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More and more digital 3D city models might evolve into spatiotemporal instruments with time as the 4th dimension. For digitizing the current situation, 3D scanning and photography are suitable tools. The spatial future could be integrated using 3D drawings by public space designers and architects. The digital spatial reconstruction of lost historical environments is more complex, expensive and rarely done. Three-dimensional co-creative digital drawing with citizens’ collaboration could be a solution. In 2016, the City of Ghent (Belgium) launched the “3D city game Ghent” project with time as one of the topics, focusing on the reconstruction of disappeared environments. Ghent inhabitants modelled in open-source 3D software and added animated 3D gamification and Transmedia Storytelling, resulting in a 4D web environment and VR/AR/XR applications. This study analyses this low-cost interdisciplinary 3D co-creative process and offers a framework to enable other cities and municipalities to realise a parallel virtual universe (an animated digital twin bringing the past to life). The result of this co-creation is the start of an “Animated Spatial Time Machine” (AniSTMa), a term that was, to the best of our knowledge, never used before. This research ultimately introduces a conceptual 4D space–time diagram with a relation between the current physical situation and a growing number of 3D animated models over time.

Public space design processes are complex. Numerous preconditions and the involvement of stakeholders impede rapid decision making. Two-dimensional drawings remain the norm, although these are difficult for citizen stakeholders to understand. Public space designers rarely use 3D city models, infrastructure building information modeling, digital twins, or extended reality. Usually, 3D images (without animation) are only rendered after decision making for communication purposes. This study consists of an online questionnaire of 102 Flemish region (Belgium) stakeholders to show the appeal of and resistance to the use of 3D and extended reality in public space design processes. In a follow-up experiment, 37 participants evaluated various graphic techniques by their designs and observations. The questionnaire showed that all stakeholders lack experience with the use of virtual reality in design processes. We found that non-designer stakeholders and designers indicated that using virtual reality and interactive online 3D tools using game engines provided a better insight into communication and design. Reusing 3D designs in cycling simulators during the design process results in cost-effective quality optimization, and integration into digital twins or animated spatial time machines paves the way for hybrid, 4D cities. Extended reality supports 3D co-design that has simplicity and clarity from the outset of the design process, a trait that makes it a game changer.