The information below provides a summary of the key ways in which the London Transport Museum (LTM) may use your personal information.
Personal information we collect may include:
Under data protection legislation, we are only allowed to use personal information if we have a proper reason or ‘legal basis’ to do so. In the case of LTM, there are a number of these ‘legal grounds’ we rely on, which are:
Our statutory and public functions:
Where you have given your consent to LTM, for example:
For the 'performance of a contract', for example:
We may collect your information in several different ways:
Most of the information we hold is provided directly by you. For example, you may give us your information in order to purchase a ticket or sign up for one of our events, request our newsletter, make a donation, or purchase something from our online shop. We will also collect your information if you email, phone or write to us. If you telephone LTM, your call may also be recorded for training and quality purposes.
You may also have provided us with your information if you are a LTM Volunteer, Trustee, Patron or any other type of supporter or member.
Depending on your privacy settings, we may also collect information about you from your interaction on one of the Social Media platforms we use; for example if you post on our Facebook or Twitter pages or visit our YouTube channel.
If you are a member of the London Transport Museum Friends, they may share your personal information with us, where you have agreed they can do so.
On some occasions we may also collect publicly available information about you. You can read more about this in the sections below.
London Transport Museum works with third party agencies and resellers who sell admission tickets on behalf of the Museum. If you book tickets through a third party, London Transport Museum will receive information about the booking as well as associated data that you provided when making the ticket purchase.
LTM uses your personal information in four main ways:
If you have agreed to receive our newsletter, we will send you regular updates that will include information about the Museum’s work, as well as our events, special offers and fundraising activities.
If you attend a specific event (for example a guided tour, or one of our debates or talks) we may contact you afterwards to obtain your feedback.
There are some membership and donation communications that we are required to send regardless of your contact preferences. These are essential communications, deemed necessary to fulfil our contractual obligations to you. These may include Direct Debit confirmations and advanced notices, thank you letters, renewal of Membership cards and renewal reminders, Gift Aid confirmation letters and querying returned mail or bounced Direct Debit payments with you.
Sometimes we may combine your personal information with information available from other publicly available sources.
We do this for a number of reasons; for example so that we can send better communications more likely to interest you - or to provide an improved Museum experience for our supporters and visitors. It also helps us to build a better long term relationship with all of the people who support us currently - or who may do so in the future. Importantly, it enables us to raise more funds, more quickly and so support the wide and varied work that takes place at London Transport Museum.
We may analyse geographic, demographic and other information relating to you and we may use additional information from third party sources when it is available. Such information is only compiled using publicly available information about you. Some examples of the resources we might use include:
Occasionally LTM may use aggregated, depersonalised information to carry out other research and analysis. Examples may include looking at which geographic areas our visitors travel from, or which age groups visit us. Individuals cannot be identified using this data.
Under data protection legislation we have to let you know when we use your personal information do something ‘automatically’ using our computers or other systems, or make an automated decision (without human intervention) that significantly affects you.
LTM does not make decisions or assumptions about you based solely on the use of automated systems, databases or computer applications.
LTM has contracts with a number of third party service providers that support the day-to-day operation of the Museum, website, our fundraising activities and our shop.
Where we appoint an external supplier any such arrangements will be subject to a formal agreement between London Transport Museum and that organisation or individual to protect the security of your personal information.
Where you explicitly agree, we may share your personal information with the London Transport Museum Friends, a separate charity that works closely with the Museum to support its objectives and fundraising activities.
We will never pass your personal information on to any other organisation for marketing purposes and do not sell or rent personal information to third parties for any purpose.
If you have made a Gift Aid declaration, we may disclose the information you provided to HMRC for the purpose of reclaiming Gift Aid on your donation(s).
In some circumstances, disclosures of personal information to the police (and other law enforcement agencies) are permitted by data protection legislation, if they relate to the prevention or detection of crime and/or the apprehension or prosecution of offenders. Before any such disclosure takes place, the police are required to demonstrate that the personal information concerned is necessary for them to carry out a proper investigation. Each police request received by TfL is dealt with on a strictly case-by-case basis to ensure that any such disclosure is lawful and carried out in accordance with relevant guidance issued by the Information Commissioner's Office.
The Museum will retain personal information in line with its data retention policy. This means that we will not hold information for longer than is necessary for the purpose we obtained it for.
To ensure that we do not retain inaccurate, out-of-date or irrelevant information, information will be regularly reviewed and we will delete anything that we no longer need.
LTM and its service providers may process your personal information in countries within the European Economic Area (EEA) and worldwide. These locations include the Netherlands and the USA. Any such processing will be carried out in strict accordance with UK and EU privacy legislation and the appropriate contractual safeguards which LTM has put in place.
We take the privacy of our customers and supporters very seriously and a range of robust policies, processes and technical measures are in place to control and safeguard access to, and use of, personal information associated with LTM. This includes payment card data which is handled in accordance with the Payment Card Industry Data Security Standard (‘PCI DSS’).
TfL also publishes guidance on the steps you can also take to protect your personal information.
We operate CCTV cameras throughout the Museum and at our Depot in Acton. We use it for three main purposes:
We retain CCTV for a period of 30 days before it is automatically deleted unless the images are required for an investigation under lawful authority.
If you would like to unsubscribe from our newsletters or other updates you receive from us, please use the link we include at the end of every email. You can also update your contact preferences at any time by contacting us at one of the addresses below.
Under data protection legislation you are entitled to ask to see any personal information that we hold about you and be given details of how we use that information, and where we obtained it from. Find out how to access your data from the London Transport Museum.
You also have a number of other information rights which include:
In relation to these information rights, please email us at [email protected] or write to us at the address below:Privacy Officer
Please note that we may require proof of your identity and address before we can process your request. We will respond to your request within the appropriate statutory timescales and in accordance with guidance from the Information Commissioner’s Office.
If you have a specific concern or complaint about the way LTM handles your personal data, you can contact our Data Protection Officer.
You can also contact the regulator for information rights - the Information Commissioner's Office.
It's likely that we'll need to update this statement from time to time, so check back here regularly to find out more. Your continued use of the site will mean that you accept those revisions. This page was last updated in May 2018.
Cities are a magnet for people as centres for jobs, economic activity and innovation, and urban mobility systems lie at the very heart of what makes cities attractive and viable. However, urban transport is facing an urgent set of challenges as a number of social, technological, economic, environmental and political impacts place further stress on already straining systems. New business models and technologies are emerging to try and solve these challenges, but there are huge uncertainties about how these will impact cities over the long term and whether they will move ahead of customer acceptance and regulatory frameworks.
Over the course of 2017, the Interchange programme at London Transport Museum, in collaboration with Arup, Gowling WLG and Thales, sought to drive a conversation around some of these issues and to focus attention on the speed and complexity of the changes occurring in the sector. The resulting report aims to reflect on these conversations and present some of the different views that emerged.
To read more about London Transport Museum's corporate programme of events, please visit the Thought Leadership page.
Frank Pick was the man who commissioned some of the most recognisable icons of London Underground’s identity; the Johnston typeface, Charles Holden stations, the roundel and Harry Beck’s Tube map, to name but a few. 2016 marks the 75th anniversary of his death and to commemorate his legacy we are hosted a series of talks and a crowdfunding campaign to support the new permanent art installation by artists Langlands & Bell that was unveiled at Piccadilly Circus Tube station on 7 November 2016.
As Managing Director of London Underground in the 1920s and the first Chief Executive of London Transport, Frank Pick (1878-1941) had more influence on the look of twentieth-century London than any other individual. Renowned art historian Nikolaus Pevsner, described Pick as “the greatest patron of the arts whom this century has so far produced in England, and indeed the ideal patron of our age.”
Frank Pick oversaw what is widely acknowledged to be transport design’s golden age. He commissioned some of the most recognisable icons of London Underground’s identity such as the distinctive red, blue and white roundel Tube logo, the original Johnston typeface and the art deco architecture of many Underground stations designed by Charles Holden. Pick also commissioned striking advertising posters in a variety of styles, often working with famous artists of the day such as surrealist Man Ray.
Through his vision and determination, the Underground witnessed the birth of commercial art and advertising as well as the emergence of graphic design, wayfinding systems, corporate identities and integrated brand design.
To celebrate Pick’s life and work and mark the 75th anniversary of his death on 7 November 1941 a new artwork, created by Turner Prize nominated and BAFTA award-winning artists Langlands & Bell, has been installed in the circular concourse at Piccadilly Circus station. The striking wall installation, entitled Beauty < Immortality, is made of bronze, vitreous enamel, LEDs and marble, is a permanent addition to the station’s unique architecture. The artwork is 9.5m long and 2m high and features a 1.37m diameter roundel and a 1.98m high text of solid bronze letters in New Johnston typeface.
The artists were inspired by Frank Pick’s own handwritten notes, which are part of London Transport Museum’s unique collection. The text relates to Frank Pick’s philosophy about beauty, utility, goodness and truth, and underlines Langlands & Bell’s shared conviction that the quality of our surroundings contributes decisively to our quality of life.
Beauty < Immortality was launched by Mike Brown MVO, London’s Transport Commissioner on 7 November 2016. It was commissioned by London Transport Museum and Art on the Underground in partnership with London-born gift and interiors retailer www.Bouf.com
London’s timeless and iconic lettering – the Johnston typeface – was created a century ago for London Underground by Edward Johnston and since its introduction it has come to represent not just transport but the idea of London itself.
London Transport Museum and partners are marking the 100th anniversary of its introduction to London’s landscape with a number of events including a series of talks, a special Museum Depot Open Weekend, and behind the scenes Johnston Journey tours.
Edward Johnston, the son of Scottish settlers, was born on their remote ranch in the province of San José, Uruguay. The family returned to England when Johnston was three years old. A creative child, he was absorbed by the popular Victorian hobby of ‘illuminations’, the copying of texts in the manner of a mediaeval manuscript.
In 1895 Johnston abandoned the study of medicine at Edinburgh University with the idea of working in the arts.
On arrival in London Johnston had what he described as the “miracle of his life” when he met W. R. Lethaby, the founding Principal of the Central School of Arts and Crafts. On seeing samples of Johnston written illuminated work, Lethaby commissioned a work from Johnston and urged him to study manuscripts at the British Museum. When Johnston delivered his commission, he was astonished to be offered a post teaching illuminating at the Central School.
Before resettling in London, he embarked with his cousin on a “Wild West” three month trip to Canada via the USA. On Johnston’s return from the Wild West, his new role didn’t start straightaway and he spent more time in the British Museum and was encouraged to study Roman and Renaissance lettering. Rather than simply being a Victorian ’illuminating’ class, his new course at the Central School would rework and re-establish this tradition of hand-lettering. Over a 30 year period of teaching, including 25 years at the Royal College of Art, Johnston influenced a generation of artist-craft workers including the brothers MacDonald and Eric Gill.
He married in 1903 and lived at Hammersmith Terrace in West London, where there is now a blue plaque to him. In 1906 Johnston published his book Writing & Illuminating & Lettering. In this Johnston expressed that lettering should always aspire to the qualities of ‘Readableness, Beauty and Character’. This book is still widely used by students of calligraphy today.
In 1912 Johnston moved to Ditchling in Sussex to be near his friend Eric Gill, the letter cutter, carver and wood engraver. In subsequent years others would follow Gill to Ditchling which became a centre for artists and craftspeople. Johnston remained in Ditchling until his death in 1944.
In 1913, Johnston met Frank Pick, Commercial Manager of the London Underground Group. This meeting ultimately resulted in the commissioning of Johnston’s Standard Block Lettering for the Underground and the London Underground ‘bullseye’ symbol.
Pick’s immediate objective as Commercial Manager was to drive up fare income. He set about making the Underground more attractive to passengers by publicising it more effectively, by making its stations easier to identify, and by making the system easier to use and to navigate in order to encourage repeat business.
It was with these objectives in mind that Johnston submitted the first examples of Johnston Capital letter block letter type to Pick in February 1916.
The first use of the Johnston typeface was in wooden block prints for posters. The type was soon used in signage in the development of the new Tube extensions and station refurbishments in the 1920s and 1930s.
At the turn of 1916/17 Frank Pick asked Johnston to redesign the trademarks for the Underground Group including The Bullseye logo which Frank Pick had first initiated in 1908. Johnston refined this to the now familiar branding of the bar and circle we still see today and which is recognised the world over.
In the 1970s, London Transport looked into the suitability of using Johnston or its replacement with a more modern letter form. In 1979, Eiichi Kono, a young Japanese designer working for Banks and Miles, revised the original Johnston with slight changes to the proportions to some of the letters and created bold and italic fonts. The New Johnston type is still in use across the network today.
We have new and exclusive Johnston inspired product arriving soon from note books to lampshades all of which will be available to buy in store or online at ltmuseumshop.co.uk
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Who knew transport inspired fashion could look so good? Pick up a pair of Routemaster or District moquette design socks in our online shop! Every purchase supports our charitable work.
Be transported to a by-gone era of Victorian steam power as we mark 150 years of the District Line. Don't miss out on tickets - this is your last chance to see central London by vintage steam train!
A ghostly Edwardian family are board an early Tube train on the right, while a new train has its air-powered doors open to welcome contemporary passengers on this poster designed to promote network changes...