularly in a multicultural and multi-ethnic society like Australia’s. In the context of the current global and national concern about Muslims and Islam, as well as for the mistrust towards and distance between Muslims and Non-Muslims in Australia, it is imperative to delve deeper into the contribution of early Muslim pioneers, in this case, the Afghan Cameleers, in the social fabric of colonial Australia. Based on the premise that architecture could be a unique and revealing research frame to gain insight into human values, worldview and material culture, the main aim of this paper is to address two key issues using virtual architectural archaeology. Firstly, to demonstrate the application of 4D capturing and component-based modelling with metadata and paradata regarding the past of the lost architectural heritage sites in remote central and western Australia, also counting on assets such as Linked Open Data (LOD) for further dissemination and use. Secondly, to propose a mode to disseminate new knowledge through digital platforms and VR/AR experiences to the GLAM (Galleries, Libraries, Archives, and Museums) audiences and schools regarding the Muslims in Australia. Understanding properly them and their contribution to the Australian society would eventually minimise the cultural distance between Muslims and Non-Muslims in Australia. Greater awareness could mitigate the myth of fear and mistrust regarding Muslims and Islam, widely misunderstood for a long time. Highlights: Architectural-archaeological heritage as a tool for achieving social cohesion and to minimise cultural/social differences between Muslims and non-Muslims in Australia. 4D capturing and digital geospatial platforms for contextualising architectural-archaeological heritage in a spatial and chronological way. Gamified and non-gamified Virtual Reality (VR) and Augmented Reality (AR) applications to engage the general public with architectural-archaeological heritage from remote, hard-to-access areas.

Paleontological and archaeological excavations are usually relatively abstract to general audiences, yet they contextualize heritage in the present much better than if the scientific discoveries are interpreted only with fossils, artifacts and accompanying reconstructions. In this work, we explore how real-world, as well as multiresource data, can be used for Virtual Reality (VR) experiences. We present the development and results, including preliminary user evaluations, of a 360-degree head-mounted display (HMD) experience of a dinosaur dig at the Eric the RedWestat Cape Otway in Victoria, Australia. The experience was part of The Little L Project, a pilot exhibition exploring the use of Mixed Reality (MR) technologies in museums. A similar approach could be used for communicating archaeological fieldworks.

Post-industrial cities often find themselves at a crossroads as to whether to find a new identity or embrace their industrial past. In late 2017, after the closure of major manufacturing plants in the region, the Australian city of Geelong was designated a UNESCO City of Design and embraced a “Clever and Creative” strategy which acknowledged Geelong’s industrial and design past in responding to contemporary technological, demographic, and economic challenges. However, questions remain as to which versions of the past are valued by the local community and how these stories can be shared. To better understand the social value of design and manufacturing heritage in Geelong as well as to get initial feedback on how to interpret this type of heritage through novel immersive extended reality (XR) experiences, the researchers took a community-led approach. This paper reports on the results of the initial online community surveys (N = 55–137) and in-person stakeholder interviews (N = 5) with carefully selected representatives of the local government, education, heritage, tourism, and engineering sectors. The study’s outcome demonstrates the importance of design and manufacturing heritage for the local community’s identity. Moreover, this type of heritage provides a source of inspiration, learning opportunities for future creative problem-solvers, and economic opportunities through tourism. By engaging with the social value of design and manufacturing heritage, this paper argues that more effective and targeted storytelling, game-like applications, and other digital immersive experiences such as extended reality (XR) can be used to better engage with audiences.

In recent years, studies into the production of food have broadened to include design and design methods. At the same time 3D food printing (3DFP) is emerging as a viable technology for the production of consumer quality edible products. While advances in 3DFP are witnessed weekly, its use in the context of museums has yet to be explored in depth. In this paper we propose that the museum can be used as a laboratory for engaging audiences in new/creative food production and resultant reinterpretations of heritage through their makerspaces. We explore how a traditional cuisine could be used to inspire younger generations to explore STEM (Science, Technology, Engineering and Mathematics) and, vice versa, how technology enthusiasts could be motivated to explore culinary heritage by preparing food with digital fabricators. This paper reports on the initial research undertaken with the Slovenian diasporic group in Australia. Our results from the in-depth interviews demonstrated that making traditional desserts present a challenge for younger generation. Thus it was decided that a potica cake would be chosen as a test case for engagement with heritage through creative 3DFP. Non-edible 3D printed visual prototypes of a jelly cake with a secret message were also trialled. Our research output offers a suitable case study for the central premise that the museum can be used as a laboratory for engaging audiences in creative food production.