{ Introduction }

3 # OCD. CO. 5 # Ongoing Project 7 # Sub-projects

{ Organisation }

9 # Make Sense Project 11 # Marketing Research 15 # Management

{ Sensory Evnents }

21 # Seeing 31 # Smelling 43 # Hearing 57 # Tasting 67 # Touching

{ Conclusion }

81 # Summary 83 # Evaluation { References }

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Organisation of City Discovery Cooperation (OCD. Co) is a new start-up multidisciplinary culture social enterprise based in the UK. We aim to improve urban development and enrich people’s arts and cultural engagement in local societies. We help and encourage cities to employ art and culture as a toolkit for city branding or development plan by offering arts and cultural strategies and projects.

Arts and cultural industries play an increasingly important role in urban development plan or city branding plan. In the modern world, the market has moved onto creative and knowledge economy, and there is a resource competition between countries, cities and neighbourhoods in terms of labours, tourism, inward investments and businesses. It has been suggested that arts and cultural industries attract those resources and improve competitiveness of a region (Richards, 2010).

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Through various kinds of cultural programmmes in this Leeds Tourism development plan, local artists and small or local-centric business own-ers would be promoted. This will con-tribute to the vibrancy of arts market as well as local business, and to arts and culture equality. Many research-ers (e.g. National Endowment for the Arts: Research Division, 1981) claim that the demographic conditions of arts and cultural event audiences are interrelated to the frequency of their

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participants. They argue that most of the audiences are highly educat-ed and have high income. However, Connolly (2013) states that the more cultural activities and accesses, the better educational and economic status. We are also eligible to apply Inter-national Showcase Fund. Our aims of the plan focus on creating, producing and presenting the arts and cultural features in Leeds, and we build on a not-for-profit basis with charitable

objectives (International showcasing, 2015). Furthermore, we attempt to attract international promoters and invite local artists to be involved in our arts and cultural events with a clear artistic approach to the devel-opment of the showcase.. The aim is to make a significant contribution to tourism in the city of Leeds as well as positive impacts on both region-al and international development of UK’s art and cultural industries.

The familiar stranger team aims to improve local envi-ronment in Leeds and continue to broaden the impacts of the project to wider areas. In this event of regenerat-ing Tetley and Leeds Corn Exchange, both of them main-tained meaningful stories of Leeds. The transformation of their original functions and present their stories could attract tourists from different regions as well as bring benefits to local citizens at the same time.

‘Make Sense’ is a festival consisted of five sensory events (seeing, smelling, hearing, tasting and touching) in vari-ous activities, aiming at providing novel ways for exploring Leeds city.

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Hide & Seek team aims at helping people to experience a city entirely, rather than just being a tourists. It will be divided into two parts. First part is identifying local hidden places, interesting events, secret stories, or ‘little things’ that are often ignored. The other part is to make local peo-ple and tourists experience their city life and journey differently, rather than just walking around a city.

> Event type: Annual festival> Period : April (Around Easter Holidays)> Place : various venue in central city of Leeds> Opening times: Varies upon venues> Target audience: Families having children, International students staying Leeds and coming to Leeds to travel during Easter.

Bonami (2005) asserts that “our memory is composed of varied, mostly irrelevant, short experiences: new images, new flavors, new sounds, new touches, and

new smells. Yet in their irrelevance, they shape the way we think and how we see the world (p. 11).” From this point of view, we seek to create a new form of art experience through full of our senses, linked in local business and mood. As Watelet states, the art experiences is the “most perfect relationship among external objects, the senses, and the state of the soul (cited in Corbin, 2006, p.178).”

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Extraordinary projectin Leeds

No previous experience

Support byArts Council Englandand Leeds City Council

Too many festivals in Leeds.

Unfamiliar to people

Flyers and ProgrammesLocal networkingWord of MouthPress ReleaseWebsiteBannersSNSDM

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https://somewhere-

to.com

Flashmob

Monthly upload

To hire public venues like parks, we should be equipped with “public liability insurance with £ 5 milion indemnity (Leeds City Council, no year, p.5)”. All con-tractors (artists) and perform-ers engaged in the event have to have “their own public liabil-ity cover (Leeds City Council, no year, p.5)”.

Certain types of perform-ances or alcohol sales needs proper licenses.

We will make a list for budget such as artists contract, public liability insurance, fist aid cover, alcohol license, performance li-cense, artwork cost, venue hire, pomotion, infrastructure, elec-tric generator, etc. To use Leeds City Council land, in our case they are Roundhay park, Hyde park, and Victoria Garden, we need to pay required fee by Leeds City Council.

We will have the event safety checklist provided by Leeds City Council Book-ing and Licensing team to inspect facilities, equipp-ments and event venues by ourselves to secure people in the event from any haz-ard.

We will ask a first aid provide to St John’s Ambulance. With regard to emergency and safety, we will get advised by fol-lowing services and ask supports to them. The contact infor-mation below is from Leeds City Council guideline (no year).

+ Yorkshire Ambulance Service : www.yas.nhs.uk+ West Yorkshire Fire Service : Leeds.district@westyorkshirefire.gov.buk+ West Yorkshire Police : Neleeds.logistics@westyorkshire.pnn.police.uk Aaleeds.opsplanning@westyorkshire.pnn.police.uk+ The Health and Safety Executive http://www.hse.gov.uk/event-safety/index.htm+ British Red Cross http://www.redcross.org.uk Tel: 0113 2015240+ St. John Ambulance http://www.sja.org.uk/sja/default.aspx Tel: 08700 104950 16

All details from Park and Countryside Communi-ty and Charity Event guide: A guide to organis-ing community events in Leeds Parks and Green Spaces (Leeds City Council, no year)

Since our members are too limited to run this event on our own, volunteers are essential to effectively manage. They can guide participants and quickly act in any situation. We will have a brief meeting with them a week before the event to let them know key things that they should be aware of during the event.

When the event venues are hired, we will make the site plan for the event to distribute to participants to guide them. Also, there would be emergency plan as well. They will be marked on the map back side of site plan.

Electric generator is vital to be equipped mainly for the craft work-shop of touching event and sound exhibition of hearing event. The generator is very vunerable to water and dangerous to people. Thus, the safety around the genera-tor must be secured.

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We will make a contract and ar-range the schedule with Associ-ated Waste Management Limited (AWM) to deal with our waste in the event venues during and after the event by contacting to them on 0845 4567 128.

Basic infrastructure such as toilets and food vendors will be set around the event venue. We will have pub-lic liability insurance and risk as-sessment as it is required.

In case that we need a stage for opening and closing event, stage setting is considerable. This also needs public liability insurance and risk assessment.

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All details from Park and Countryside Communi-ty and Charity Event guide: A guide to organis-ing community events in Leeds Parks and Green Spaces (Leeds City Council, no year)

Balm and Holcomb (2003) highlight the importance of imagery and historical sources in tourism. They agree to Bryson’s claim in terms of the relationship between the past and present space and time. They argue that:

To consider simultaneously both historical source (an image’s past life) and cultural work (an image’s present and future life) implies that an image has the potential power to transcend the time and place of its creation but also that an image may be examined relative to that origi-nal time and place. In other words, an image as an artifact is both flu-

id and fixed. (p.158)

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Therefore, we were looking for the image from the history of Leeds to re-interpret and to let the tourists experience visual images of both past and present Leeds. Among many contents related to Leeds and Yorkshire(in wider range), we found that ‘Cottingley Fairies’ is still an interesting topic, even though the fairies in the pictures turned out man-made fairies. The idea of ‘Cottingley Fairies’ would be emerged as a new content in Leeds, albeit ‘Cottingley Fairies’ are originated from Cottingley near Bradford next to Leeds but still in West Yorkshire.

Fairies will be decorated all around Hyde park and Roundhay park to imagine the time that ‘Cottingley fairies’ was issued and everyone in the world believes in this as genuine living fairies. For durable fairies against raining and heavy wind, they would be made of limited materials. The artists in Yorkshire Sculpture Park will be invited to make them and advise. We will post official notification of recruitment for the artists online such as ArtsCouncil Jobs webpage. Also, Tim Water’s artwork, fairies’ house, is chosen to draw our direction of ‘fairies in park’. To set the faries in both of Hyde and Roundhay park, the booking confirmation by Leeds Council is essential.

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He is a photographer working based on Scotland. This Faries Castle is made of three stumps taken from Killiecrankie (Wa-ter, 2010). He hired stock architecture to put some details on it and painted it him-self. We will invite him to work with us.

Tim Water waterst@sky.com

She is an environmental artist in the US. On her website, she sells her pictures of scultures. Her art pieces are mostly about faerie houses. Inspired by her scultures of faerie houses, our local artists can make this kinds or purchase her pieces to set them up in parks on our own.

Sally J. Smith www. greenspiritarts.com

She is an environmental artist in the US. On her website, she sells her pictures of scultures. Her art pieces are mostly about faerie houses. Inspired by her scultures of faerie houses, our local artists can make this kinds or purchase her pieces to set them up in parks on our own.

Sally J. Smith www. greenspiritarts.com

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According to the booking policy, as we hold the

festival, we are eligible to hire the park from Leeds City

Council. To book the venue, we need to contact to 01133957400

by phone or eventsinpark@leeds.gov.uk by E-mail with the online

application form on website. It should be applied eight weeks before the event

at least. The application form includes basic information of applicant and the

event, target participants, public liability insurance, and safety. We will considerably

follow the guideline and checklist uploaded on the council website before, after, during the

event.

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The Fairies are made of paper cut after print-ing out from Google image. We were trying to mimic Cottingley Fairies in colour version as like the time of issue. However, in the event, for the durability against the rain and the wind, it would be created by other materials.

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Smelling is often neglected among other senses (Corbin, 2006; Keller, 2006). However, Corbin (2006) believes that the sense of smell is the most important one when people feel “the harmony of the organization of the universe (p.178).” Hirsch (2006) also argues that:

More than any other sensations, odors are particularly effective in inducing a vivid recall of an entire scene or episode from the past. A special odor may re-vive a clear image of the past and, more impor-tant, the enhanced emo-tional state associated

with that image.

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He describes the smelling process that every individual smells differently depending on their environmental background such as their living area, circumstances, and memories. It is common fact that individual’s favorable odours please them and it is not in reverse way. Herz (2006) illustrates that this phenomenon is because of previous emotional experience but the “innate influ-ences on us (p.200)”. In this sense, such aromatherapy and per-fume affects “mood, cognition and health (Herz, 2006, p.199)” in pleasant emotion (Herz, 2006; Corbin, 2006).

Therefore, the ‘scent maze’ would play a significant role in audiences’ experiences toward this event, family time, friend-ships, and the arts and cultural elements. For the tourist, this uncommon experience would be remained in their memories as the great moment of spending time at Leeds.

In the ‘Scent Maze’, we will hide different kinds of scent which are found around us easily and make us happy. The scent in the maze will be consisted of three kinds: tea, coffee, and soaps. Each exit will show the information of products and brands hid-den in the maze. As Herz (2006) claims that the sense of smell is not sustained longer than 20 minutes – all of us have experience of this kind that a certain odour is disappeared after a while –, the ‘Scent Maze’ will be designed to spend less than 20 minutes inside there by considering this fact. The products will be sponsored by local based business such as La Bottega Milanese, Moments Coffee Co.Ltd, and Yorkshire Soap Company. We will hire local-based set and lighting designers and technicians to set up the maze from the website of Stagejobspro and Linkedin.

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Dan DainterHe is a multi-skilled theatre designer and technician based in Leeds. He has professional knowledge of sets, lighting, etc. This ability is beneficial to efficiently work and communicte with the event venue staffs to under-stand the space.

We will hire him to design this maze inside either Howard Asembley Room in the Grand Theatre or Central Arena in Leeds City Museum.

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Did you choose which scent you will follow in the maze? Umm... I will choose

one after smelling these samples hereWell, I will take

Darjeeling Tea. I am confident at this.

I was correct. I followed right one!

I see. This one was the one I confused. Even this exit doesn’t have lavender soap haha

1. Audiences read the guideline which introduce what kinds of scent the maze has. 2. Choose the one to explore3. Learn the scent on the table be-fore start.4. Follow the yellow brick

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HOw to explore the scent maze.

Umm... I will choose one after smelling these samples here

OK, then I will try lavender soap! we might have the different wayout.

Oh my god. This is so confusing. I think I lost mine.

Sniff, Sniff. This seems not that one. Sniff, Sniff. Oh yes this one!

5. Sniff the yellow brick to find the chosen scent and find the way out.6. During the process, audiences can explore other scents as well and reconise the scent they didn’t care in routine.

7. When they are out of the maze, they can check what they have smelled whether it was right one they chose or not.8. They can learn more about the scent objects and the sponsored brand. 38

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Yorkshire Soap Company is a local

business based in Yorkshire including Leeds. This shop

has amazingly authentic products to sell. Also,

the scent are vari-ous to choose.

La Bottega Millanese has their own blended coffee bean. Now they are about to launch their online shop sell-ing the customized blended coffee beans as individual tastes.

Since 1919, Betty’s has a variety of tea kinds such as Tea room blend Leaf Caddy, Lap-sang Souchong Leaf Tea, Pure Ceylon Leaf Tea, Jasmine Blossom Green Tea, Bettys Blue Sapphire, Bettys Tea Room Blend Leaf Tea, Bettys Special Rare Green TeaBettys pai Mu Dan White Tea, Afternoon Dajeeling, etc. Betty’s is a tea company only located York, Harrogate, Northallerton, and Ilkley. This tea brand can shows Leeds’ culture and proud.

Moment Coffee has sold their coffee bean which has autehntic flavour from Brazil.

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We found the information of this venue hire at http://www.operanorth.co.uk/howard-assembly-room/ven-ue-hire. For further information on availability and suitability of the space for your event, we will contact to con-tact@HARhire.co.uk or 0113 243 9999.

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Central Arena in Leeds City Museum is our plan B to hold the scent maze event. If Howard Assembley Room is not available, we will consider here. To book this place to use, we will contact to 0113 224 3728 or make an enquiry on the website: http://leedsvenues.org.uk/rooms/central-arena/

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According to Landry (2006), it is claimed that sounds are combined together but are difficult to pick up individually in cities where are always full of various sounds. People broaden their “soundscape” (Landry, 2006, pp. 45) within culture to perceive the sounds of the city. In order to explore the sensory landscape of the city, we would like to collect different sounds in Leeds through recording various sounds within the sonic environment, including the busy sounds of commercial districts in the city centre, a repetitive beat from the pub music, the sounds of transport vehicles, the choirs in Leeds Cathedral, and even the varying wind sounds in the city through the sense of hearing.

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When peo-ple hear a sound, and then they listen and make sounds differently. Because of the differences of interpre-tation, there are diverse percep-tions of the sounds in different cit-ies, so that every city has its own sound atmosphere (Landry, 2006). To explore cul-tural differences through sensory experience, we will record the most types of British Accents to present the varieties of language within dif-ferent regions in the United Kingdom, namely Received Pronunciation, Cockney, Estuary Eng-lish (Southeast British), West Country (Southwest British), Midlands English, Northern England Eng-lish, Welsh English and Scottish English (Trawick-Smith, 2011). As such, it is meaningful to experi-ence regional differences through hearing various types of British accents to understand their own specialized features of sounds of cultures.

Expo Leeds was hold in Leeds in September 2009 to take over venues and public spaces across the city. This sound and music festival aimed to illustrate the powerful, creative and playful nature of hearing, discovering and listening to sonic art. We will cooperate with digital artists to perform at the Light and Millennium Square. This Soundscape event would be supported by Arts Council England, and our partnership included Leeds City Council, Opera North Howard Assembly Room and University of Leeds.

The UK’s largest free festival of sound art and experimental music

The festival offered visitors the chance to re-engage with the city in new, creative ways and to experience space, time and the urban setting through the art of listening. -Expo Leeds“

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Through connecting with “Expo Leeds”, we will design an interactive activity in cooperation with German-artist Christina Kubisch to create a new installation at The Light, Leeds, inviting passersby to record the sounds by using their smartphones through the shopping centre, and mix sounds together in creative ways. We will transform various sounds from original ones into artistic forms, creating sound art to present for audiences.

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We will hire the courtyard space in the Light which acts as the perfect space for us to design “the electronic walk” in the busiest space in Leeds.

According to their official website, we will download their brochure and contact the events team through email info@thelightleeds.co.uk to ask them the date of our event will be available or not for using.

The Headrow, Leeds, LS1 8TL

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In the mid-1970, a musician and composer, R. Murray Schafer introduced the notion of acoustic ecology (Schafer 1977, pp. 205). He stressed the significance of the value of listening and the quality of the soundscape. Schafer describes the world as “a vast musical composition” which is extending continuously. Sounds can evoke emotions, they have meaning, and they reflect the cultures through mediating experiences of stimuli. Although the “buzz” of the city refer to its noise which might be harmful to health or welfare for human, many sounds still attract people, creating pleasurable experiences and emotions (Newman & Lonsdale 1995, pp. 34). Exploring with the senses can trigger action by interaction with environment, discovering the beauty of a city, starting with sound.

Sound In Leeds

Click pictures to listen the sounds and mouse out of the picture to stop

playing

Leeds City Centre

Corn Exchange

Moment Cafe

LeedsCathedral

Gym at the Plaza

Strong Wind

in Leeds

We will make a list of the most important types of British English according to the dialect blog, “Brit-ish Accents and Dialects”. During our festival, we will present these British Accents and provide each speech samples for our audiences to better understand the differences in each region in the United Kingdom. While this is not a completed list, this blog provides an overview of the accents most often discussed on this site and elsewhere.

The United Kingdom is probably the most dialect-obsessed nation in the world. With countless accents shaped by thousands of years of history, there are few English-speaking nations with as many varieties of language in such a small space. - Trawick-Smith, B. 2011.

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”British Accent

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British Accent

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Gordon RamseyEstuary English (Southeast British) Estuary is an accent derived from London English which has been recognized as slightly similar to “General American” in the US. (Trawick-Smith, 2011).

Geezer Butler Midlands EnglishMidlands English can be divided into East Midlands and West Midlands, and it is one of the more characterized of Englishes.

Ray WinstoneCockneyCockney is probably the second most famous British accent.

Margaret ThatcherReceived Pronunciation Received Pronunciation is the closest to a “standard accent” in the UK.

Stephen MerchantWest Country (Southwest British)West Country refers to a large area of accents heard in the South of England.

Bernard SumnerNorthern England EnglishThese accents are spoken north of the midlands, in cities like Man-chester, Leeds, and Liverpool.

Cheryl ColeGeordieGeordie usually refers to accents and dialects in Northeast England in general.

Rhys Ifans Welsh EnglishThis refers to the accents and dialects spoken in the country of Wales.

Ewen Bremner Scottish English(Edinburgh)This is the broad definition used to describe English as it is spoken in the country of Scotland.

Peter Mullan Scottish English (Glasgow)

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Click pictures to listen the accents and mouse out of the picture to stop

playing

The connection between ‘the sense of tasting’and ‘food dishes’ is regarded as an acceptable concept, and there is also a correlation between the sense of tasting and culture (Stringfellow. 2013). In addition, different types of food dishes are often taken as evidences of cultural development in different areas. Not to mention of the history of food and its representation of a field throughout the centuries.To encourage the engagement of participants in experiencing and realising local culture and arts through the sense of tasting, two activities are designed for the achievements and will be held at Corn Exchange.

Taste Through History

Inspired by the exhibition held by The Stanley & Audrey Gallery in University of Leeds displaying recipes of baking through eras, the first activity for ‘City Taster’ will be an exhibition about the development of food in Yorkshire.Yorkshire historic food recipes will be presented along with several selected handmade cuisines followed by the steps of chosen recipes. Cuisines will be presented in numbers of dishes

based on recipes written in different eras to show the development and

change of the cuisines in the past, including Roast with Yorkshire

Puddings, Yorkshire Curd Tart, Parkin, and Liquorice.

Exhibition of ‘The Art of Baking: Cake Mak-ing and Bread Baking through the Ages’

(Counter Clockwise)Yorkshire PuddingsYorkshire Curd Tart

ParkinLiquorice.

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http://www.janinedenby.co.uk/contact-form.htmlhttp://www.janinedenby.co.uk/

Janine Denby is trained at Graphic Arts in Leeds Metropolitan Universi-ty and has lots of exhibition experi-ences for her art works. Known for different cities’ painting especially in illustrating urban night, we will in-vite Janine Denby for out city scenes illustration.

Janine Denby

+44 (0)20 7357 6353 +44 (0)7860 724681carl@carlwarner.com http://www.carlwarner.com/

The second activity for tasting is Food Landscape, inspired by the project of ‘Foodscapes’ made by Carl Warner. People tent to visit historic and popular herit-ages far more then enjoying and experiencing ordinary surroundings that are often ignored in daily lives. As the first exhibition focuses on the whole area of England, the second activity for tasting will narrow the range of field from England to Leeds City. Buildings and surrounding scenes of Leeds City will be presented by different types of food ingredients such as bread, vegetables and fruits, created in forms of art pieces along with photographs and paintings of the chosen buildings and scenes. Through the collections of ‘landscapes’ made by food, participants can not only no-tice the surroundings in novel ways of presentation but also have a chance to ‘taste’ the ordinary scenery of Leeds City.

Carl Warner

+44 (0) 78 666 052 80 mail@ruthlewisillustrations.comhttp://www.ruthlewisillustrations.com/index.htm Based in London, UK. Ruth Lewis is known for her dif-ferent topics of illustration and has cooperated with various types of magazines. Her works of illustration in-clude cuisines, landscapes, makeups, people, etc.

RuthLewis

+44 (0) 772588 3674 tom@tomhovey.co.ukhttp://www.tomhovey.co.uk/

“A Welsh Illustrator in Bristol. Cake Illustrator to the stars.” As described by himself, Tom Hovey has many experiences in illustrating food such as cake baking, fruits, dishes. He was also cooperated with the baking exhibition held by Stanley and Audrey Gallery in University of Leeds, which enlightened the idea of ‘City Taster’.

TomHovey

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Two of the activities for tasting will be held at Corn Exchange. The recipes exhibition will be set at the first floor surrounding the area, and the collections for the Food Landscape will be placed at the basement.

Contact for renting the space: http://www.leedscornexchange.co.uk/lettings

Julie FawleyFawley/ Watson & BoothTel: 0113 234 7900Email: Julie@fawleywatsonbooth.com

Adrian Johnson/ Rawstron JohnsonTel: 0113 2042048Email: adrian@rj-ltd.co.uk

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The sense of touching is one of the direct ways to feel sur-roundings through the interac-tions between body and objects in society.

An interactive exhibition will be held at Victoria Gardens with a se-ries of touchable art pieces made of natural materials collected in Leeds city.

Participants are invited to touch these art pieces to experience the shapes of the city, and are ex-pected to recall the impression of the city after activity.

In the book “The Image of the City”, the author mentions that moving in a city is recognized as the physical part in our daily life. We are not only observers in a city, but ourselves are a part of it, particularly, our activities have become physical parts in a city (Lynch, 1960). Shaping the natural materials or inhabit necessities for sensuous enjoyment is not only an artistic activities but the stimulation and reflection to care for the environment. Sometimes, we experience the city at a low level of awareness and are not accustomed to those things we don’t need. In order to deal with this happening, Landry (2006) suggests that we need to encourage our minds to be wider in any opportunities to perceive a city, exploring the environment and cultures by using the sense of touch. Although five senses have relative importance, Manske (1999) points out that only a few would consider touch is the most necessary of the senses since it is not until we are without the ability to experience “tactile stimuli” (Manske, 1999, pp. 213)—hot or cold, pain or pressure—that we become fully aware that touch is essential to our well-being. Therefore, the relationship between the sense of touch and a city refers to explore the environment with our hands. At the same time, we experience a city when the external object touching our skin and also our body itself.

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In 2015, an art ex-hibition that applying 3D printing technology into artworks was first created by The Prado Museum, aiming at pro-viding visually impaired an opportunity to expe-rience historical paint-

ings through touching, such as Leonardo da Vin-ci’s “Mona Lisa”, “Don’t touch me” by Antonio da Correggio, and “Still life with Artichokes, Flowers and Glass Vessels” by Juan Van Der Hamen. Inspired by The Prado Museum, The Louvre, London’s National Art Gallery and the other well-known art galleries have also created touch-friendly programming for people to touch arts pieces by their hands.

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From this inspiration, we will invite the crafts people in West Yorkshire of “UKCraftFairs” to produce handmade crafts made of natural materials such as woods, plants, and stones which are collected in Leeds. During this art exhibition, people can not only perceive and experience the art items through their touching sense but explore the relationships with the ordinary necessities we use and inhabit every day.

ConneCtion to the City https://www.ukcraftfairs.com/

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Apart from presenting the art exhibition, inspired by Craft and Design Month, we will organize the Arts and Crafts Workshop for people to learn handmade crafts.

Within the workshop, we will invite artists of The Craft Centre and Design Gallery in Leeds to teach crafts skills in the community. People have to register on the of-ficial websites, and it will be set a series of workshop for participants to enjoy the city atmosphere with their hands.

h t tp ://www.c ra f t cen -treleeds.co.uk/

Craft and Design Month was first launched in 2011 by craft&design magazine, the

project receives no funding or grant aid. Its ever grow-ing support and success is entirely the result of hun-dreds of people working together to promote the amazing creative talent that we have in the UK. (Design & Print

Consultants Ltd., 2015)

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Be inspired to be creative

Artists of The Craft Cen-tre and Design Gallery to inviteContact: craftcentre-leeds@btconnect.com

+ Hannah-May Chapman+ Joanne Haywood+ Yu-Ping Lin+ Mandy Nash+ Kathryn Partington+ Liz Willis + Julia Usel

Victoria Gardens is a civic space located in front of Leeds Art Gallery and the Henry Moore Insitute on The Headrow in Leeds city centre.

We will contact Leeds Visit Centre through an email tourinfo@leeds.gov.uk to get an approval to use this space.

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SummaryScent MazeVenue :Haword Assembley Room(Grand Theatre) ORCentral Arena (Leeds City Museum)

Activity :Tracking scent to find wayout in maze

Smelling

Research & Analysis

Management

Market ResearchSWOTPromotion Strategies

Licence & InsuranceSafty & SecureInfrastructureWaste Disposal

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MAKESENSE

Fairies in Leeds

The Voice

City Taster

Sense it

Venue :Roundhay Park ANDHyde Park

Activity : Visiting fairies’ world

Venue :Victoria Gardens

Activity : Participating creative workshop and fair

Venue :Corn Exchange

Activity :Exploring Leeds traditional food in history

Venue :The Light

Activity : Experiencing Leeds by sounds and languages in all around Bratain.

Seeing

Touching

Tasting

Hearing

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Along with OCD. co. creteria of evaluation, Make Sense team will have additional evaluation plan considering the festival feature.

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Evaluation is very important to re-flect participant’s feedback on the next event. Since we are new com-pany and this is the first event hold-ing, feedback from participants and critique comments from staffs and volunteers will be a key guideline to find things to improve.

> Feedback card for hand-writing> Poist-it wall> Filming interviews> Verbal comments to staffs or volunteers.> App or SNS use

> Discuss the events done with artists, volunteers, etc.> Informal style of meeting to freely suggest their comments.> Appreciate their contribution

FEEDBACK

DEBRIEF MEETING

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ReferencesBalm, R. and Holcomb, B. 2003. Unlosing Lost Places: Image Making, Tourism and the Return to Terra Cognita. In: Crouch, D. and Lubbren, N. eds. Visual culture and tourism. Oxford: BERG.Bonami, F. et al. 2005. Universal Experience: Art, Life and the Tourist’s Eye. Chicago: Museum of Contemporary Art.Connolly, M. G. 2013. The ‘Liverpool model(s)’: cultural planning, Liverpool and Capital of Culture 2008. Interna-tional Journal of Cultural Policy. 19(2), pp.162-181. Corbin, A. 2006. The New Calculus of Olfactory Pleasure. In: Drobnick, J. ed. The Smell Culture Reader. Oxford: BERG.Sound and Music. 2009. Expo Leeds. [Online]. [Accessed 27 March 2015].Available from: http://www.soundandmu-sic.org/projects/expo-leedsHerz, R. S. 2006. I Know What I Like: understanding odor preferences. In: Drobnick, J. ed. The Smell Culture Reader. Oxford: BERG.Hirsch, A. R. 2006. Nostalgia, the Odors of Childhood and Society. In: Drobnick, J. ed. The Smell Culture Reader. Oxford: BERG.Arts Council England.2015.International showcasing. [Online]. [Accessed 10 March 2015]. Available from: http://www.artscouncil.org.uk/funding/apply-funding/funding-programmes/international-showcasing/Keller, H. 2006. Sense and Sensibility. In: Drobnick, J. ed. The Smell Culture Reader. Oxford: BERG.Landry, C. 2006. The art of city making. London : Earthscan Publications Ltd.Leeds Arts Council. [no date]. Park and Countryside Community and Charity Event guide: A guide to organizing com-munity events in Leeds Parks and Green Spaces. [Online]. [Accessed 18 April 2015]. Available from: http://www.leeds.gov.uk/docs/guidelines.pdfLynch, K. 1960. The image of the city. Cambridge, Mass.: M.I.T. Press.Manske, P. R. 1999. The sense of touch. The Journal of Hand Surgery. 24(2), pp.213-214.Newman, P. S., and Lonsdale, S. 1996. The Human Jungle. London: Ebury Press.National Endowment for the Arts. Research Division (NEA). 1981. Audience development: an examination of select-ed analysis and prediction techniques applied to symphony and theatre attendance in four southern cities. Washing-ton, D. C: National Endowment for the Arts.Richards, G. 2010. CRITICAL REVIEW. INCREASING THE ATTRACTIVENESS OF PLACES THROUGH CULTURAL RE-SOURCES. Tourism, Culture & Communication. [Online]. 10(1), pp.47-58. [Accessed 18 March 2015]. Available from: http://www.academia.edu/download/30333152/increasing_the_attractiveness_of_places_through_cultural_reosur-ces.pdf. Schafer, R. M. 1977. The Tuning of the World. New York: Knopf.Stringfellow, L. et al. 2013. Conceptualizing taste: Food, culture and celebrities. Tourism Management. [Online]. 37. Pp.77-85. [Accessed 30th March 2015]. Available from: http://0-ac.els-cdn.com.wam.leeds.ac.uk/Trawick-Smith, B. 2011.British Accents and Dialects. [Online]. [Accessed 10 March 2015]. Available from: http://dialectblog.com/british-accents/

Image referencesMost images from Google image (Image.google.com) and Pinterest (www.pinterest.com). The others are from be-low:

Anstey, T. 2013. Liquorice. [Online]. [Accessed 30th March 2015]. Available from: http://www.leisureopportunities.co.uk/detail.cfm?pagetype=detail&subject=news&coBaker, G. 2010. Yorkshire Curd Tart. [Online]. [Accessed 30th March 2015]. Available from: http://www.bbcgood-food.com/recipes/749642/yorkshire-curd-tartCook, S. 2012. Parkin. [Online]. [Accessed 30th March 2015]. Available from: http://www.bbcgoodfood.com/reci-pes/1940684/parkindeID=305910Craft Centre and Design Gallery. 2015. Information for Designers. [Online]. [Accessed 28th March 2015]. Available from: http://www.craftcentreleeds.co.uk/Denby, J. [No Date]. Leeds City Markets: End of the Day 2. [Online]. [Accessed 28th March 2015]. Available from: http://www.janinedenby.co.uk/photo_9418406.htmlHovey, T. 2010. Mary’s Layered Tiramisu Cake. [Online]. [Accessed 28th March 2015]. Available from: http://www.tomhovey.co.uk/the-great-british-bake-off/Hovey, T. 2010. Victoria’s Tropical Fruit Tart. [Online]. [Accessed 28th March 2015]. Available from: http://www.tomhovey.co.uk/thebakedprintshop/Kerridge, T. [No Date]. Treacle-cured beef with Yorkshire puddings and roast potatoes. [Online]. [Accessed 30th March 2015]. Available from: http://www.bbc.co.uk/food/recipes/treacle_cured_beef_with_35837Lewis, R. 2010. [No Name]. [Online]. [Accessed 28th March 2015]. Available from: http://www.ruthlewisillustra-tions.com/index.htmLewis, R. 2014. Crispy outside and custardy inside, Yorkshire pudding is one of the few dishes that elicits a gasp when it arrives at the table. [Online]. [Accessed 28th March 2015]. Available from: http://www.telegraph.co.uk/foodanddrink/11041921/The-Kitchen-Thinker-the-history-of-Yorkshire-pudding.htmlSpence, A. 2011. My Cards and Crafts: Light Night Leeds-Crafts Gardens. [Online]. [Accessed 30th April 2015]. Avail-able from: http://mycardsandcrafts.blogspot.co.uk/2011/10/light-night-leeds-craft-garden.htmlUK Craft Fairs. [No date]. The UK arts and crafts community. [Online]. [Accessed 30thMarch 2015]. Available from: https://www.ukcraftfairs.com/Warner, C. [No date]. Breadford and Cheesedale. [Online]. [Accessed 28th March 2015]. Available from: http://www.carlwarner.com/foodscapes/Warner, C. [No date]. Ukraine meat factory. [Online]. [Accessed 28th March 2015]. Available from: http://www.carlwarner.com/foodscapes/

Copyrights atHyoni (Jeong Hyeon Kim) for the following:- Design of e-book- Contents of management (pp.15-18 ), seeing (pp. 21-30), smelling (pp. 31-44), and evaluation (pp. 85-86)- The made objects for seeing, smelling, and touching samples.

Emily (Ying Yeh) for the following:- Contents of hearing (pp. 45-58) and touching (pp. 69-80)- The recorded sounds for hearing.and the food of tasting sam-ples.

Evelyn (Sih-Chi Lin) for the following:- Contents of tasting (pp. 59-68) and touching (pp. 69-80)- The foods of tasting sample- Design of Prezi file (presentation material)

All of three project members above share the copyrights of the rest.

Presented on 8/May/2015.in the School of Performance and Cultural Industriesat the university of Leeds