DOCSLIB.ORG

NML Privacy Notice

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NML Privacy Notice Privacy Notice 1. Who are we? National Museums Liverpool (NML) is a diverse group of museums and galleries consisting of World Museum, Walker Art Gallery, Lady Lever Art Gallery, Sudley House, Merseyside Maritime Museum, Border Force National Museum, International Slavery Museum and the Museum of Liverpool. NATIONAL MUSEUMS LIVERPOOL wholly owns a subsidiary trading company, National Museums Liverpool Trading Limited, which provides a range of catering, retail, conferencing and general commercial services. This policy sets out National Museums Liverpool’s obligations to protect, store and manage your data correctly under UK and EU data protection law and covers both National Museums Liverpool and its wholly owned trading company, NATIONAL MUSEUMS LIVERPOOL Trading Ltd. National Museums Liverpool is regulated by the Department of Digital, Culture, Media and Sport (DCMS). Museums and galleries regulated by DCMS are exempt charities under Schedule 3 of the Charities Act 2011. Registered Office: World Museum, William Brown Street, Liverpool, L3 8EN.. 2. Your personal data When we talk about “personal data”, we mean information that identifies a living person, or which can be identified as relating to a living person. When we talk about “you” or “your” in this notice, we mean any living person whose personal data we collect. When we talk about “Members” and “Membership” we are referring to current members of National Museums Liverpool. 3. Databases and storage of your data National Museums Liverpool uses a number of databases to store data for different purposes, for example fundraising, commercial operations, ticketing and financial operations. Trained members of staff access these databases across the organisation in a secure environment. National Museums Liverpool is a data controller registered with the Information Commissioner’s Office. We have a legal duty to protect any information we collect from you and to prevent any unauthorised access to or use of that information. We do not pass your details to any third party unless you give us permission to do so. We use only trusted third party solutions to deliver different aspects of your relationship with us, for example the delivery of e-newsletters. We follow current UK and EU data protection law. Your relationship with us and your data are extremely important to us and we take all necessary steps to protect your data. We will never sell your personal data. As a group of museums and galleries, caring for, preserving and adding to our collections is seen by HM Government as our primary purpose, and as such, these activities are exempt from data protection law. 4. Lawful purposes for processing data As a group of museums and galleries, the following is a non-exhaustive list of the types of data we expect to process and corresponding lawful purposes for the processing of this data. The information we collect as described below is used for the purposes for which it was collected and the purposes for which you gave consent and for no other: Consent E-newsletter subscriber’s data Fundraising subscriber’s data for appeals and campaigns Data of members of National Museums Liverpool Event invitees and attendees Contractor information/supply of goods and services Primary Purpose Acquisitions Research and collections Managing custody of our collection including our intellectual property rights Display of collections Processing enquiries and requests for information Managing your visit to NATIONAL MUSEUMS LIVERPOOL Legitimate Interest Data from purchases for example tickets and merchandise Data of donors to National Museums Liverpool Data of visitors to our websites, as set out below in the section ‘our websites and apps’ Stakeholders information As you can see we have a number of lawful reasons for using (or 'processing') your personal information. One of these lawful reasons is 'legitimate interest'. Broadly speaking legitimate interest means that we can process your personal information if we have a genuine, legitimate reason and we are not harming any of your rights and interests. Some typical examples of when we might use this approach are for: Sending postal invitations to those people who would expect to receive them because they have a relationship with National Museums Liverpool Sending the National Museums Liverpool Annual Review and similar reports by post to stakeholders Sending occasional letters about fundraising to those who would expect to receive them, for example long-standing donors of National Museums Liverpool with whom we still have a relationship Holding data on ticket and merchandise purchases, for the purposes of accounting and delivery of services purchased Holding data of donors for accounting and fundraising purposes Holding data of stakeholders to ensure they can have a mutually beneficial relationship with National Museums Liverpool 3.1 Prospect – when an individual is a subject of prospect research (N.B we will always notify an individual if we have identified them as a prospect for fundraising outside of their position at a grant or donation giving body and when they provide explicit consent to an ongoing relationship with National Museums Liverpool a record will be added to our database) Data on prospects we would expect to process: Name for the purposes of creating a record on the database Address, if supplied by the individual or if it is a work address in the public domain, for the purposes of contacting the individual about appeals, campaigns and projects the individual may be interested in if this is agreed to Email address if supplied by the individual or if it is a work email address in the public domain, for the purposes of contacting the individual about appeals, campaigns and projects the individual may be interested in Occasionally we conduct a reasonable amount of research on individuals who would reasonably expect that we will have an interest in them, for example those who have a well-known interest in certain causes or subject matters that relate to our fundraising activities or who are publicly known to be philanthropists of the arts. We will only use information that has been made publicly available by the individual themselves. Developing a good understanding of potential supporters through data about them allows us to fundraise more efficiently towards our goal of being the world’s leading example of an inclusive museum service and allows us to tailor our approaches to the right people who will be receptive to our goals. We take practical precautions with prospect information and allow only Development Office staff to access proposal and prospect research data. If a prospect no longer consents to us storing their information, their database record will have all personal information suppressed so they will not be contacted in the future. 3.2 Member’s newsletters If you are a member, sponsor or patron of National Museums Liverpool, we will send you a postal copy of our guide newsletter and as a member, if you have opted in to receive emails from us, an email newsletter. You can opt out of receiving these at any time without this affecting your other membership/sponsorship/patronage benefits. 3.3 Gift of membership When the gift of National Museums Liverpool membership is given to an individual or family, the name and address and gift details are recorded on our systems to ensure smooth delivery of membership benefits. The gift buyer can ask us to anonymise this information at any time and this will not affect the delivery of membership benefits. 3.4 Children’s data Children’s records are only created for the purposes of delivering the benefits of family membership, under the express permission of the parent or guardian and will not be used for any purpose other than the delivery of the membership benefits, for example to produce and administer a membership card. Children will not be contacted separately by National Museums Liverpool; the communications for their membership benefits is always through the parent or guardian. When a membership is renewed, consent for a child’s membership record to remain is re-sought. 4. Our websites and apps Please note that this privacy statement applies to the websites and apps of National Museums Liverpool. These include: www.liverpoolmuseums.org.uk www.houseofmemories.co.uk blog.liverpoolmuseums.org.uk www.fihrm.org www.sjam.org britainschildmigrants.com happyolderpeople.com my House of Memories app Lady Lever Art Gallery app If you follow a link to a third party website, the data protection statement on that site should be consulted. 4.1 Enquiries and comments about our websites and apps You can send us your enquiries and comments directly through our website. You can also contact us by post (see address at the end of this document). If you use a contact form on the website you do not need to give any personal information, e.g. your email address or name, unless you want us to respond to your enquiry, in which case you should provide us with your email address as a minimum. When dealing with your enquiry we do not pass any personal information outside our organisation, nor do we use that information for any other purpose without first seeking your permission. If you require a response from us, we will need to record your personal contact details to be able to reply to you and to track the progress of your request. 4.2 Cookies Cookies are pieces of data that can be automatically created on your computer or device when you visit a website or use an app. They are small text files that help us to understand how the website or app is being used by our visitors. You may refuse the use of cookies on our websites by choosing the appropriate settings on your browser, however some functionality may be lost.
Load more

Recommended publications
  • Portof Liverpool
    PORT OF LIVERPOOL BUILDING CONTEMPORARY OFFICE SPACE IN LIVERPOOL’S ICONIC WATERFRONT OFFICE BUILDING ENTER > PORT OF LIVERPOOL HOME | DESCRIPTION | ACCOMMODATION | FLOOR PLANS / SPEC | AMENITIES | GALLERY | LOCATION | CONTACT BUILDING CLASSIC EXTERIOR / MODERN INTERIOR The Port of Liverpool Building is one of A fine example of classic architecture the historic Three Graces occupying a and exceptional craftsmanship, there is prime position along Liverpool’s stunning more to this building than meets the eye. waterfront. It has been extensively remodelled and Designed in an Edwardian Baroque future-proofed to meet the demands style it was constructed between 1904 of today’s office occupiers, providing and 1907. Today it forms part of the exceptional office accommodation in an UNESCO World Heritage Maritime unrivalled environment with exceptional Mercantile City. views of the City and the Mersey Riverscape. PORT OF LIVERPOOL HOME | DESCRIPTION | ACCOMMODATION | FLOOR PLANS / SPEC | AMENITIES | GALLERY | LOCATION | CONTACT BUILDING The first floor has recently been sympathetic to the original architectural comprehensively refurbished to provide features of the building, some of which contempory, efficient, open plan office have been retained and the space accommodation to meet with modern provides a large open plan office area, occupiers standards. The comprehensive meeting room and a feature board room refurbishment works have been with views across the Strand. 7,038 sq ft (653.9 sq m) PORT OF LIVERPOOL HOME | DESCRIPTION | ACCOMMODATION
    [Show full text]
  • The Value of Distance: Art’S Cultural Identity Amidst Technology’S Transformations of Space
    THE VALUE OF DISTANCE: ART’S CULTURAL IDENTITY AMIDST TECHNOLOGY’S TRANSFORMATIONS OF SPACE By David Hadlow Ogle Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Liverpool School of the Arts May 2018 II ABSTRACT THE VALUE OF DISTANCE: ART’S CULTURAL IDENTITY AMIDST TECHNOLOGY’S TRANSFORMATIONS OF SPACE By David Hadlow Ogle This study explores technology’s propensity to transform our comprehensions of space, considering the implications of this for our understandings of the work of art and the value that we ascribe to it. With our encounters increasingly a by-product of technological interface, the central question of this work is posed as follows: In what ways (and to what degree) may we regard the contemporary conditions facing the art object (and the values that these elicit) as a consequence of our prevailing technological landscape and its capacity to re-configure our conceptions of space and place? In confronting this, the study begins by surveying recent public justifications made for the arts and the criteria by which their value is ascertained. A trend is recognised, in the growing prevalence of instrumental qualifiers for art’s worth (its quantifiable impacts as a social utility) and a shift away from intrinsic measures. In response to this, I propose the concept of Accumulative Value, arguing that the totality of an art object’s intellectual considerations and explorations (over historical time) are an intrinsic attribute of the object itself and a qualifier of its objective worth. The notion of value itself (with its varying interpretations) is then explored, followed by a contemporary re-evaluation of Walter Benjamin’s concept of the aura, arguing that in our present circumstances this notion may be used in description of an object’s fixed spatial locality.
    [Show full text]
  • Welcome Guide to the Walker Art Gallery
    Welcome guide 1 Welcome to the Walker Art Gallery Welcome to the Walker Art Gallery This guide will help you find your way around the gallery, if you have any questions please ask a member of staff to help you. • The Gallery ground floor entrance is up the flight of steps shown in the Entrance building pictured above. • You can use a ramp to enter the building which can be found to the right of the steps. • The main entrance takes you straight to the gallery information desk via two sets of automatic glass doors. Ramp entrance Ramp view from the main entrance 2 Getting into the Walker Art Gallery There are two pairs of large doors. Outside doors Automated doors 3 2 1 3 4 15 5 14 13 8 SPECIAL EXHIBITION Stairs 6 GALLERIES 12 Stairs Lift 7 9Staff 10 Staff wear blue shirts and name badges. ENTRANCE Fire alarms 11 TO SPECIAL EXHIBITIONS If the fire alarm sounds please follow staff instructions and ask for assistance if required. Fire alarm tests are planned, if unexpected loud noises are a concern to you please call in advance to check when the next test will take place. Floor plan Member of staff You can see the gallery is made up of lots of small rooms. You can walk a round the rooms in any order. Ground Floor A Big Art for Little Artists B Sculpture Gallery C Craft & Design Gallery Stairs A CAFE Lift SHOP Stairs C B ENTRANCE 4 GROUND FLOOR As you enter you will be faced with the Information Desk.
    [Show full text]
  • Be Your Own Tour Guide
    ST JOHN’S GARDENS WORLD MUSEUM CENTRAL LIBRARY WALKER ART GALLERY ST JOHN’S LANE ST GEORGE’S HALL DR COFFEE DUNCANS QUEEN TSO’S GENTING CASINO BUFFALO JACKS PACOBANA ASK CO ST JOHN’S LANE ITALIAN WHITECHAPEL LA TASCA FIVE GUYS MARRIOTT PHASE EIGHT COSTA NANDO’S BURGER KING STANLEY ST ROE ST QUARTER QUEEN SQUARE BUS STATION MOORFIELDS YATES ROYAL P SHOP CO COURT CASTELLSBELLINI AND STATION 13 SIR THOMAS ST QUEEN THEATRE 12 LIVER BEST OF SQUARE ST GEORGE’S PLACE PHASE EIGHT LIME STREET P TRAVEL OOL M&S POUNDL LIME ST COLLECTION CENTRE 10 DAW POINT NEW STATION 15 SO MADE.COM N PAPERCHASE ST LOOK FOOT PATROL HOME (T ICELAND OLIVIA AX DIVINE T M LEWIN IS METQUARTER CAFFE O N BARGAINS MOCOCO 7 NERO L GALLERY Y STANLEY STWALL TO WALL ) REVOLUTION THE COSTA WILKINSON DANIEL LIVERPOOL KOKO ELEANOR FOSSIL FOOTWEAR FOOTBALL PHONE LAB STORM VICTORIA ST 051 JOHNSSHOO TEMPLE COURT ILLAMASQUA BARBERS THE CASA SHAKESPEARE CLUB ST SHOO RIGBY HOTELITALIA PATISSERIE KURT GEIGER LK BENNETTVALERIE SPIELMANNMAX SHU WORLD COFFEE HOUSE CARLUCCIOS MATALAN SAINSBURY’S JO MALONE ROY CASTLE FROCKS THE CROWN LINKS OF SHIRAZ SHOP MOBILITY BU LONDON SUBWAY 129 HOLIDAY INN MQ FLORIST 12 PRONUPTIA VIEW 2 GALLERY 2 VIEW ADAPT BEVERLY HILLS NAIL CO MAC -130 BRIGHT THE SLUG WILLIAMSON ST HOUSE RICHMOND ST INFO CENTRE JOHNS ERIC’S A|X ARMANI AND LETTUCE REISS H & T EXCHANGE SQUARE PLAYPLAYHOUSE HOUSE FILLING THE BEATLES PAWNBROKERS STORM ARGOS STATION GRAPES SHOP BAY GRILLSTOCK TURTLE THEATRE EGO NORTH JOHN ST S TIMPSON ULTIMA MODA MILTONS COOL VIVIENNE WESTWOOD MATHEW ST
    [Show full text]
  • NML Brand Guidelines
    National Museums Liverpool Brand Guidelines Contents Visual identity elements 3 Lady Lever Art Gallery 26 National Conservation Centre 44 Walker Art Gallery 62 Colour palette 4 Logo overview 27 Logo overview 45 Logo overview 63 Typeface: Soho Gothic 5 Logo colours 28 Logo colours 46 Logo colours 64 Typeface: Soho 6 National Museums Liverpool National Museums Liverpool National Museums Liverpool Type usage 7 endorsement logo 29 endorsement logo 47 endorsement logo 65 Logo relationship and positioning 30 Logo relationship and positioning 48 Logo relationship and positioning 66 National Museums Liverpool 8 Integrated lock-up 31 Integrated lock-up 49 Integrated lock-up 67 Logo overview 9 Full colour logos 10 Merseyside Maritime Museum 32 Sudley House 50 World Museum Liverpool 68 Greyscale logo 11 Logo overview 33 Logo overview 51 Logo overview 69 Single colour logo 12 Logo colours 34 Logo colours 52 Logo colours 70 Black logo 13 National Museums Liverpool National Museums Liverpool National Museums Liverpool White logo 14 endorsement logo 35 endorsement logo 53 endorsement logo 71 Favicon 15 Logo relationship and positioning 36 Logo relationship and positioning 54 Logo relationship and positioning 72 Business card 16 Integrated lock-up 37 Integrated lock-up 55 Integrated lock-up 73 Letterhead 17 Applications 18 Museum of Liverpool 38 UK Border Agency Logo overview 39 National Museum 56 International Slavery Museum 20 Logo colours 40 Logo overview 57 Logo overview 21 National Museums Liverpool Logo colours 58 Logo colours 22 endorsement logo
    [Show full text]
  • A Visual Chronicle of the Changes Within Liverpool's Chinatown
    Shanghai Restaurant, Nelson Street, Liverpool © Bert Hardy, May 1942 Ebb and Flow: A Visual Chronicle of the Changes within Liverpool’s Chinatown EXHIBITION PERIOD: 17 May – 22 June 2014 PRIVATE VIEW: 16 May 2014 www.openeye.org.uk Ebb and Flow is an audio, visual survey of the history and changes that have taken place within the oldest Chinese community in Europe, curated by Jill Carruthers. Drawing from the rich selection of photographic prints preserved in the Open Eye Gallery Archive, the show looks at the physical and architectural transformations of Liverpool’s Chinatown, as well as documenting the establishment and development of the local Chinese community. Included in the show are works by Bert Hardy who photographed the Chinese seamen that came to the city from Shanghai on the Blue Funnel Shipping Company vessels in 1940s. He recorded their lives, living conditions and recreation as well as Liverpool at the time. Four decades on and the Chinese community was well established in a new area of Liverpool, relocated to Nelson Street, after the May Blitz during WWII. British photographer Martin Parr documented Chinatown in the 80’s, exploring the restaurants, hair salons, Chinese supermarkets and community centers that were popular at the time. Alongside these historical images, this exhibition also includes two contemporary works exploring the Chinatown that Liverpool is home to now. Liverpool based artist duo John Campbell & Moira Kenny, The Sound Agents, have been funded by Heritage Lottery Fund to record Liverpool Chinatown Oral History, creating an audio visual digital archive of interviews, personal documents and photographs.
    [Show full text]
  • Liverpool Trade Walk
    Stories from the sea A free self-guided walk in Liverpool .walktheworld.or www g.uk Find Explore Walk 2 Contents Introduction 4 Route overview 5 Practical information 6 Detailed maps 8 Commentary 10 Credits 38 © The Royal Geographical Society with the Institute of British Geographers, London, 2012 Walk the World is part of Discovering Places, the London 2012 Cultural Olympiad campaign to inspire the UK to discover their local environment. Walk the World is delivered in partnership by the Royal Geographical Society (with IBG) with Discovering Places (The Heritage Alliance) and is principally funded by the National Lottery through the Olympic Lottery Distributor. The digital and print maps used for Walk the World are licensed to RGS-IBG from Ordnance Survey. 3 Stories from the sea Discover how international trade shaped Liverpool Welcome to Walk the World! This walk in Liverpool is one of 20 in different parts of the UK. Each walk explores how the 206 participating nations in the London 2012 Olympic and Paralympic Games have been part of the UK’s history for many centuries. Along the routes you will discover evidence of how many Olympic and Paralympic countries have shaped our towns and cities. Tea from China, bananas from Jamaica, timber from Sweden, rice from India, cotton from America, hemp from Egypt, sugar from Barbados... These are just some of the goods that arrived at Liverpool’s docks. In the A painting of Liverpool from circa 1680, nineteenth century, 40 per cent of the world’s thought to be the oldest existing depiction of the city trade passed through Liverpool.
    [Show full text]
  • Regenerating Liverpool Pier Head Waterfront: the Role of Urban Design
    City, Culture and Architecture 2015; 1(1): 21-38 ISSN: 2148-1938 (Print) ISSN: 2149-8202 (Online) DOI: 10.15340/2148193811851 Research Article Regenerating Liverpool Pier Head Waterfront: the Role of Urban Design Mohamed Fageir1*, Nicole Porter2, Katharina Borsi3 1 2 3 University of Nottingham, UK Abstract: This paper investigates the processes by which the regeneration of the historical Pier Head waterfront in Liverpool took place during the first decade of the twenty-first century. The research focuses on three key regeneration projects at Pier Head Waterfront, namely the Fourth Grace, the New Museum of Liverpool and Mann Island Development. Each of these projects has undergone a relatively different process and, hence, faced different challenges and produced different outcomes. This study is based on a series of lengthy interviews with key stakeholders closely linked with the regeneration of the waterfront, a review of project related documents including urban design policy and guidance, a substantial review of relevant news articles that were written throughout the period of the recent transformation of the waterfront, and numerous site visits. By understanding the peculiarities of the global forces that drive large scale developments and the local context in which they occurred at Pier Head, several insights regarding the process of regeneration emerge. Findings foreground the role of urban design in urban waterfront regeneration, illustrating that despite the complexity of managing change, urban design has the capacity to mediate between the local and global forces and the needs/ desires of investors and local communities. Urban design is also imperative for challenging the negative impact of globalisation on the urban landscape.
    [Show full text]
  • 1 WATERFRONT TRANSFORMATION PROJECT Announcement of Long
    WATERFRONT TRANSFORMATION PROJECT Announcement of long-term plans for transformational projects on Liverpool’s waterfront Aerial view of the Waterfront / Canning Dock © National Museums Liverpool National Museums Liverpool (NML) – the largest cultural organisation in the North West - has announced it will be launching a high-profile design competition in March as part of a 10-year masterplan of transformation of Liverpool’s waterfront. The organisation of eight museums and galleries is seeking to appoint a multi-disciplinary team to be part of the area’s development and embark on the landmark project to enhance a key part of the city’s historic waterfront. Spanning the area between the Royal Albert Dock and Mann Island, the transformation project will take in key landmarks linking back to Liverpool’s prominence as one of the world’s greatest and busiest trading ports in the 18th century. A masterplan study was undertaken by a team led by Feilden Clegg Bradley (FCB) Studios in 2019 to explore the potential of the site over a 10-year period. Included in the long-term plans are the repurposing of multiple buildings and docks including the Canning Graving Docks, to breathe new life into an area that once played a role in the fitting out, cleaning and repairing of ships, including those used in the transatlantic slave trade, central to Liverpool’s economy at the time. The competition led by Colander Associates, will seek to appoint a multi-disciplinary team for the development of the public spaces, raising the profile of the area whilst responding to the history of the site, developing new pedestrian routes, and allowing for more commercial and cultural opportunities on the waterfront, further enhancing the area alongside the hugely popular Royal Albert Dock.
    [Show full text]
  • Albert Dock: What Part in Liverpool's Continuing Renaissance?
    | 1 Albert Dock: What Part in Liverpool's Continuing Renaissance? Professor Michael Parkinson CBE and Dr Alex Lord ALBERT DOCK: WHAT PART IN LIVERPOOL’S CONTINUING RENAISSANCE? WELCOME | 3 Remember Albert Dock in 1979. Rotting, derelict, toxic, 600 acres written off. Look at it today. The site itself is transformed. The city is transformed. The lesson of the Dock from 1979 is that what matters is the person and the people in charge. Lord Michael Heseltine ALBERT DOCK: WHAT PART IN LIVERPOOL’S CONTINUING RENAISSANCE? FOREWORD | 5 Contents Chapter 1 . 7 What does this report do, how and why? I am very pleased to introduce the Heseltine Chapter 2. 10 Institute’s review of Albert Dock. How did we get to here? A nano history of Albert Dock As the authors say, the Dock is an iconic symbol of both Liverpool’s history and its renaissance – Chapter 3. 14 it is emblematic of the city’s social, economic How did the Dock renaissance begin? and cultural power. The work of the Merseyside Development Corporation 1981-1997 Speaking on behalf of the University of Liverpool I am determined that our talented staff and Chapter 4. 17 students will play a central role in supporting the Where does Albert Dock stand now? development of the city region. The University is an anchor institution in the North West, and our Chapter 5. 29 performance and reputation are intimately linked How do we build on Albert’s success across the wider to our location. Liverpool waterfront and city region? This report demonstrates the powerful contribution that the Heseltine Institute can make in shaping Appendix: Interviewees 34 future development in the city region.
    [Show full text]
  • Guide to Family Activities
    Guide to Family Activities Liverpool Football Club – one of the most successful clubs in the world, LFC is a truly international club. Whether a football fan or not, the Anfield Stadium tour gives a unique insight into the club’s dazzling history. Visitors will see the dressing rooms, press room, trophy room as well as walk out under the famous ‘This is Anfield’ sign to view the magnificent pitch. Underwater Street – a zoned activity and discovery centre where children can explore, play and learn. Let your little ones experience the sensory area, the lab, the imagination village, physical zone, construction area or art area Museums and Galleries – the World Museum, Maritime Museum, Walker Art Gallery, Tate Liverpool, and Museum of Liverpool all have children-friendly exhibits and activities. Check details to see special events for children. Free entry to all. Mersey Ferry – take the 50 minute River Explorer and learn more about the maritime history of Liverpool whilst taking in the view. Passengers also have the option to hop off the ferry to visit Spaceport, where children can blast off through space and time. Parks – Liverpool is well equipped with parks and coastal walks to help burn off some energy. Close to Liverpool city centre are Sefton Park, with its beautiful Victorian Glasshouse, and Calderstones Park, home to Liverpool International Tennis Tournament. Otterspool Prom in South Liverpool is also popular, with a play park, café and activity centre. Formby Nature Reserve – a short journey from Liverpool is the National Trust’s nature reserve at Freshfield, Formby. Look out for a Red Squirrel or try out your technical treasure hunt skills with geocaching.
    [Show full text]
  • (0)20 7211 6664 4Th February 2020 Dear Dr Rössl
    Cultural Diplomacy Team 4th Floor 100 Parliament Street London SW1A 2BQ T: +44 (0)20 7211 6664 4th February 2020 Dear Dr Rössler, State of Conservation Report for the Liverpool Marine Mercantile City World Heritage Site: United Kingdom of Great Britain and Northern Ireland In accordance with Decision 43 COM 7A.47 we submit the following report on the state of conservation of Liverpool Marine Mercantile City World Heritage Site. This report is structured in line with the template provided in the Operational Guidelines. The relevant sections of the Committee decision are printed in italics for ease of reference. The UK State Party is content for this report to be posted on the UNESCO World Heritage Centre website. If you require further information or clarification do please do not hesitate to contact me. Kind regards, Enid Williams World Heritage Policy Advisor ONIO MU M ND RI T IA A L • P • W L STATE OF CONSERVATION REPORTS O A I R D L D N H O E M R I E T IN AG O E • PATRIM BY THE STATES PARTIES United Nations World Heritage Cultural Organization Convention (in compliance with Paragraph 169 of the Operational Guidelines) LIVERPOOL MARITIME MERCANTILE CITY (United Kingdom of Great Britain and Northern Ireland) (C1150) 1. Executive Summary This report addresses the issues raised by the World Heritage Committee in its Decision 43 COM 7A.47. The decision has as its focus the Liverpool Waters development scheme, part of which lies in the World Heritage Site with the remainder in the Buffer Zone. It confirms that Liverpool City Council (LCC) and Peel Holdings (the Liverpool Waters developer), with the advice of Historic England (HE) and the engagement of the State Party are working to safeguard the OUV of the property, including the conditions of authenticity and integrity and the protection and management regime.
    [Show full text]