Transport for London Corporate Archives

TfL’s Design and Innovation Heritage

T fL C orporate Archives is part of Information G overnance, G eneral C ouns el

TfL Corporate Archives

The TfL Corporate Archives acts as the custodian of the corporate memory of TfL and

its predecessors, responsible for collecting, conserving, maintaining and providing access to the historical archives of the organisation. These

archives chart the development of the organisation and the decision making processes. The Archives provides advice and assistance to researchers from both within and outside of the business and seeks to promote the archive to as

wide an audience as possible, while actively collecting both physical and digital material and

adding personal stories to the archive. The Archives are part of Information Governance, within General Counsel.

Online Exhibition

• “TfL’s Design and Innovation Heritage” is intended as an introduction to the wealth of material in the Corporate Archives collections charting the role of design in TfL and its predecessors and highlighting significant innovations over the years across different platforms.

• The following pages highlight key documents arranged according to theme, as well as providing further brief information. These can be used as a starting point for further research if desired

• This document is adapted from a guide that originally accompanied an internal exhibition

Corporate Identity

• The concept of corporate identity is akin to what we refer to when we talk about our own identity, the specifics that differentiate us from others. A business makes itself distinct through the image that it presents to the world, through collateral like business cards, letterheads, brochures and other options. It is a physical expression of the company's brand, an extension of the culture that is already expressed through communication style and behaviour exhibited to maintain the image of the business.

• Trademarks, logotypes, and house styles are simple methods of associating the customer with the service. The succession of visual images presented to the traveller affords repeated opportunities for indication of the company’s personality, and the look of an interdependent consistently designed series of products supports the perception of an efficient transport operation.

• Good design is a demonstration of intent to provide good service, emphasises efficiency, and supports and underlines technological improvement. • London’s public transport – especially its buses and Underground – has become a symbol of the city in a way that is unique in the world. Every foreign visitor regards a ride on a red double-decker bus and a journey on the tube as a ‘must’. This makes the system a living monument, lasting not merely fashionable.

LT000282/146

Bus Design

• The earliest successful London motorbus was the B-type, which first appeared in 1910. The passenger saloon was not dissimilar to that of the horse-bus of the 19th century. The driver sat behind the engine, with no windscreen or other protection from the elements, apart perhaps from a rudimentary tarpaulin.

• The K-type was clearly derived from the B-type but with increased seating capacity and what was termed ‘forward-control’, with the driver beside the engine for the first time.

• The S-type was basically an improved K-type, longer and with more seats but still open-top.

• The well-known “RT” type bus finally appeared in 1939/40, a far superior design of motorbus than those hitherto. Smooth curves were introduced into the design, which in time became a classic and, after modification and sundry changes, led eventually to the introduction of some 7000 vehicles of similar type. Again, the pre-selective gearbox was used but air-operated as opposed to mechanical. Overall, members of the RT family served London for some forty years.

LT001488/001

Bus Design

• The famous Routemaster bus first appeared in 1956. Incorporating lessons learnt with the construction of aircraft during World War II, the vehicle was of lightweight chassisless construction, the main mechanical parts being contained in two sub-frames suspended from the body. Although seating eight more that the RT-type and with a wider body, the basic RM weighed less. Power-steering and fully-automatic (semi-automatic on some versions) transmission was fitted, with just two pedals, which it was thought would be easier for former trolleybus drivers to master. With just under 3000 units built – mainly for London Transport – the Routemaster became a design icon of London with much merchandising built up around it, lasting until 2005 in regular service. LT000237/074

• The New Bus for London, launched in 2012, was inspired by the much-loved Routemaster. • The New Bus for London has a pioneering, futuristic design that features: Extensive use of glass to highlight key features and produce a light and airy feel inside the bus A glass 'swoop' at the rear and offside to pick out the two staircases Three doors and two staircases for smoother, speedier boarding and access to the upper deck.

Tube Design

• Train design on the underground was initially very similar to train design on railways generally. The only significant difference resulted from the use of steam locomotives in tunnels. This led to a very smoky atmosphere. Underground carriages were similar to those on main lines, with slam doors. When a door accidentally came open underground, the consequences were more serious. Porters provided attendance on platforms, to ensure that all doors were properly closed before the train departed from each platform.

• Just the City & South London, and the Central London Railway used electric locomotives on opening. These were staffed by a Motorman and an Assistant Motorman. The rest of the train was staffed by gatemen and a guard. Using a locomotive required either a loop at the terminal station, or uncoupling the locomotive on arrival and attaching another locomotive at the departure end. This limited the maximum frequency of trains that could be operated.

• By 1906, technology had developed to allow one person to control the power to motors on multiple carriages. This enabled the Bakerloo, Charing Cross, Euston and Hampstead and Great Northern, Piccadilly and Brompton Railway to operate multiple unit trains. Having a cab at each end meant that the motorman merely had to change ends on arrival at the terminus for the next journey back.

• Access to and from carriages was still via carriage ends only, however. This required lots of gatemen and, even with one way flows, led to long station stop times in peak periods.

• The solution to this problem began to emerge around the First World War in the form of doors opened and closed by compressed air. This meant that one person could open and close many doors. This enabled the progressive phasing out of gatemen, and shorter station stop times. Many lines operated with a motorman and a guard from 1930s to 1980s.

Tube Design

• In 1902 the Underground Electric Railways Company of London Ltd was formed to extend the electrification of the District Railway; the whole of the line was converted to electricity by the end of 1905. The first line to be electrified was from Baker Street to Uxbridge, followed by a full service round the Circle; electrification reduced the running time of the latter trains from 70 to 50 minutes.

• In 1913 the East London Line was electrified and its passenger transport passed to the Metropolitan; in 1934 electrification of the Metropolitan was extended from Rickmansworth to Amersham and Chesham.

• In 1960 the steam era on the Metropolitan began slipping away with the operation of the

last steam-hauled train on the Chesham branch.

LT000249/195

Tube Design

• The Victoria line opening in 1968 marked a first in a number of ways – first automatically driven train, first one person operated train. From the late 1960s, trains were designed to be capable of being operated by one person, with the motorman both driving the train and operating the doors. The first line to change to one person operation was the Hammersmith and City in 1984, and the last was the Northern line in 1998.

• The conversion of the Central line in the 1990s from two person to one person operation also marked the transition to automatic operation. The latter has enabled shorter journey times and higher capacity, eliminating the variation between driving styles of human beings, and having a more sophisticated signalling system.

• Other lines converting from one person operated manual driving to one person operated automatic driving were the Jubilee and the Northern lines. This leaves the Piccadilly, Bakerloo and Waterloo & City lines and the Sub Surface Railways (Metropolitan, Circle and Hammersmith and District) to be converted to automatic driving.

Tube Design

• Air suspension for a more comfortable ride was a feature of the C69 stock built for the Hammersmith and City and Circle lines. This new suspension system was the first of its kind on rail cars in Britain and combined rubber springing with air

cushioning to give a smoother ride to the passenger. Principal features of the new trains were 4 double doors to each side of each car to speed up passenger movement, new air suspension which adjusted to the individual loading of each car, double glazed windows to reduce the noise levels inside the car, fan heaters mounted in the roof of each carriage to LT000030/076

waft warm air down to passengers, and all aluminium bodywork and underframes. The stock was designed for conversion at a future date to one man operation.

• Trains for the Jubilee Line Extension were of a completely new design. Six separate cars were designed to have end windows allowing visual contact between adjacent cars. Motors became AC controlled and regenerative braking put in place. The control system was based on a transmission based moving block with both Automatic Train Protection and Automatic Train Control. Normal service performance was designed to leave a margin of slack, meaning that trains would coast for significant periods.

Station Design

• During the construction of the original underground railway stations, little consideration was given to their style. They were built purely to be functional, not aesthetic. Most were simply built with mock stone facing and some minor Italianate flourishes. However, the electrification of the railways in the early 1900s gave the opportunity for rebuilding and the District Railway stations began to adopt styles that were sympathetic to their architectural surroundings.

• The original City and South London Railway stations, on the modern day Northern Line, benefitted from having a sole designer working on them and T Phillips Figgis was a fan of distinctive features, such as large domes and cupolas over the

booking halls. • Many early Piccadilly Line stations were embellished by the designer Leslie Green. He trademarked the stations he designed with glazed earthenware surfaces and green and brown tiles. Passageways and platforms were decorated with tiles in coloured bands. LT001740/023

Station Design

• In the 1930s, the architect Charles Holden became a favoured architect of the London Passenger Transport Board Vice-Chairman, Frank Pick, and his landmark designs quickly began to pepper the portfolio of LPTB property. Influenced by simple brick buildings witnessed on a tour of Holland, Holden created stations such as the box-like station at Sudbury Town and the drum-shaped Arnos Grove. They were built with endurance and ease of maintenance in mind. Typically his designs featured lofty rectangular ticket halls that spread outwards such as that seen at Northfields, though circular buildings were also introduced. The purpose behind these designs was to enhance the public’s perception of LPTB as being a forward-thinking transport company with a system that was easy to use and modern. In short, they exhibited a corporate identity.

• Underground stations, particularly central ones, have to cope with thousands of passengers a day – in some cases thousands an hour. The movement of these customers around stations is a huge factor in the planning of their layout. The aim of station design is to simplify and clarify the passenger journey around the station as far as possible. The ideal is for good directional passenger flow whilst allowing a central meeting and waiting area. Line identity can be key to such movement.

Station Design

• The more modern stations incorporate a strong and distinctive line identity into their architecture and this was pioneered by the Victoria Line, which in 1968 became the first new line to be constructed under central London for over 50 years. An individuality to the stations was maintained by the use of tile motifs on the platform walls, with each motif paying homage to the history or landscape of the area that the station serves.

• This use of motifs was employed again when Northern Line platforms were modernised, when the Piccadilly Line was extended to Heathrow Airport, and when Bakerloo Line platforms were modernised.

• By 1989 London Underground had decided that a new, comprehensive strategy for the design of stations was necessary. It outlined the belief that because station buildings presented LU to the customer and needed to enhance the customers’ experience, they needed to be spaces that gave the impression of an environment and an organisation that was courteous, careful, consistent, and in control.

LT000280/109/004

Roundel

• In 1965, London Transport was awarded the Royal Society of Arts’ Presidential Medal for Design Management. In the article accompanying the award, which appeared in Design magazine, the “circle bisected by a horizontal line” was referred to as “one of the best symbols ever devised in modern times”.

• The origins of the famous Transport for London symbol are obscure, but its better known developments seem to be closely related to the symbol of the predecessor company the London General Omnibus Company.

• The London General Omnibus Company adopted the design of a wheel with wings as a motif and registered it as a trade mark in 1905. The company name was arranged around the wheel and the word General appeared on a bar across the centre.

• Following amalgamation with the Underground Electric Railways Company, the Underground also adopted the bar and circle device (in addition to other motifs).

• The symbol was commonly referred to as the bullseye until 1972, when it was redrawn and officially renamed as the roundel. And this roundel has now become the universally recognised mark of the company.

Typeface

• Edward Johnston was born in 1872 in Uruguay. His most famous letterform is one that has had a huge impact on type design and remains, since the time of its emergence in 1916, the exclusive property of Transport for London. It is the ‘Underground Railway Block-Letter’, more commonly known as the Johnston typeface.

• Johnston was introduced to the then commercial manager for the Underground Electric Railways Company, Frank Pick, in June 1913. A few meetings later, Pick had commissioned Johnston to develop a set of block letters to be used as a standard by the company. The first finalised set of upper case letters, Johnston Sans, were delivered in June 1916. A set of lower case letters and numerals were delivered in July 1916. Johnston was a calligrapher, not a type-cutter, so he drew the entire alphabet from hand. In June 1917 one of the Underground’s printers ran off a complete set of the typeface and from that point posters, notices and ephemera began to appear in the new face. The effect was to give a much more unified and professional look to material.

• Once the typeface letters had been delivered, attention had turned to utilising the lettering in a ‘logo’ format, based on the bar and disc logo that had already evolved. In March 1917, Johnston had finished preparing a drawing which included a black outline around the red roundel ring, a black keyline around the centre bar, the Underground word written in the centre bar in the Johnston typeface, and a reduced ring width. This design was registered in 1917 and is the foundation for every roundel that we see today.

Maps

• Although the various lines produced their own maps, and in 1906 maps were published of the main group of four railways, it was not until 1907 that any sort of map of completely independent lines was produced. This was done by the Underground Electric Railways Company of London, who published a map showing the Baker Street & Waterloo Railway, the Charing Cross, Euston & Hampstead Railway, the District Railway, the Great Northern, Piccadilly and Brompton Railway, the Metropolitan Railway, the Central London Railway, the City & South London Railway, and non underground railways. The first all inclusive map, showing eight railways in different colours and the connections between them was published in 1908.

• In 1926, F H Stingemore, a draughtsman with the Underground group, was the first to engage in some topographical distortion of the map, compressing some of the outer portions of the lines.

Maps

• In 1931, Henry C Beck, an employee of the drawing section of the Establishment Offices, produced his first sketch of the tube Diagram and was urged by colleagues to send it to the Publicity Department. He did so, but it was dismissed as being too revolutionary. A year later he tried again and this time, the map was printed. 750,000 copies were printed as a first issue in January 1933, with another 100,000 following in February. The design was a hit.

• The Beck map has formed the basis of the tube map right up to the present day, albeit with some minor adjustments – including the temporary use of diamonds and interlinked loops to indicate interchange stations, the reductions of diagonals, and the introduction of a locating grid, etc.

LT000709/039

Posters

• With over 200,000 sites for posters and advertisements on its Underground and bus networks, Transport for London can supply advertising space to a huge range of businesses. Whether we like it or not, once we start a journey on a tube or bus we are a captive audience.

• But from its earliest days, the company has also used much of the space to give important messages to travellers.

• During the 1930s, the Underground commissioned over 1,000 works, giving exposure to some of the world’s most influential designers as well as many newcomers. These included Charles Burton, Edward McKnight

Kauffer, Austin Cooper, Margaret Calkin James, Cecil Walter Bacon, Frank Newbould, Ernest Michael Dinkel, Marc Fernand Severin, Anna Katrina Zinkeisen, Dora Batty, and Jacob Epstein. • Posters in the late 1980s combined inventiveness with a renewed emphasis on corporate identity. Visual puns returned, for example ‘Fly the Tube to Paris’.

LT001740/026

Moquette

• The word moquette derives from the French word for carpet. It is a type of woven pile fabric in which cut or uncut threads form a short dense pile, giving it a distinctive, velvet like feel. Its durable and easy clean properties resulted in it being identified as suitable upholstery for public transport.

• TfL Corporate Archives has evidence of a working relationship with textile manufacturer John Holdsworth and Company, of Halifax, from 1933. Surviving correspondence concerns the supply of moquette fabric for upholstery on the Underground. During the 1930s they manufactured some of London Transport’s most iconic moquette designs; such as Canonbury and Caledonian by Marion Dorn, Belzise by Enid Marx and Alperton by Paul Nash. Wallace Sewell’s 2010 design Barman featuring London Landmarks in abstract shapes was manufactured by Camira Fabrics, John Holdsworth’s successor company.

• Christian Barman, London Passenger Transport Board’s publicity manager from 1935-1941 oversaw the first deliberate commissioning of moquette for the system in 1936 from famous designers Marion Dorn, Enid Marx and Paul Nash.

• All designers were asked to respond to a brief asking them to draw on colours which responded well to artificial light and patterns that would look fresh at all times, taking account of wear and tear.

• Marion Dorn, (1896-1964) was one of the most important textile and rug designers of the 20th century. During the 1920s her designs were illustrated in Vogue and she exhibited at the International Exhibition of Arts and Crafts, Leipzig, in 1927. Her designs for LPTB included moquettes Caledonian, Colindale and Chesham.

• Enid Marx created several popular designs including Shield which was used on the Bakerloo, Northern and District lines between 1938-45 and the Double Diamond and Chevron on the Piccadilly and Central lines.

Moquette

LT000254/994

• In the late 1970s London Transport commissioned the Design Research Unit founded by Sir Misha Black (1910-1977), Russian born British architect and designer, to design its new moquette. The iconic black/brown/orange/yellow block was used on most new buses as well as new trains purchased for use on the Jubilee Line. The distinctive colouring gave London’s buses and trains a distinctive identity in the 1980’s.

• In 2010 Wallace Sewell won an open competition to design new moquette for London Underground. The red and blue moquette called “Barman” suggests the London Skyline.

Uniform

• Railway, tram and bus operating staff in London have worn distinctive uniforms and company badges since the end of the 19th century.

• Winter and summer uniforms were issued, and depending on the grade and position of the wearer, might include:

Jacket; Trousers; Overcoat; Cap; Mackintosh; Tie; Vest; Gloves; Boots; Oilskins; Skirt. • When London Passenger Transport Board was created in 1933, it took over

operation of all bus, tram and Underground services in the Capital. A standard, military-style staff uniform was an important way of reinforcing the new organization’s identity for both staff and passengers.

• As in the army, variations in colours and badges indicated the different departments and ranks. But overall, the uniforms presented a strong visual message of corporate unity.

• As time passed, uniforms took on a less formal appearance, with lounge suits becoming the standard underground uniform for men in the ’70s. The late 1980s saw a radical chance from the suit to the more practical, easy-care uniforms that we’re familiar with today.

Uniform

• Although the London General Omnibus Company began to employ women in 1916, it was always understood that their positions were temporary, and that they would be replaced by the men on their return from the war. Once the war ended, it was another 21

years before they reappeared as conductors on London’s buses. Over the years their uniforms would change as they adapted to new fashion trends, but would mainly keep their traditional style. • Uniforms from this early period varied somewhat depending on the work being undertaken. The uniforms worn by conductresses and guards were quite military in appearance. Women’s uniforms consisted of skirts, jackets, boots LT000030/018

and caps. Female staff who carried out maintenance jobs wore slacks and overcoats. • During the Second World War, women were once again required to step up

to fill the gaps in the labour market. Driving remained an occupation reserved for men, but women were once more employed as conductors, as well as in depots and engineering departments.

• The new London Underground uniforms being introduced this year are the first to include a range specifically tailored for female staff.

Uniform

• London Underground’s uniforms are redesigned approximately every 5-10 years, but only recently have staff been involved in the design process. When new uniforms were introduced in 1998, staff had a 10 week trial of the new uniform and could feed back any problems they identified, with a view to adjustments being made, while in 2005 changes were made after in-depth research into the opinions of staff and customers.

• This year, the London Underground uniforms were redesigned for the first time in 10 years. The new uniforms were designed by Wayne Hemingway, and are designed to help make staff more identifiable to customers.

• They were developed in consultation with staff, and were shown on the catwalk at the UITP (the International Association of Public Transport) world congress alongside other public transport uniforms.

• They give staff the choice of a number of mix and match items, and will prominently feature another icon of TfL, the Roundel, on pockets, cuffs and zip pulls, as well as it being embroidered on the back of garments.

Lifts and Escalators

• When the City and South London Railway opened in 1890 its hydraulic lifts were installed by WG Armstrong Whitworth and Co before later conversion to electrical operation from 1897. In 1902 the Underground Electric Railway Company of London imported 170 electric lifts from the Otis Elevator Company in America for use on the Baker Street & Waterloo Railway, Charing Cross, Euston and Hampstead Railway, and Great Northern, Piccadilly and Brompton Lines.

• A programme of station improvements and modernisations took place during the 1920s during which elevators were gradually superseded by escalators. Escalators were judged more efficient as they increased the freedom and rapidity of movement experienced by the passenger. They also deposited travellers onto platforms in a steady flow therefore helping to control overcrowding on platforms.

• Lifts were retained and operated at some stations including Hampstead, the deepest Underground station, where replacement was thought to be too expensive or impractical.

• The tubes, mainly built between 1890 and 1907, had come just too early to benefit from the heavy-duty passenger escalator. The first installation happened in 1911 at Earls Court on the Piccadilly Line, designed by Otis Seeberger.

• Legend has it that a man called Bumper Harris, who possessed a wooden leg, was employed to ride up and down the escalator to demonstrate its safety.

• This first escalator actually post dated the installation of an invention by Jesse Reno at Holloway Station in 1906 – a pair of concentric spiral moving stairways, but it never saw active service.

Lifts and Escalators

Lt000227/173

• The Kings Cross Fire on 18 Nov 1987 had a direct impact on the future design of escalators. Among the 157 recommendations of the Fennell Report were measures to eliminate wooden panelling from escalators, and replacement of wooden skirting boards, balustrades, and decking with metal.

• Factors affecting escalator design include restrictions of the physical environment, i.e. the vertical and horizontal distances to be travelled in relation to the available space, traffic patterns and traffic flow management, location, safety considerations as well as aesthetic considerations.

• The importance of escalators in managing increased capacity and promoting increased accessibility was recognized in the modelling and planning of the Jubilee Line extension. Among the innovative features of the project design was the number of escalators commissioned, almost half as many escalators again as currently existed on the rest of the London Underground network. 116 escalators were commissioned each with the capability to move between 18,000-30,000 passengers an hour.

Ticketing and Fare Collection

Maximising net income Cost of operation • When labour was cheap, large numbers of people were employed to run

the ticketing systems. Railway booking clerks, ticket collectors and bus conductors were visible, but there were many hundreds more staff employed to produce fully pre-printed tickets, prepare them for use, collect the takings and reconcile them with the tickets sold. As labour costs rose, so did pressure to automate processes.

• Passenger-operated ticket machines were in use at some busy stations from the early 1900s. By the late 1930s, they were widespread, though ones that gave change were not widespread until the 1970s

• Tickets that could be printed at time of issue reduced and eliminated the need for pre-printing a huge variety of tickets. On buses, this development took place in the 1950s, when the ‘Gibson’ mechanical ticket machine replaced ‘Bell Punch’ tickets; on the Underground, this was a more gradual process that was not completed until the early 1990s when a comprehensive Automatic Fare Collection system was installed.

Minimising losses from fraud and mistakes • When George Shillibeer started London’s first Omnibus service in 1829, his

conductors did not issue tickets. Instead, the fares collected were marked on a ‘waybill’ that was handed-in with the takings. The risks of revenue loss from this system are clear but it lasted until 1891.

• Ticket design was an art form in itself, compressing information about the fare paid, ticket type, origin and/or destination of the journey and other details onto a small piece of card or paper.

• More recent ticket design work has focussed on making them more difficult to alter and forge.

Ticketing and Fare Collection

Speed of use • Time spent paying fares can be a significant part of overall journey time.

Work to minimise this has therefore been an important system design objective, since it was realised that improving travel times would generate more journeys.

One-Person Operation of buses [OPO] • Cost pressures on the bus network from the late 1950s led to conversion

of routes to this form of working – but design of a suitable fare collection system for busier routes proved extremely difficult. Service trials with passenger-operated equipment on buses started in 1966 and at one stage in the early 1970s there were seven different methods of bus fare collection in use. From the late 1970s attention was focussed on pre-payment of fares through Bus Passes and later Travelcards. From 2002 onwards, implementation of Oyster smartcards and introduction of a flat fare finally solved the problem of OPO single-journey fare collection and eventually made it possible to withdraw bus cash fares completely.

Size and layout of rail station ticket halls • The fare collection system used has affected these considerations over

time. Having started with ticket halls with multiple ticket office windows to deal with large numbers of individual ticket purchases, and a constricted barrier at the entry to the platform where staff would attempt to check every ticket, design is now based on having very limited [or in future no] manual ticket selling, a range of self-service machines and a line of automatic gates. The design of the latter has changed markedly since early experiments in the 1960s.

Ticketing and Fare Collection

Simplicity Fare structure • Road and rail structures were, until the 1960s, normally distance-based,

with a large range of different fare values. Fares were also finely graduated, which meant change-giving was very frequent.

• Later, fares were progressively ‘coarsened’ so that a smaller range of fares was sold, and the values were rounded where possible to match available coins to reduce change-giving requirements. Decimalisation in 1971 was an important step in this process, since it was essential that the range of fares charged then could be paid in old and new currencies.

• The move to pre-payment of fares through Bus Passes, Capitalcards and Travelcards was accompanied by the introduction of fare zones and areas, which enabled passengers to work out for themselves what pass they needed. This system is the basis for charging smartcard Pay As You Go fares.

Inter-modal integration • In the early years of the 20th Century, there were ‘through’ fares from some

tram and bus services onto the Underground. However, these facilities were later withdrawn and, apart from traditional ‘through’ fares between Underground stations and the national railway system, there were then few opportunities to buy tickets covering both road and rail journeys before the advent of Travelcards.

• The Travelcard, and later smartcard ticketing, has completely turned this situation on its head; in doing so, it has given customers choices about how to travel that were almost entirely absent before as well as doing away with multiple ticket purchases.

CrossRail

• Crossrail is a 118km new railway that will link east and west London, while delivering a 10% increase in the city’s rail capacity. It was a joint venture company between TfL and the Department for Transport until 2008 when it became a fully owned subsidiary of TfL.

• It boasts 200 metre long trains with a capacity of 1500 people, and 24 trains an hour. An estimated 200million people will travel on Crossrail each year.

• All 40 stations will be step-free, and the new Crossrail train fleet will be fully accessible.

• Crossrail has been using Building Information Modelling (BIM), a centralised set of linked databases for all 2 and 3D files. It also allows engineers to visualise many of the complex utilities in and around the stations in 3D. This ensures that anyone working in the vicinity of the proposed stations is readily aware of the intricate and complicated weave of pipes and cable under the streets that need to be avoided or protected.

• So far, 1 million CAD files have been created, approved and integrated within the centralised information model.

• Detailed design work for the project began in 2008 and working in a collaborative 3D environment was a core contractual requirement across each of the 25 design contracts.

• Design has been a priority throughout the project. The Crossrail Art Programme enabled artists to create works for three discrete areas of Crossrail infrastructure: platforms and tunnels, station concourse, and street level public realm.

Protecting the Brand

• Transport for London and its predecessors have built up a hugely successful, respected and marketable identity. It is our company brand. Protecting the brand from misuse and therefore from potential slur is done principally through trademark law. This is not easy as trademarks have local but not international rights. Each unique entity that the company wishes to protect by means of owning the intellectual property rights around it needs to be registered throughout the world. And similarly, the world needs to be monitored for potential infringements upon these rights.

• Our logo – based upon the distinctive roundel – is key to our corporate identity. It is important it is used consistently.

• Each of our transport divisions has its own roundel. These communicate that while they are part of TfL, they also operate independently.

• Strict rules exist about how the roundel can be implemented, and copyright exists on its reproduction. Only name/words (companies, stations etc.) already used by TfL can be written through the bar of the logo, and any third party wishing to reproduce any of these logos must first seek the written authority of TfL. There are also guidelines that need to be followed when using any of the TfL family of logos. In all instances TfL must supply the artwork.

LT000227/190

Protecting the Brand

• The Underground map is recognised the LT000227/190

world over as a symbol of London. But did you know it is protected by copyright and you need permission to reproduce it? • To use the map in a design, permission needs to be obtained from TfL’s appointed map licensing administrator. • To use the London Underground map in a commercial publication, a licence agreement needs to be signed and royalty and artwork fees may be payable. • TfL’s maps, logos and poster collection can be used to develop products under licence through Transport Trading’s licensing programme. • As the font associated with London’s transport network for nearly 100

years, TfL is keen to ensure that the Johnston family of fonts is used in a consistent and controlled way.

• TfL owns design and copyrights for all cuts of the New Johnston font. • For those elements that TfL owns, it is also the company’s duty to

respect and protect TfL’s trade marks and copyright material as valuable assets. If the company does not undertake enough work to do this, TfL could forfeit the right to protection granted under Copyright and Trade Mark law.

• The potential for themed products is enormous, as the range of goods available in the London Transport Museum shop testifies.

Patents and Trademarks

• Intellectual property is something unique that you physically create - an idea alone is not intellectual property.

• Copyright, patents, designs and trade marks are all types of intellectual property protection.

• By knowing your rights and having the right type of protection you can stop people stealing or copying:

the names of your products or brands your inventions the design or look of your products things you write, make or produce. • More than one type of protection could be linked to a single

product, e.g. you could: register the name and logo as a trade mark protect a product’s unique shape as a registered design patent a completely new working part use copyright to protect drawings of the product. • You can register your trade mark to protect your brand, e.g. the

name of your product or service. • When you register you’ll be able to: take legal action against anyone who uses your brand without your permission, including counterfeiters put the ® symbol next to your brand - to show that it’s yours and warn others against using it sell and license your brand

Patents and Trademarks

• You can register the look of a product you’ve designed to stop people copying or stealing it.

• The look of your design includes the: appearance physical shape configuration (or how different parts of a design are arranged together) decoration • To register your design, it must: be new not be offensive (e.g. feature graphic images or words) not make use of protected emblems or flags (e.g. the Olympic rings or the Royal Crown) not be an invention or how a product works You cannot protect the functionality of a design – e.g. a chair that folds down more quickly than others of the same kind. LT000130/248

Patents and Trademarks

• Your trade mark must be unique. It can include: words sounds logos colours a combination of any of these • Your trade mark can’t: be offensive, e.g. contain swear words or pornographic images describe the goods or services it will relate to, e.g. the word ‘cotton’ can’t be a trade mark for a cotton textile company be misleading, e.g. use the word ‘organic’ for goods that aren’t organic be a 3-dimensional shape associated with your trade mark, e.g. use the shape of an egg for eggs be too common and non-distinctive, e.g. be a simple statement like ‘we lead the way’. • A patent protects your invention and lets you take legal action

against anyone who makes, uses, sells or imports your invention without your permission.

• Getting a patent can be complicated and expensive - especially if you apply for an international patent.

• The patent process from application submission to granting or refusal can take 3-4 years – more in complicated cases – and can last for 20 years.

Awards

• Transport for London and its predecessors have often sought external recognition of the excellence of its architectural and technical design efforts by gaining awards from industry and independent bodies. This helps to recognise the contributions of individuals, internal departments and external contractors to these processes; it also enhances the reputation of the organisation as a whole not just as a supporter of good design but as a body that realises its wider responsibilities to the communities it serves.

• One of the greatest honours to be bestowed upon the company was the awarding in 1965 of the Royal Society of Arts’ Presidential Medal for Design Management, awarded for pioneering in the field. In its special report on the bestowing of the award, the magazine Design highlighted London Transport’s work in the following areas:

The roundel – “one of the best symbols ever devised in modern times” Standardisation in stock design for buses and trains Posters Design policy and management – “ensuring all the time that design is part and parcel of every piece of equipment. London Transport design has always been functional, it has never been applied” Rationalising of the tube map – the Beck map “deserves to be considered a graphic design classic” Informational signs – “logical layout with plenty of space to avoid crowding and confusion” Research work Station design

Art on the Underground

• Transport for London has a long association with art and design.

• Under the enlightened rule of Frank Pick, appointed as London Underground’s Publicity Officer in 1908 (and later Vice-Chairman of the London Passenger Transport Board) many major artists and designers produced work as poster advertising.

• In 1949 in celebration and recognition of the importance of this collection, and the man behind it, an exhibition of original paintings produced by London’s Transport entitled “Art for All” was put on at the Victoria and Albert Museum. The catalogue guide for this exhibition ends with the lines:

“This exhibition shows the tradition that the London Transport Executive inherits and the inspiration with

which it sets into the future.” • During the mid 1980s this tradition was reinstated with a

new art campaign, this time not to advertise the system but to enhance the environment and passenger experience.

• Art on the Underground (originally titled Platform for Art) was established in 2000.

• “A curatorial programme where artists are invited to develop and realise new artworks for the Underground’s unique context that have the potential to engage with millions of travellers.”

Digital Archives

Digitised Material • We are often asked why a document is not available digitally

and surprise is particularly expressed at the fact that, proportionately, virtually none of the collections are available in an electronic format. The reason for this is first and foremost the sheer scale of the collections. The Corporate Archives holds over 135,000 files of material. To digitise all of these to a legally and professionally acceptable archival standard would cost in the region of £20million

• But that is not stopping us from making inroads. We have already digitised a substantial set of our staff registers, which date from 1863 and provide invaluable information for those interested in family history, social history, company history, and economic history. These are available to the public online through Ancestry.com

• We have also, in conjunction with the London Transport Museum and the London Transport Museum Friends, successfully digitised our joint collections of staff magazines. These date from 1913 and have been digitised with optical character recognition meaning that they are fully searchable electronically.

C ontact Us

Most of our paper records are stored in a salt mine in Cheshire under secure conditions that meet British Standards for storing archival materials. Our public reading room is based in central London. Visits are by appointment only so you must book first using the contact details on this page. Email: corporatearchives@tfl.gov.uk Our catalogue contains over 135,000 descriptions of our material. It is available online at http://www.tflcorporatearchivescatalogue.co.uk/CalmViewA/