make-a-thek Personas and Journeys

Deliverable D4.1 Personas and Journey 2 Grant agreement number 101177660 Project name Modular Library Makerspaces for Heritage Crafts Innovation and Digitization Project acronym make-a-thek Type of action HORIZON-IA Project starting date 1st February 2025 Duration of project 36 months Due date of deliverable 31.10.2025 Version 1.0 Dissemination level Public Project website https://www.makeathek.eu/ Lead Partner OpenDot - OD Author Cristina Biella (OD) Contributors Cristina Biella (OD), Agnese Gualandi (OD), Andrea Ascani (OD), Emma Pareschi (OD), Marta Golfera (OD), Marta Savoldelli (OD), Ilona Kish (PL2030), Juliette Chalant Devlesaver (PL2030), Olga Trevisan (IAAC), Julia Bertolaso (IAAC), Geraldine de Bastion (GIG), Sandra Mamitzsch (GIG), Hanna Sin Gebauer (FR), Olha Truten (UMA), Daan Sonnemans (FCF), Rachel Kelly (ECA) Lotte Van De Wert (Permeke Library – Antwerp, Belgium), Laure Ruts (Permeke Library – Antwerp, Belgium), Riikka Härkönen (Helsinki Central Library – Helsinki, Finland), Sanna Huttunen (Helsinki Central Library – Helsinki, Finland), Agnes Kovacsne Koreny (Metropolitan Ervin Szabó Library – Budapest, Hungary), Emese Kovacs (Metropolitan Disclaimer: The information and views set out in this publication are those of the author(s) and do not necessarily reflect the official opinion of the European Commission. Neither the Commission nor any person acting on the Commission’s behalf can guarantee the accuracy of the data included in this study, nor may they be held responsible for the use that may be made of the information contained therein. 3 Ervin Szabó Library – Budapest, Hungary), Maja Vunsek (Kranj City Library – Kranj, Slovenia), Lucija Podbreznik (Kranj City Library – Kranj, Slovenia), Roser de Castro Pascual (Biblioteca Camp de l'Arpa - Caterina Albert – Barcelona, Spain), Maria Agueda Sanchez Martinez (Biblioteca Camp de l'Arpa - Caterina Albert – Barcelona, Spain), Ilmur Dögg Gísladóttir (Reykjavík City Library – Reykjavík, Iceland), Elena Fortunato (Gallaratese Library – Milan, Italy), Giorgia La Licata (Baggio Library – Milan, Italy), Martyna Kawka (Opole Library - Opole, Poland), Patrycja Magdalena Przybylska (Opole Library - Opole, Poland), Antje Brost (VOBB – Berlin Public Libraries Consortium – Berlin, Germany) Reviewers Barbara Kieslinger (ZSI), Rachel Kelly (ECA) Table of Content Revision of History.....................................................................................................................................5 List of Abbreviations................................................................................................................................. 6 List of Figures.............................................................................................................................................6 List of Tables.............................................................................................................................................. 6 Executive Summary...................................................................................................................................8 1. Introduction.............................................................................................................................................9 2. Methodology......................................................................................................................................... 10 2.1 Methodological Overview...........................................................................................................13 2.2 Design Thinking and Co-design Process............................................................................... 13 2.1 Data collection.............................................................................................................................14 3. Focus Areas and thematics...............................................................................................................14 4. User Personas and User Journeys...................................................................................................22 4.1 Personas selection and definition........................................................................................... 22 4.2 User Journeys narrative structure..........................................................................................23 4.3 Structure and how to read them............................................................................................24 4.4 User Personas and Journeys TABLES.................................................................................... 25 5. Conclusions and Outlook.................................................................................................................. 64 4 Revision of History Revision Date Author Organisation Description 0.1 30.09.2025 Cristina Biella OD Initial draft 0.2 15.10.2025 Cristina Biella OD Second version 0.3 20.10.2025 Cristina Biella OD Third version 0.4 21.10.2025 Barbara Kieslinger ZSI RRI & Ethics 0.5 22.10.2025 Barbara Kieslinger ZSI Reviewers’ comments 0.6 23.10.2025 Rachel Kelly ECA Reviewers’ comments 0.7 29.10.2025 Cristina Biella OD Integration of reviewers’ comments 1.0 03.11.2025 Cristina Biella OD Final formatting & pdf submission 5 List of Abbreviations Abbreviation Description EC European Commission WP Work Package WP3 Mapping and Community Activation WP4 Modular Makerspace Approach WP5 Capacity Development WP6 Community Engagement WP7 European Public Library Pilots WP8 Exploitation and Sustainability WP9 CDO1 (Communication, Dissemination & Outreach 1) WP10 CDO2 (Communication, Dissemination & Outreach 2) WP11 Impact Assessment List of Figures Fig.01 - Concept Map – Key Elements for the make-a-thek Modular Approach Fig.02: Vision Board - translated - Milan Community Activation, July 2025 List of Tables Table 01: Research Activities - make-a-thek approach Table 02: User Persona - Librarian - Library Level I (beginner) Table 03: User Journey - Librarian - Library Level I (beginner) Table 04: User Persona - Librarian - Library Level II (intermediate) Table 05: User Journey - Librarian - Library Level II (intermediate) Table 06: User Persona - Librarian - Library Level III (advanced) Table 07: User Journey - Librarian - Library Level III (advanced) Table 08: User Persona - Fashion Designer - student Table 09: User Journey - Fashion Designer - student 6 Table 10: User Persona - Fashion Designer - entrepreneur Table 11: User Journey - Fashion Designer - entrepreneur Table 12: User Persona - Circularity expert 1 Table 13: User Journey - Circularity expert 1 Table 14: User Persona - Circularity expert 2 Table 15: User Journey - Circularity expert 2 Table 16: User Persona - Crafter 1 Table 17: User Journey - Crafter 1 Table 18: User Persona - Crafter 2 Table 19: User Journey - Crafter 2 Table 20: User Persona - Maker - teacher Table 21: User Journey - Maker - teacher Table 22: User Persona - Maker - product designer Table 23: User Journey - Maker - product designer Table 24: User Persona - Maker - startupper Table 25: User Journey - Maker - startupper Table 26: User Persona - Maker - self-taught Table 27: User Journey - Maker - self-taught Table 28: User Persona - Prosumer Table 29: User Journey - Prosumer Table 30: User Persona - Citizen - Library user Table 31: User Journey - Citizen - Library user Table 32: User Persona - Citizen - Library non user 1 Table 33: User Journey - Citizen - Library non user 1 Table 34: User Persona - Citizen - Library non user 2 Table 35: User Journey - Citizen - Library non user 2 Table 36: User Persona - Citizen - Library non user 3 Table 37: User Journey - Citizen - Library non user 3 Table 38: User Persona - Citizen - Library non user 4 Table 39: User Journey - Citizen - Library non user 4 7 Executive Summary This deliverable presents the user research carried out to define the make-a-thek personas and user journeys, key tools for designing a modular makerspace approach tailored to public library contexts. The work builds on co-design methodologies and design thinking, involving both library professionals and local communities across pilot countries. Research activities included interviews, online surveys, live workshops, and mapping exercises aimed at understanding needs, behaviours, barriers, and expectations related to making, fashion, craft, and circularity. The outcome is a set of multi-layered personas (librarians, crafters, makers, citizens, circularity experts, fashion professionals, and prosumers), each paired with a detailed narrative user journey. These stories explore real-life interactions with makerspaces in public libraries, highlighting motivation, friction points, and engagement dynamics. The findings provide crucial input for the design of the make-a-thek toolkit and its future implementation in pilot libraries, ensuring solutions that are inclusive, adaptable, and user-driven. In addition, these insights will inform subsequent Work Packages (WP4, WP5, WP6, WP7), guiding space configuration, training, facilitation, and community engagement strategies. 8 1. Introduction This deliverable presents the outcomes of Task 4.1, which focused on the development of the make-a-thek User Personas and User Journeys. These tools are fundamental in shaping the design and implementation of modular makerspaces within public libraries and other public spaces. Grounded in the principles of local contextualisation, the work draws from data collected from pilot libraries in WP3 and sets the foundation for designing adaptive, user-centred makerspace infrastructures in WP4 and beyond. The personas and journeys described in this document serve to make visible the needs, motivations, skills, and barriers of current and potential users - ranging from library professionals and citizens to craftspeople and circularity practitioners. These insights ensure that the future make-a-thek environments will not only be technically equipped, but also socially and culturally responsive. Project Context The make-a-thek project aims to design and implement modular, open, and inclusive makerspaces in public libraries, to support craft, fashion, and circular economy practices across Europe. These spaces are conceived as accessible environments for experimenting, learning, producing, and sharing - where digital tools, traditional techniques, and community knowledge intersect. Public libraries, with their trusted presence and community reach, are reimagined as hybrid cultural infrastructures: spaces where people can both access and co-create knowledge. The make-a-thek approach supports transformation by enabling local actors - whether experienced makers or curious citizens - to engage with digital fabrication, reuse practices, and low-barrier craft experimentation. Task Overview - T4.1 Task 4.1 focused on the definition and development of make-a-thek Personas and their related User Journeys. It aimed to capture and visualise how different user groups - citizens, fashion and craft professionals, circularity experts, librarians, and prosumers - might interact with a make-a-thek makerspaces, with a make-a-thek toolkit, and what support they may require to fully benefit from them. Building on user data collected in WP3 (T3.2), and including data collected in a series of preliminary co-design interviews, in person workshops, and observational studies and visits to make-a-thek pilot locations, the task clustered user characteristics and synthesised them into clear, representative personas. 9 evolving role of public libraries. Participants collectively explored how libraries can be reimagined as hybrid infrastructures - places not only for accessing knowledge, but also for creative and sustainable experimentation, hands-on learning, and the development of new personal and professional skills. This redefinition of identity underscores the transformative potential of make-a-thek: to contribute to a wider shift in how libraries engage with their communities and respond to contemporary challenges. Fig.02: Vision Board - translated - Milan Community Activation, July 2025 Key insights emerged regarding the Vision of the make-a-thek approach: ○ Importance of defining the make-a-thek space not as a service, but as a shared learning environment. The presence of machines and space alone does not create a makerspace; rather, what matters is how the space invites experimentation and fosters a "learning by doing" culture. ○ Spaces should be familiar, accessible, and not intimidating, with a clear purpose that avoids the perception of being overly technical or expert-only. ○ Users should not expect staff to “do things for them” - instead, library professionals should be seen as facilitators and co-learners, supporting exploration with a “we’ll Google it together” attitude. ○ So, managing expectations from the start is essential: a make-a-thek space is not a professional service but an opportunity for people to learn new skills, collaborate, and grow confidence through hands-on practice. 16 ● Machines and Materials Mapping existing and desirable digital fabrication tools as well as analogue equipment and physical materials. The aim was to define scalable and locally adaptable configurations that balance accessibility, creativity, and sustainability - while supporting circular making practices. Key insights emerged regarding the Machines and Materials: ○ New machine acquisitions should be carefully evaluated and only considered once there is clear evidence of community interest and the library’s ability to manage them effectively. This includes assessing staff skills, available facilitation capacity, and the potential to design meaningful activities around the equipment rather than letting it remain underused. ○ To promote user autonomy, clear and accessible instructions should accompany each machine, ideally supported by an easy-to-update instruction system - including visual guides, safety information, and simple templates for communication. ○ Importance of a dedicated calendar to manage reservations, training sessions, workshops, and machine maintenance to improve efficiency and resource sharing. ○ Participants emphasized the value of a physical material gallery - a tactile, on-site display allowing users to understand materials directly, supported by basic guidelines on what can be made with each material. ○ Sustainability emerged as a key concern: we suggest collaborations with circular centres, plans for reusing or redistributing leftover materials, and guidance on when and how to monitor sustainability practices. ○ Maintenance and safety are central topics, registering the need of standard templates and booklets to track revisions, repairs, and safety procedures. ○ Visual galleries (physical, digital) of upcycled garment examples are recommended to inspire users, along with ready-to-use communication templates to explain materials, techniques, and possibilities in a simple, engaging way. 17 ● Spaces Exploring how makerspaces can be embedded in existing library environments, including the spatial constraints and opportunities of each pilot site. Attention was given to issues of visibility, openness, sound, modularity, security and coexistence between quiet zones and active making. Key insights emerged regarding the Spaces: ○ Spaces should feel open, approachable, and familiar, not intimidating or overly technical. They must clearly communicate their intended purpose and invite experimentation. ○ Multiple layout configurations are needed - for example, one for open events and another for everyday autonomous use. ○ Accessibility (physical access, inclusive design) must be considered from the start. ○ Noise management strategies should be in place, particularly when making activities coexist with quiet library zones. ○ Dedicated storage areas are needed for personal and shared materials. ○ Spaces can be enriched through collaborations with local manufacturing partners, fab labs, and makerspaces, enabling access to tools, know-how, and production capacity. Sourcing reused or sustainable materials through these networks can also reinforce the circular ethos of the make-a-thek approach and support local economies. ○ Space set-up: ventilation must be ensured, especially for equipment that produces fumes or heat; adequate energy supply and sockets are essential for flexibility and safety; safety considerations should guide space planning and machine use. ○ Instructions and best practices for setting up and managing spaces could be shared between libraries (peer-to-peer support) to support replication and scalability. 18 ● Craft, Local Culture and Heritage / Activities Understanding local craft and fashion heritages - both traditional and contemporary - and how they can be meaningfully connected to the makerspace activities. This also included mapping ongoing practices such as textile reuse, jewellery making, ceramics, knitting, and how these could evolve through digital and circular innovation. Key insights emerged regarding the Activities: ○ Staff needs time, tools, and internal clarity to implement activities effectively. ○ Defining a clear vision and strategic planning for activities and their role in the broader mission of the library can help to align the team, ensure support and coordination, and communicate with intentions to the users. ○ Designing activity formats with consistency and organising regular workshops (“adopt new rituals” approach) or session series tailored to specific audiences or themes could help to align the programme with the library’s evolving identity as a community and creative hub. ○ Facilitation roles are crucial: at least one person (librarian or external expert) should act as host/facilitator during activities to welcome participants, guide the session, and maintain an inclusive atmosphere. Involving external facilitators and experts to enrich the programme can be a key factor. ○ Developing partnership agreements and joint communication strategies helps to ensure continuity and clarity. A "networker" figure within the library staff could be needed to engage with partners, foster community activities, and represent the library externally. ○ A clear schedule and communication plan (both internal and external) is key to coordination. ○ The use of templates for reports and evaluations can help ensure that learnings are captured and activities continuously improved. ○ Collecting and sharing best practices within the make-a-thek network serve as inspiration and support for future initiatives. Activities formats could be needed for the beginner libraries. 19 ● Communities and User engagement Identifying key user groups and community actors who are (or could be) engaged with the makerspace. This involved examining current forms of participation in library events, informal networks of makers and creatives, and community-led practices that could be integrated or supported within the make-a-thek ecosystem. Key insights emerged regarding the Communities and User engagement: ○ It’s needed to understand and connect with the community: collect qualitative and quantitative data on the communities involved can help to design relevant activities. A community manager is really recommended as well, by the most active libraries. Checklists with guiding questions could help to explore user needs and motivations. ○ There could be the need to diversify engagement strategies, though tailored formats and approaches. Makers and designers are often underrepresented within the libraries communities - targeted outreach is needed to close this gap. Involve schools, researchers, and universities can activate intergenerational and interdisciplinary participation. ○ Promoting cross-community awareness by showcasing / exhibiting what’s happening in different neighbourhoods or groups is highlighted as best practice by the most active libraries. ○ Many libraries are not systematically mapping their local communities or stakeholders. Guides and checklists can support local mapping efforts. ○ Having poster templates, branding and communication materials, and a checklist for event promotion can make outreach more effective and consistent. 20 ● Skills and Competences Mapping both existing and needed skills across different user types - librarians, crafters, citizens, prosumers, experts. The focus was on identifying gaps in digital literacy, circular knowledge, facilitation, and peer learning, in order to inform future training, onboarding strategies, and educational resources (WP5, WP6). Key insights emerged regarding the Skills and Competencies: ○ Library staff should and would learn the basics of each machine available in the makerspace (e.g. how to turn it on, how it works, common uses), and ideally acquire basic maintenance skills to troubleshoot and extend the life of equipment. ○ Having in-house know-how is more sustainable than relying on external facilitators only: this can be settled by establishing an internal network of expertise within the library team. ○ Starting simple can be the key, encouraging step-by-step learning and avoiding overcomplicating early activities, and focusing on peer-to-peer learning to empower users to share knowledge and build a collaborative learning culture. ○ Staff should act as inspirers rather than experts, being updated on trends, ideas, and projects to motivate users (cfr. Vision of the make-a-thek Approach). ○ Seems fundamental to offer practical directions, not just theoretical instruction - show how to apply skills to real needs. These focus areas acted as the analytical backbone for generating the make-a-thek personas and journeys, and will continue to inform the modular design of spaces and services in WP4 and WP5. These key elements were also used to define a preliminary framework for the make-a-thek approach, aimed at developing flexible implementation scenarios that reflect the different levels of experience and readiness of the pilot libraries across each factor. This framework formed the basis for structuring a multifactorial, progressive modularity model - one that can adapt to diverse local capacities, contexts, and ambitions. To better support pilot libraries in navigating this process, the concept of levels was further refined during internal discussions and co-design activities. A tiered approach was introduced to represent a pathway of continuous improvement across all core aspects of make-a-thek implementation. 21 The levels - beginner, intermediate, and advanced - are not fixed categories but dynamic stages that reflect a library’s evolving relationship with its community, equipment, knowledge-sharing practices, and sustainability goals. ❖ At the beginner level, libraries start engaging communities using existing or low-barrier tools, testing new approaches, and learning alongside external experts. ❖ The intermediate level involves a stronger network presence, expanded infrastructure, peer-to-peer learning, and increased community ownership of the space. ❖ The advanced level envisions autonomous community engagement, deeper circular practices, advanced knowledge-sharing ecosystems, and strategies for maintaining long-term sustainability of the space. This evolving structure helps set clear expectations, baseline requirements, and tailored guidelines for the pilot libraries, while providing a flexible roadmap that supports iterative growth and adaptation over time. 4. User Personas and User Journeys 4.1 Personas selection and definition These personas represent diverse user profiles across the project’s main target groups, and were carefully selected and developed to reflect real needs, behaviours, skills, and motivations, as well as to help anticipate barriers and opportunities for engagement. As described in detail in the methodology section above, personas were co-defined through a combination of desk research, interviews, live community engagements, and local pilot interactions, using a design thinking and co-design methodology. AIM: Each persona serves as a design tool to guide the shaping of spaces, tools, activities, and communication strategies within the make-a-thek ecosystem. The selection aimed to represent a diverse spectrum of roles and relationships with libraries and making practices, covering different levels of expertise, familiarity with circularity, and proximity to library services. The personas are not 22 generic archetypes, but context-specific profiles based on qualitative insights gathered in the pilot cities. The following categories of personas were developed in collaboration among project partners: ● librarians ● makers ● crafters ● fashion designers ● circularity experts ● prosumers ● citizens, both library users and non-users Together, these personas contribute to building a nuanced understanding of the human dimension of the make-a-thek approach and will inform the following stages of design and implementation. Particularly crucial are the librarian profiles, as the digital kit is primarily addressed to them and their institutions - making their needs, motivations, and barriers essential for shaping an effective and usable tool. It was felt essential to design site-specific personas representing the pilot libraries, in order to capture the unique local needs, challenges, and conditions shaping their engagement with the make-a-thek approach. To represent the impact of make-a-thek through realistic personas, both typical and edge-case scenarios were outlined - including, for example, individuals who are initially reluctant or sceptical about the introduction of a makerspace within a library context.This, combined with the wide variety of potential users and the different motivations and goals each of them may have, explains the high number of personas developed. For examples, given the specific political and social context, dedicated personas and user journeys were developed to reflect the experiences and needs of Ukrainian individuals in a respectful and context-sensitive manner. The decision to represent such a broad spectrum was intentional, aiming to reflect the social and cultural diversity across contexts - where people’s behaviours, expectations, and engagement with makerspaces can vary significantly. All personas are presented in detail in chapter 4.4 - Users Personas and Journeys - TABLES 4.2 User Journeys narrative structure The user journeys developed in this task adopt a narrative and temporal structure, designed to bring forward not only what users do, but how they feel, reflect, and 23 grow in their interaction with the make-a-thek makerspace and its related services. Each journey is articulated in four evolving phases: Examine, Elect, Evaluate, and Entrust (see chapter 4.3 - Structure and how to read them). This episodic format helps capture how users progressively engage with the space - from early exposure or accidental discovery (Examine), to initial participation (Elect), critical reflection (Evaluate), and long-term commitment (Entrust). The narrative approach makes visible not just functional touchpoints, but also emotional shifts, social dynamics, and latent needs, giving depth to user experience and context to behavioural patterns. A key focus of this structure is to highlight pain points, barriers, and moments of friction, whether related to physical access, confidence in using equipment, alignment with personal values, or challenges in navigating the makerspace environment or digital tools. These include both the experience within the library setting and potential frictions in interacting with the make-a-thek toolkit (e.g. unclear entry points, lack of facilitation, limited personalisation, etc.). By embedding these lived dynamics into storytelling, the journeys offer rich, user-grounded insights that are actionable for design. They help ensure that the make-a-thek modular approach, tools, and services are not only inclusive and adaptable, but also resonate with the real trajectories, capacities, and motivations of diverse communities. Moreover, this work informs the development of other WPs - particularly WP4, WP5 and WP7 - by anchoring design criteria in an authentic and useful user experience. 4.3 Structure and how to read them Each User Persona is presented through a standard format that includes: Profile information: Name, age range, role, residence, and a short quote expressing their values or point of view. Background: A narrative summary of their experience and position in relation to making, fashion/craft, circularity, and/or library use. Skill levels: Visual indicators of their literacy in areas such as digital fabrication, circularity & reuse, and fashion or craft expertise. This section aims to represent the general literacy level of each individual, rather than providing an exhaustive overview of specific skills and experiences. For this reason, the fashion and craft areas have not been distinguished at this stage; they will be addressed later, during the development of the toolkit in T4.2 and WP5, with a more analytical and sector-specific approach. 24 Use of the service: Divided into four sections - Behaviour, Goals, Needs, and Barriers - to identify what they seek, what they value, and what may limit their engagement. The section ‘Behaviour’ also includes details about the communities the persona can be involved in. To support clarity and differentiation across the various user types, a set of tags has been introduced in the visualization (e.g. same target, different role), helping to classify the personas and better reflect the diversity of approaches, expertise, functions and goals within each category. Each user journey is structured as a short narrative that unfolds in four chronological and emotional stages: Examine: The first contact with the makerspace - what triggers their interest or curiosity. Elect: The moment they choose to engage - what motivates their participation and what they try first. Evaluate: Their reflections - what works, what doesn’t, and where they see value or limitations. Entrust: The final stage - whether and how they become regular users, contributors, or advocates. This structure allows each persona to be more than a fixed profile: it becomes a story in motion, showing how the make-a-thek could evolve alongside its users. It also reveals key moments, emotional touchpoints, and barriers that can be directly addressed in the design of the make-a-thek toolkit and the modular approach, as well as in communication, facilitation, and training strategies across the project. 4.4 User Personas and Journeys - TABLES 25 Sonja is a 28-year-old junior designer, working at a fashion start-up. She is at the very beginning of her sustainability journey and has only a theoretical understanding of circular fashion. Highly motivated to learn, Sonja wants to explore upcycling and DIY methods to make her designs more responsible. In her studies, she has developed solid fashion knowledge and enjoys experimenting with crafts, but she needs concrete, practical foundations to integrate circularity into her work. Outside of work, Sonja is curious, social, and active online - often learning new techniques through tutorials and influencer content. Sonja uses the makerspace as a playground for experimenting with materials and techniques she discovers online. She enjoys hands-on exploration and testing her ideas but benefits from structured examples and step-by-step guidance. She is active on social media, follows influencers, and learns through tutorials, which she often tries to replicate in the makerspace environment. needs Practical, step-by-step guidance for starting circular design Affordable sustainable or reusable materials for small projects Workshops to learn upcycling and DIY techniques Networking with experienced designers and artisan Test projects before launching them with her start-u Mentoring programm An inspiring, supportive community that values experimentation barriers Limited budget and access to sustainable materials Uncertainty and lack of confidence to begin Few concrete examples or role models to follow Limited institutional support for emerging designers. Residence: Lubiana, Slovenia 28-35 y.o. Junior designer / working student in a fashion start-up. Role/attitude: Age range: "I want to make clothes that are beautiful and responsible, but I don’t even know where to start." fashion designer student Sonja ( she/her ) goal G ain p ra c ti c a l s k i ll s and c on fi den c e to c reate sustaina bl e , c ir c u l ar fashion designs . CI R CUL AR ITY & R EUSE Theoretical knowledge only DIGIT A L F A B R IC A TION LITE RA CY Minimal experience with digital tools ; mostly selftaught experimentation. F A SHION & C RA FTS Strong fashion background and an experimental approach to crafts bac k ground be h a v iour T able 0 8 : U ser P ersona - F ashion D esigner - student Sonja’s Journey pre during post The steps of the user journey She starts attending open sessions to refine her sewing skills and test designs using donated fabrics. After a few weeks, she feels confident enough to bring in her own materials and start prototyping small items A facilitator notices her consistency and introduces her to others with similar interests, expanding her informal support network. ELECT Sonja loves the space, but faces challenges: limited opening hours clash with her part-time job, and it’s not always easy to access quality materials. Still, the affordability and access to tools keep her coming back She begins sharing her process online, tagging the makerspace in her posts and attracting a small following. EVALUATE EXAMINE Sonja is building her own fashion micro-brand, and comes across the library makerspace while watching sewing tutorials online Curious to test her skills in a real setting, she signs up for a beginner workshop. As she steps into the space, she’s shy but observant - taking in the layout, the people, the vibe The idea of making alongside others feels both exciting and intimidating. Eventually, Sonja becomes a peer mentor - helping new participants feel welcome, giving mini-tutorials, and contributing to community resources She begins shaping a toolkit for other young designers who, like her, want to start small, local, and sustainable. ENTRUST Table 09: User Journey - Fashion Designer - student needs Affordable access to sustainable and innovative materials for prototyping Collaboration opportunities with makers, designers, and community groups A platform to share expertise through workshops and talks Tools and machines that support design, prototyping, and material experimentation A community that values sustainability and supports circular practices. barriers High costs and limited availability of sustainable materials Difficulty in gaining wider market acceptance for circular products A need to raise awareness and overcome skepticism among consumers, brands, and potential partners Time constraints balancing personal projects, collaborations, and mentoring roles. goal To prototype new circular fashion materials and methods in a real-world setting, using the library as a space for experimentation and public engagement. She seeks to share her skills while gathering feedback from diverse users, turning the makerspace into a place of exchange, dialogue, and collaborative innovation. Stefanie is a German designer and entrepreneur based between Hamburg and Berlin. With several years of experience in the fashion industry, she focuses on sustainable and circular fashion, particularly upcycling and socially driven projects She is passionate about making circularity a standard practice, promoting sustainable materials, fair production processes, and mentoring emerging designers Stefanie collaborates with NGOs, start-ups, and makerspaces to integrate her projects into broader communities. She uses the makerspace as a laboratory to test innovative ideas, prototype sustainable designs, and host workshops to share her expertise. She actively seeks new sustainable materials and techniques, treating the makerspace both as a creative hub and a platform for education and collaboration. Residence: Hamburg/Berlin, Germany Designer & founder, specializing in sustainable and circular fashion Role/attitude: ~35–45Age range: "Circular fashion is not just a trend; it’s a responsibility. Every design choice can have a lasting impact on people and the planet." CI R CUL AR ITY & R EUSE Highly experienced in circular design, upcycling, and sustainable materials. DIGIT A L F A B R IC A TION LITE RA CY F amiliar with digital tools for prototyping but not a technical expert. F A SHION & C RA FTS E xpert fashion designer with strong craft skills and industry knowledge. fashion designer entrepeneur Stefanie (she/her) bac k ground be h a v iour Table 10: User Persona - Fashion Designer - entrepreneur Stefanie’s Journey pre during post The steps of the user journey Encouraged, Stefanie offers to run a small workshop on transforming old clothes into wearable accessories. She brings in some of her own fabric scraps and tools The response is overwhelmingly positive: participants of all ages share memories attached to garments, swap ideas, and experiment with stitching and dyeing. The energy feels raw but authentic, and Stefanie sees the potential not just for teaching, but for learning as well—gaining insight into how different people approach clothing, repair, and creativity. ELECT After a few sessions, Stefanie reflects on what's working and what isn’t. While the atmosphere is vibrant, she finds herself limited by the availability of machines and materials. She also notices that participants need different levels of guidance Yet what keeps her coming back is the reciprocal value of the space: she learns new perspectives from people she wouldn't usually meet, finds inspiration in their questions and ideas, and is challenged to explain her techniques in simpler ways. It’s a refreshing contrast to the fashion world’s competitiveness and individualism. EVALUATE EXAMINE Stefanie hears about the library’s makerspace through a local sustainability event. She decides to attend a session out of curiosity, not expecting much. However, as she steps into the space and sees community members upcycling old garments, she feels an immediate spark. The sewing machines, community feel, and openness to experimentation remind her of why she started working with textiles in the first place. Over time, Stefanie becomes a trusted part of the community. She starts designing beginnerfriendly guides and informally mentoring newer participants Rather than building her own permanent workshop, she sees the space as a living studio—a place to test new ideas and engage in ongoing dialogue with the public around fashion, waste, and inclusion. The makerspace becomes a shared environment for creative exchange, where her expertise grows in tandem with the community’s voice. ENTRUST Table 11: User Journey - Fashion Designer - entrepreneur needs Pathways to connect her strategic knowledge to makerspace practices Educational frameworks and participatory methods that make circular concepts accessible to diverse audiences A framework for collaboration with institutions, companies, and grassroots groups Access to local material flow data to design circular strategies that are grounded in place. barriers Limited hands-on or technical skills in makerspace tools and processes Risk of being seen as too abstract or strategic without concrete examples Circular initiatives can face resistance due to cost, time, or complexity Balancing consultancy work with community involvement Making workshops and events appealing enough to engage diverse participants and clearly communicate the value they offer. goal Use public events and workshops to raise awareness and inspire change - not only as a personal mission, but as part of a broader municipal or policy-driven strategy. Her work supports long-term sustainability goals, blending community engagement with institutional impact. Amira studied Environmental Engineering at the American University of Beirut and completed a master’s in Industrial Ecology and Circular Economy at TU Delft. She has lived and worked in Lebanon, the Netherlands, and Norway, focusing her career on policy advising, consulting, and research. She has over a decade of experience helping cities and organizations integrate circular practices and resilience thinking. Personally, she values low-impact living and local ecosystems, aligning her lifestyle with her professional ethos. Amira is a circular economy consultant who collaborates with municipalities, startups, and cultural institutions to transition towards circular urban systems. She brings systemic expertise in material flows and resource management and is motivated by the Fab City vision of shifting from PITO (Product-In/Trash-Out) to DIDO (DataIn/Data-Out). Amira sees makerspaces as living laboratories where circular strategies can be tested and communicated to citizens, even if she herself is not hands-on with machines. Residence: Norway (experience in Lebanon and the Netherlands) Circular economy consultant, systemic thinker, sustainability advocate Role/attitude: 40sAge range: "Cities are living ecosystems, circularity helps them thrive." CIRCULARITY & REUSE Deep theoretical and strategic knowledge of circular economy practices and resource management. D I G ITAL F A B RICATI ON LITERACY Limited hands-on experience F AS H I ON & CRA F TS No background in fashion and minimal practical crafting experience. C ircularity e x pert E nvironmental E ngineer Amira (she/her) bac k ground be h a v iour Table 12: User Persona - Circularity expert 1 Amira’s Journey pre during post The steps of the user journey During her visit, Amira strikes up a conversation with the library coordinator and learns that the space is seeking broader recognition and support. She proposes a pilot project that links the makerspace with the city's circular education program Her role is not operational but strategic: she helps define shared objectives, draft partnership terms, and embed evaluation tools. ELECT As the project unfolds, Amira checks in regularly. She collects data, speaks with facilitators, and joins occasional public events. While she sometimes finds it challenging to translate policy language into grassroots action, she learns from the community’s hands-on logic. The space, in turn, benefits from clearer strategic framing and better documentation. EVALUATE EXAMINE Amira learns about the library makerspace from a colleague in the municipality’s sustainability office. She’s intrigued - not because she wants to make something herself, but because she sees potential in how such spaces can embody public values around reuse, resilience, and shared knowledge She schedules a visit to observe one of the repair workshops. Amira becomes an informal advisor to the space. She helps position it within city-wide strategies, connects it to funders, and supports the codevelopment of a public report on social impact She doesn’t lead from the front, but her influence shapes longterm sustainability and visibility. ENTRUST Table 13: User Journey - Circularity expert 1 Steffen works at the intersection of sustainability, fashion, and agriculture. They are a professional researcher or practitioner with expertise in circularity, aiming to connect industries that traditionally don’t overlap. Their main focus is exploring how agricultural by-products (like hemp, flax, or other natural waste materials) can be transformed into new yarns, textiles, and fibers for sustainable fashion. They live an environmentally conscious lifestyle, are deeply embedded in sustainability networks, and are motivated by creating systemic change rather than just individual projects. In the makerspace, Steffen uses the facilities for material experimentation and prototyping: testing fibers spun from agricultural waste, trying out small-scale textile production processes, and experimenting with blending natural and recycled materials. They also share their expertise by hosting talks or collaborative sessions to connect designers, makers, and agricultural stakeholders. They are less focused on personal DIY projects and more on developing scalable, innovative methods that can influence industries. needs Access to advanced textile tools and prototyping machines (e.g., spinning, weaving, 3D textile printers) A platform to collaborate with m-a-t project, designers, farmers, producers, crafters, material scientists and consumers Spaces to experiment with unconventional raw materials (agricultural waste, natural fibers, etc.) Documentation and testing support for turning experiments into scalable, reproducible methods A community interested to engage with sustainable innovation and systemic impact. barriers Funding and resource constraints for material research and testing Bridging knowledge gaps on material innovation between fashion professionals and producers/ consumers Resistance in the market and industry to adopt new materials and processes. Residence: Potsdam, Germany 37 -45 y.o. Circularity Expert / Sustainable Materials Researcher Role/attitude: Age range: "If we can turn agricultural waste into high-quality textiles, we’re not just making clothes— we’re reshaping the system." circularity expert materials researcher Steffen (they/them) goal Experiment, exchange with other experts and disseminate sustainable textile solutions from agricultural waste. CIRCULARITY & REUSE Expert-level knowledge of circular systems and material reuse. DIGIT A L F A B R IC A TION LITE RA CY Familiar through events and collaborations but not a fre q uent hands-on user. F A SHION & C RA FTS Strong understanding of sustainable fashion but limited hands-on craft skills bac k ground be h a v iour T able 1 4: User P ersona - C ircularity expert 2 Steffen’s Journey pre during post The steps of the user journey With cautious optimism, Steffen proposes a lab pop-up focused on co-designing with waste. They bring their own microscopes, dried fibers, and basic spinning tools. The event attracts ecocurious youth, craft lovers, and even a farmer interested in agriwaste production. It's messy, iterative, and full of exchange - not just materials, but ideas. ELECT Despite the success, Steffen notes the infrastructural limitations. No fume hoods, few specialized tools, and tight scheduling. Yet, the community’s responsiveness is energizing Through informal feedback, they learn that people want more: deeper engagement with agri waste production/materials, local material literacy, and long-term residencies. EVALUATE EXAMINE Steffen hears about the makerspace through an academic partner. Their work focuses on turning agricultural waste into fibers. They’re looking for a place to explore the potential of their innovative materials with designers and producers/ craftpeople. When they visit the space, it’s modest - but openminded and full of energy They notice the maker area and ask about whether it’s possible to test experimental fabrics and materials or host material swaps. Steffen co-authors a proposal for a permanent 'materials corner' inside the space. They host talks, advise on equipment procurement, and open pathways for collaboration between rural producers and urban makers. Their role becomes a hinge between experimental science and community-based learning. ENTRUST Table 15: User Journey - Circularity expert 2 Alina, 21, is a university student in Kyiv studying cultural studies. She spends much of her free time doing crafts, upcycling, and small-scale fashion design. She dreams of launching her own small brand of sustainable accessories and clothing. While she often works from home, the library and its makerspace have become important for her as a creative environment and a place to learn new techniques and connect with like-minded people. Alina regularly visits the library to work on her designs, sew prototypes, and use shared equipment that she doesn’t have at home. She values the makerspace for its tools, learning opportunities, and community. She also uses the library to research design trends, business strategies, and sustainable production methods. From time to time, she participates in workshops or peer sessions to expand her network and gain new skills. needs Access to quality crafting and prototyping equipment (sewing machines, laser cutters, textile printing) Mentorship or training sessions in entrepreneurship, design, and sustainability A supportive community of makers and creative peers A workspace that balances inspiration and functionality — calm enough for focus, yet alive with creative energy. barriers Limited technical experience with digital tools Few business contacts and little experience in selfpromotion Difficulty accessing equipment during peak hours Balancing university studies with creative projects. Residence: Kyiv, Ukraine 20–21 y.o. University student, aspiring craft and fashion entrepreneur Role/attitude: Age range: “I want to make things that people love — and that don’t harm the planet.” crafter student Alina (she/her) goal To de v e lop h er s kill s i n craft and des ig n , e xp and h er creat iv e net wo r k, and g radua lly p re p are t o l aunc h h er ow n s m a ll b us i ness i n susta i na bl e f as hio n . CI R CUL AR ITY & R EUSE H ighly motivated, she experiments with recycled materials and upcycled fabrics, inspired by z erowaste principles to promote conscious consumption in her future brand. DIGIT A L F A B R IC A TION LITE RA CY Alina is learning sewing machines, laser cutters, and 3 D printers, seeking ways digital tools can enhance her handmade designs. F A SHION & C RA FTS H ighly engaged, she’s passionate about fashion and crafts, follows trends, attends workshops, and shares her creative process online. bac k ground be h a v iour Table 1 6: U ser Persona - Crafter 1 Alina’s Journey pre during post The steps of the user journey Encouraged by the vibe and the access to tools, Alina begins spending more time at the library. She signs up for open lab sessions and starts working on her first real prototype collection using scrap fabrics and laseretched designs. She also joins peer-led events and meets other young women working on similar ideas. Sharing her progress online, she receives positive feedback and is motivated to keep learning. She starts asking the staff about how to organize a small exhibition or pop-up to test her products. Meanwhile, she juggles university deadlines and makerspace time - sometimes staying late or coming during quiet hours to secure a free machine. ELECT After a few months, Alina has produced several samples and received input from peers and mentors she met in the space. However, she’s realizing the limits: the makerspace is often booked, some equipment is harder to use alone, and she still lacks guidance on topics like pricing, branding, or sustainable sourcing. She looks to the toolkit and online resources from other make-a-thek libraries, hoping to replicate some best practices or connect with external mentors. Despite the challenges, she feels her confidence growing - especially when others in the space ask her for advice or compliment her work. EVALUATE EXAMINE While scrolling through a student Telegram channel, Alina sees a post from the library about a beginner workshop on combining sewing with laser cutting. Curious, she decides to visit the makerspace. What she finds surprises her - not only is the space equipped with tools she’s been dreaming of using (like textile printers and 3D printers), but it also feels open, inclusive, and youth-friendly. She’s shy at first but sees other young people making things, and slowly begins to feel she belongs. The possibility to prototype her own designs and meet other creative students sparks ideas about what her brand could become. She’s excited but aware she still lacks some technical skills and business experience. Alina starts hosting informal skill-sharing sessions at the makerspace, especially on combining handmade and digital techniques. She mentors a few younger students and applies for a micro-grant to develop her brand identity. The library becomes more than a workspace - it’s her testing ground and a place where creative goals feel achievable. She collaborates with other users to co-design an open fashion event, showcasing circular fashion projects by young makers. While she still has a long way to go before launching her business, Alina feels that makea-thek has given her a head start - and a community to grow with. ENTRUST Table 17: User Journey - Crafter 1 Matteo is the founder of a digital fabrication studio and design service that explores the intersection of technology, sustainability, and craft. With a background in product and interaction design, he has extensive experience working with 3D printing, CNC machining, electronics, open-source tools, and parametric design He collaborates with both public and private stakeholders, focusing on education, co-design, and circular practices. He is driven by the idea of social impact through design, and is interested in public makerspaces as places of accessible innovation, experimentation, and local transformation. Matteo engages with makerspaces as a facilitator, educator, and project partner rather than a casual user. He brings structured expertise and designs workshops, objects, or small-scale productions with institutions. Hands-on and curious, he adapts his methods to audience and context. In public library makerspaces, he would contribute by offering training, co-developing learning pathways, or helping design modular setups that balance creativity and feasibility. He values collaboration but expects clear communication, flexibility, and basic readiness (tools, space, staff support) to engage meaningfully. needs Access to public platforms and spaces that can host community-oriented circular projects Shared access to machines and materials in noncommercial spaces (like libraries) Be part of training and mentoring programmes within public-facing contexts Reliable co-design processes to activate citizens and stakeholders Tools to map local actors and existing material flows A space to be hosted to share projects and experimentations with talks and events Places where experimentation is allowed to remain open, non-hierarchical, and iterative Institutional support for community projects barriers Misalignment between institutional logic and the fluidity of bottom-up, experimental design Bureaucratic limits when working with public institutions Difficulty in sustaining long-term engagement with fragmented communities Lack of public spaces equipped for experimenting and sharing bottom-up idea Circular practices perceived as “extra” instead of systemic Limited funding for community projects Residence: Milan 37 y.o. experienced maker, product designer, start-up founder Role/attitude: Age range: "Sharing is caring" maker startupper Matteo (he/him) goal Encourage citizens and designers to adopt circular thinking using accessible tools and expand knowledgesharing among maker and designer networks. CI R CUL AR ITY & R EUSE Promotes sustainable production and collective learning. DIGIT A L F A B R IC A TION LITE RA CY E xpert in prototyping and advanced digital workflows. F A SHION & C RA FTS Combines traditional techniques with product design. bac k ground be h a v iour Table 24: User Persona - M aker - startupper Matteo’s Journey pre during post The steps of the user journey Seeing the opportunity, Matteo connects with a local library team to co-develop a concept around material reuse and public learning. He proposes a series of public workshops tied to existing maker tools, combined with open talks on local materials and urban mining He suggests starting with a lowbarrier session on 3D printing using recycled filament and simple open-source models, inviting participants to experiment with small everyday objects and customization. He brings his community of designers and makers into the space, inviting them donate wasted filament and supports librarians in shaping the event with easy language and open invitations. ELECT After a few sessions, Matteo evaluates what worked: strong participation, curiosity from unexpected user groups, and energy around material storytelling. However, he also encounters limitations: some machines aren’t available or accessible in the library; library staff struggle to support more technical aspects; documentation is lacking. He begins co-writing a short how-to with the librarians and proposes integrating a materials library to enhance the space’s value for future activities. EVALUATE EXAMINE Matteo hears about the make-athek initiative through his collaboration with local institutions in Milan. He’s immediately intrigued by the idea of placing circular making inside a public library - an everyday space that could shift narratives around reuse, learning, and materiality. He look at the toolkit, appreciating its modularity and the mix of digital and physical resources. It aligns with his way of working: open, iterative, and grounded in community needs. What excites him most is the potential for hybrid learning environments where hands-on experimentation meets public service. Encouraged by the response, Matteo helps co-develop a more permanent space within the library - integrating knowledgesharing, maker tools, and exhibition modules He begins mentoring young users and offers feedback to refine the make-a-thek proect based on his field experience His start-up and the library now co-host an annual circularity event, building bridges between creative professionals and public institutions. For Matteo, this becomes a new kind of infrastructure: collaborative, open, and embedded in civic life. ENTRUST Table 25: User Journey - Maker - startupper Marco grew up surrounded by the DIY punk culture, where music, zines, and self-made objects shape everyday life. He learned serigraphy, collage, and analog printing by experimenting with friends and sharing tools in informal spaces. For Marco, making is more about community and expression than polished outcomes. His free time is filled with concerts, underground events, and long nights spent producing zines with fellow creators. Marco is driven by the energy of collaboration. He enjoys collective making sessions, where everyone contributes with simple tools and ideas. He tends to avoid digital complexity, preferring hands-on, messy processes that carry imperfections as part of their charm. When a project requires digital finishing, he openly relies on trusted friends, reinforcing bonds of mutual support. His commitment is less about building professional skills and more about keeping the DIY spirit alive — through events, zines, and workshops that spread the punk ethos of accessibility and independence. needs Affordable access to printing and analog tool Spaces for collective making and sharin Support to document and preserve DIY practice Occasions to connect music, art, and making barriers Limited digital skills and independenc Few institutional spaces for underground cultur Financial struggles to keep projects aliv Lack of recognition of DIY as cultural value Residence: Reykjavík, Iceland 23 y.o. DIY maker, punk scene enthusiast Role/attitude: Age range: “Paper, ink, and noise. That’s all I need.” maker self-taught Marco (he/him) goal K ee p the DIY p u n k s pi r i t a c t iv e by p r od u cin g , shar in g , a nd conn e c t in g p e op le thr o ugh a n al o g c reat ivi t y. CIRCULARITY & REUSE Deeply engaged in DIY punk networks, values reuse and collective making. DIGIT A L F A B R IC A TION LITE RA CY Minimal digital skills ; relies on friends for editing and final steps. F A SHION & C RA FTS Strong analog practice : zines, serigraphy, collage, and hand-drawn work. bac k ground be h a v iour Table 2 6: User Persona - M aker - self - taught Marco’s Journey pre during post The steps of the user journey Intrigued, he contacts the makerspace team, proposing a pilot workshop called "Print Your Protest", a simple risograph zine and T-shirt lab using local stories and found materials. They pitch it not just as a creative session, but as a way to activate dialogue and visibility for underrepresented voices The library team is supportive, but logistics are slow. He finds himself juggling bureaucratic steps, tool access issues, and the need to build relationships from scratch. Still, he reach out to local youth workers and activist groups to co-design the first event, to create a shared space for visual dissent. ELECT The workshop takes place on a grey and cold Saturday afternoon. Not a huge crowd, but enough to feel something shift. A teenager prints a slogan about housing rights. A mother and daughter stencil matching symbols on tote bags. The energy is raw, unpolished, but alive He documents everything about results and process though photos and videos, and asks participants what they’d like to do next. He learn that people want more than a one-off event: they want continuity, space to experiment, and a place to belong EVALUATE EXAMINE Marco hears about the Make-athek programme during a public talk on inclusive design. The idea of a makerspace inside a library intrigues him - especially one that’s open to the public and rooted in community values He browse the m-a-t toolkit and feel inspired by the possibility to mix graphics, narrative, politics, and making. Yet, questions emerge: Will this space allow for radical experimentation?Is there room for irony, critique, subculture He take time to reflect, reading through case studies, and begin sketching ideas. Something about the openness of the toolkit makes him feel like this could be a place to play with formats, test new educational models, and break some traditional design rules, with others. After the first experience, he keeps showing up. Not always as a workshop lead: sometimes just hanging around, talking to new users, suggesting zine ideas, prototyping print stations or visual identity experiments with the library team He begin developing a loose visual language for the makerspace, one that users can remix - like a toolkit of symbols, colours, and slogans anyone can adopt He also mentors a younger participant who wants to launch a community digital group through the space. It feels like the beginning of a new practice: not just design for the public, but design with the public. The library is no longer a place to deliver content - it becomes a space of distributed authorship. ENTRUST Table 27: User Journey - Maker - self-taught Emre is from Turkey and moved to Germany three years ago for his Master’s studies. He’s always been a creative soul, constantly making things and sharing ideas with others—he even built an open-source software project back home. He is very active on social media, with a YouTube channel where he reviews softwares and hardwares. Now he’s settling into his new life in Germany, exploring neighborhood activities and using them as a fun way to practice his German and connect with people. During this semester, Emre has an exam that requires him to design, 3D model, and print a few pieces. Since the university is far from his apartment and it's often very crowded, he decides to explore his neighborhood and discovers a makerspace at the local library. Excited by the opportunity, he sees it as a playground for experimentation and is eager to explore all its features. He even considers creating tutorials or reviews to share on his YouTube channel with his remote community. When he learns that the library also hosts workshops, he sees them as the perfect chance to practice his German, to connect with like-minded people, and maybe even to make new friends. needs Access to local makerspace to work at his projec Opportunities to practice German in a social settin Ways to keep sharing content with his online communit Guidance and flexibility on how to use this specific makerspace barriers Limited free time, busy academic and personal schedul Limited German skills, making some activities intimidatin Unsure how to contribute his expertise to the library or local communit Lots of other options in the city to meet communitie Restrictive library regulations, such as limitations on taking photos and videos Residence: Berlin, Germany 26 y.o. Master student of mechanical engineer Role/attitude: Age range: “The real test of understanding is being able to teach it to someone else.” prosumer engineer student Emre (he/him) goal H e wa nts to eng a ge w it h l o cal c re a ti v e opportunities a nd , ide ally, c ontri b ute w it h h is s k i ll s . CIRCULARITY & REUSE Emre takes sustainability into account in his work (like optimi z ing models and using software efficiently), but is not an expert in that. DIGIT A L F A B R IC A TION LITE RA CY C onfident and curious in using and learning new technologies, especially if open-source. F A SHION & C RA FTS Emre doesn't have experience in this area. bac k ground be h a v iour T able 2 8: U ser Persona - Prosumer Emre’s Journey pre during post The steps of the user journey Excited by the possibilities, Emre decides to use the makerspace for his 3D modeling and printing project He registers, checks the schedules, and plans his visits, balancing his coursework with exploration of workshops Beyond his professional and personal goals, he sees the makerspace as an opportunity to propose himself as a collaborator/expert for future workshops. ELECT Emre begins using the makerspace, testing different machines, software, and materials. The flexibility of it during working hours is something he appreciates a lot. He attends some workshops, interacting with staff and participants, making new friends, and practicing the language Meantime, his channel gained popularity, and the management of the library bought some professional equipment and asked him to co-create and share some content. EVALUATE EXAMINE Emre discovers a library’s makerspace in his neighborhood while searching for alternatives to his crowded university facilities. He explores the available equipment, workshops, and community activities to understand what the space offers and how it can support him this semester He evaluates how the makerspace could also serve as a place to have social interactions and practice German, as well as an opportunity to create content for his YouTube channel Confident in his ability to navigate the makerspace, Emre incorporates it into his regular workflow. He continues to attend workshops, connect with other makers, and experiment with new techniques. He also proposes a series of talks on open source and actively contributes with some articles to the toolkit. He keeps sharing his experiences online, building a small community around his tutorials while deepening local connections, positioning the library as both a practical resource and a social hub for personal creations. ENTRUST Table 29: User Journey - Prosumer Marcos, 43, moved from Chile to Helsinki to pursue a master’s degree in philosophy after working several years as a mechanical engineer. His shift from a technical to a humanistic field reflects a desire to focus on meaning, ideas, and critical thinking. He spends long hours in the library, which he values primarily as a quiet, concentrated study space. Marcos spends most of his time in the library immersed in philosophy study and research. He actively avoids the makerspace, seeing its activities and noise as disruptive to the quiet environment he depends on. He structures his time carefully to make steady progress in his studies, while selectively connecting with peers who share his academic interests. needs Guaranteed access to silent and dedicated study spaces Clear separation between study areas and makerspace activities Transparent communication about when and how noisier activities take place Reassurance that core library services (study, lending, access to information) remain intact. barriers Noise from machines or group activities could disrupt his study routine Possible competition for spaces between traditional users and makerspace participants Fear that the library atmosphere might change, losing its focus on quiet reflection Perception that makerspace activities are far removed from his personal and academic interests. Residence: Helsinki, Finland 40-45 y.o. Philosophy student, former engineer Role/attitude: Age range: “Time is short, so I focus on what matters: study, ideas, and the right connections.” citizen Library user Marcos (he/him) goal To have uninterrupted study time in a calm, quiet environment. CIRCULARITY & REUSE General awareness; not a personal focus. D I G I T A L F A B RI C A T I ON L I TE RA CY Technical background from engineering, but no personal interest in digital fabrication. F A SH I ON & C RA FTS No direct involvement or interest. bac k ground be h a v iour T able 30 : User P ersona - C itizen - Library user Marcos’ Journey pre during post The steps of the user journey Weeks later, Marcos finds the library unusually busy. A school group is visiting the makerspace, and the buzz spills into the main reading area. He’s visibly irritated and moves to a quieter corner. While relocating, he walks past the makerspace and sees students working with textile scraps and discussing the philosophy of reuse. A facilitator mentions how making can also be a form of critical reflection The idea lingers, but he does not act. He returns to his quiet reading room, noting the distraction - but also something intriguing in how ideas were being enacted, not just read. ELECT Marcos continues to study at the library, though he grows increasingly aware of the subtle changes in its ecosystem. Occasionally, makerspace activities are audible; posters and digital screens promote workshops and co-creation labs. He begins to question whether the library can still serve as a space for quiet, focused thought. At the same time, he reflects on whether his resistance comes from discomfort or from a deeper fear of being displaced by a model of learning he doesn’t recognize. EVALUATE EXAMINE Marcos has recently transitioned from a career in mechanical engineering to pursue a Master’s in philosophy. This shift wasn’t casual: it marks a conscious decision to focus on meaning, thought, and reflection. He chooses the library as his primary place of study for its quiet, structured atmosphere - something he deeply values - and more appropriate for him than an University Librar One afternoon, he notices a new poster near the entrance promoting the library’s makerspace. While curious at first, he quickly dismisses it. The visual language and tone feel too far removed from his world - noisy, hands-on, fragmented. Not what he came for. Eventually, Marcos responds to an open invitation to join a dialogue circle between library users and makerspace facilitators. He shares his concerns about noise, identity, and purpose. In return, he hears others speak about inclusion, material thinking, and learning through doing While he doesn't plan to use the machines, he advocates for the coexistence of quiet and making. Marcos contributes to shaping a set of shared “library coexistence principles,” helping define respectful zoning, noise levels, and visibility practices. Without becoming a maker, he becomes part of the governance - ensuring that the library remains a place for all modes of thought. ENTRUST Table 31: User Journey - Citizen - Library user Jan is a 17-year-old from Prague who spends most of his time skating around the city with friends. Skateboarding shapes not only his free time but also his style and identity. He loves skate fashion and has started personalizing his clothes, experimenting with small DIY changes. Although he hasn’t been to a library in years, he is curious and quick to learn when technology and self-expression are involved. needs To experience activities as social opportunities, ideally with friends To access short, targeted learning moments To build practical skills through hands-on activities To use technologies and tools for free that are otherwise unavailable at home. barriers To perceive the library as a boring place only dedicated to studying and books To lose motivation when peers of his own age are not engaged To miss opportunities due to ineffective communication channels To feel that the library is not welcoming to someone from a street culture background, leading to a sense of not belonging. Residence: Prague, Czech Republic student Role/attitude: 17 - 19 Age range: “I want to make things that feel like me, not just buy them.” goal To explore and shape his identity by connecting personal interests with creative expression and peer experiences. CIRCULARITY & REUSE Reworks old clothes casually; not focused on sustainability. DIGITAL FABRICATION LITERACY N o experience FAS H ION & CRAFTS Small experiments with customizing garments; strong personal interest in skate fashion. citizen library non u ser Jan ( he / him ) Jan would approach the makerspace as a place to explore creativity connected to his lifestyle. He would be excited to design and customize t-shirts, try sewing machines and heat presses, or experiment with digital tools like vinyl cutters. At the same time, he would use the space informally - hanging out with friends, doing schoolwork, or discovering new technologies in a playful and informal way. B ecause skating often damages his clothes, Jan could also be drawn to repair-focused activities, seeing mending not only as useful but as a way to creatively personalise his worn garments. bac k ground be h a v iour Table 32: User Persona - Citizen - Library non user 1 Jan’s Journey pre during post The steps of the user journey Jan returns the next week, this time bringing a couple of friends. They create matching patches and post their creations online. For the first time, he feels the library is offering something relevant, fun, and expressive He starts chatting more with the staff, asking about other tools, and suggesting ideas like a music playlist or events after 5pm He came for the creative side, but realises he can also use the space to fix up clothes ruined while skating – in a way that still feels personal and cool. ELECT Over time, Jan notices some friction. His friends don’t always come back, and the space isn’t always open when he’s free. Some instructions feel too formal, and there aren’t many people his age in leadership roles. Still, he keeps returning - it’s one of the few spaces where he can be creative without pressure. EVALUATE EXAMINE Jan often hangs around the library after school. One day he notices a sign for a ‘Custom Your T-shirt’ session and drops in out of curiosity. Inside, he sees vinyl cutters, a heat press, and young people customizing old clothes with slogans and symbols. He’s hooked. The vibe feels chill - not like school or youth centres. No one is talking down to him, and he’s invited to try He’s also aware that customising and upcycling second-hand clothing is becoming a trend among people his age, which makes the experience feel timely and relevant. Recognizing his engagement, the library invites Jan to co-design a youth event. He helps shape the format, promotes it on his socials, and even DJs during the opening. He’s not just a user anymore - he’s an ambassador for making in his own style and on his own terms. ENTRUST Table 33: User Journey - Citizen - Library non user 1 5. Conclusions and Outlook The research presented demonstrates the value of grounding service and space design in the lived experiences, needs, and aspirations of diverse users and professionals across the pilot library ecosystems. By developing a broad and differentiated set of user personas and user journeys, the project not only captured the complexity of local contexts but also illuminated shared patterns, values, and barriers that cut across geographies and roles. A key insight that emerged throughout the process is the evolving role of libraries. In several cases the make-a-thek exploration became an opportunity to reframe the identity of the public library - not only as a service provider, but as a hybrid civic space for creative experimentation, community resilience, and informal learning. This shift in mindset among librarians and stakeholders was itself a transformative outcome of the research. Looking ahead, the personas and journeys developed here will serve as a strategic foundation for the next phases of the project. They will directly inform the design of the modular make-a-thek toolkit (WP4), supporting decision-making around space planning, activity formats, and support materials tailored to real users’ needs. Moreover, they will help set expectations and minimum requirements for participating libraries, guiding implementation in a flexible but grounded way. Design Guidance from Personas and Journeys The personas and user journeys developed in this task are not static deliverables, but strategic tools that will actively inform and guide the ongoing design and implementation of the make-a-thek approach. They allow the consortium to maintain a user-centred perspective throughout all phases of the project, ensuring that the makerspace solutions - both physical and digital - are grounded in the real experiences, motivations, and barriers of diverse users. In particular, they will be used to: · Inform the design of the make-a-thek modular toolkit (T4.2–T4.3), ensuring it addresses the needs and capacities of different user types and library contexts. · Define entry points, support levels, and communication strategies tailored to specific profiles (e.g., librarians with low technical confidence, or citizens new to circularity). 64 · Guide the creation of learning and facilitation resources in WP5, by identifying where skill-building is most needed and how different users approach experimentation. · Support the spatial and service design of the pilots (WP7), by identifying key moments, frictions, and enablers in the user experience within the physical space. · Contribute to community engagement and sustainability strategies (WP6, WP8), by mapping motivations for participation and long-term involvement. · Evaluate the impact of the make-a-thek approach, offering baseline scenarios and behavioural patterns that can be compared to real use cases in later stages (WP11). Ultimately, these personas and journeys help shift the focus from “what the space provides” to “what people need and experience”, ensuring that the make-a-thek becomes a meaningful, inclusive, and sustainable infrastructure for learning, making, and circular innovation. Beyond the immediate project, these tools can continue to support reflection and alignment among stakeholders - offering a shared language to discuss who the make-a-thek spaces are for, what kinds of experiences they enable, and what support systems are needed to make them inclusive, relevant, and sustainable. 65