The Port of Dover is the UK’s premier trade hub with the EU and handles 33% of trade by managing a wide range of containers, general cargo and breakbulk refrigerated cargo vessels. This ensures high cargo throughput and plenty of operations for the third new mobile harbour crane in the port’s fleet.

The LHM 550, with its outreach of 54 metres and a configured lifting capacity of up to 104 tonnes. It runs on Hydrotreated Vegetable Oil (HVO), an alternative fuel made from 100% renewable raw materials. This aligns with the Port of Dover’s drive towards achieving its decarbonization targets and promoting sustainability in its operations. The cranes are also capable of working in wind speeds of up to a force 9 severe gale, or 75-88 km/h, allowing vessels to be unloaded in nearly all-weather conditions throughout the year.

The shooting conditions were a low sun and shorter day of light – very cold but crisp and dry. The created interesting shadow detail but really only meant that we could shoot from one side during the whole day (the sun rising and setting from the direction of the English Channel).

#industrial photography in Kent

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In November 1960 the two sides of the cantilevered steelwork that had sprouted from the shores of Widnes to the north and Runcorn to the south banks of the Mersey to a height of 87m, met in mid-air to complete a single main arch of 330m. Up close, it is still an impressive sight today, but a walk around the streets surrounding the main construction area demonstrate how the effects of road building can be brutal to any environment, unsympathetic to what has gone before and deprive the residents adjacent to it of large amounts of light and air. 

At ground level, land was cleared from April 1956 through to 1958 by contractors Leonard Fairclough of Adlington to accommodate the site work offices, construction of pilings and footings, steel for the bridge and concrete production for the road approaches. In Runcorn, a 500m stretch of flyover (viaduct) was constructed to take the two-lane road over the Bridgewater Canal and the Old Town to the bridge approach. To keep costs down, the minimum number of compulsory purchases had been made which in turn created a lack of working space for the contractors, close proximity of some of the houses to the finished road and living conditions that some residents described as a “battlefield”.  Such proximity is all too visible today. At best, the large expanses of concrete flyover provide an umbrella for protection but at worst cast long deep shadows across neighbouring properties for significant parts of the day.

This first phase of the approach carriageways in February 1960 required fourteen spans on the Runcorn side but only six in Widnes. These spans were supported by vast 10m high “T” shaped concrete piers (pillars) that supported the 38-ton reinforced concrete beam deck.  Together with the phase two widening to four lanes during 1975-77 (that lead to the reopening as the Silver Jubilee Bridge in 1977) the approach road construction in Runcorn would involve the demolition of some 225 mainly Victorian homes and the end of the community history of hundreds of families.

A short list of the streets demolished between 1956 and 1977.

South Bank Terrace:  8 properties. Bought with a Compulsory Purchase Order and demolished partly 1958-1960 then completely in 1975.

Clarence Street: 21 properties. Bought with a Compulsory Purchase Order and demolished partly 1958 then completely after 1975 in order to accommodate the site offices of the new flyover.

Hope Street: 14 properties. Bought with a Compulsory Purchase Order and demolished 1958-1960.

Edith Street: 4 properties. Bought with a Compulsory Purchase Order and demolished 1958-1960.

Lord Street (part): 15 properties. Bought with a Compulsory Purchase Order and demolished 1958-1960. Initially number 27 remained intact but was then demolished some time after 1961.

Ashridge Street – west: 36 properties (including Archie Johnson’s the bakers – of Johnson’s pies fame -, Parr’s, Miss Lee’s corner shop, and the Bridge Hotel.

Speakman Street (part): 3 properties. Bought with a Compulsory Purchase Order and demolished 1958-1960. The street was named after the shipbuilder Philip Speakman.

Egerton Street: 16 properties. The loss of (Dicky) Briscoe’s Butchers and surrounding houses by compulsory purchase in 1973. Initially Egerton Street is named after Francis Egerton, 3rd Duke of Bridgewater.

Handley Street / corner of Egerton Street: 13 properties. The loss of the bowling green, Robert’s grocery, Noon’s chippy, Brenda Newtons grocery and surrounding houses bought with a Compulsory Purchase Order in 1973 and demolished during 1975. Handley Street was named after William Handley, former Chairman of both the Runcorn Improvement Commissioners and their successors, the Runcorn Urban District Council. Also, a well-respected local historian.

Briscoe Street: 10 properties. Bought with a Compulsory Purchase Order and demolished 1958-1960.

Lyon Street: 10 properties. Bought with a Compulsory Purchase Order and demolished 1958-1960. Lyon Street was named after William Lyon, former Chairman of the Runcorn Urban District Council.

Rutland Street: 46 properties including the corner Hankey St. Home to the Welsh Chapel which came close to being demolished during the 1950s for the construction of the initial bridge approach road.

Duke Street / Peel Street / Waterloo Street: 28 properties.

In 2020 the West Viaduct (known as the “Trumpet Loop”) was demolished as part of the de-linking strategy for the Jubilee Bridge since the construction of the Mersey gateway bridge in 2017. Although ear-marked for leisure and retail, the land currently remains unused. Considering what was there before, there is likely archaeology not far from the surface of the topsoil – basements in-filled, spoil heaps and demolition material. With the stalling of the HS2 extension which forms a significant part of the redevelopment plans for the immediate area, there might be an opportunity to extract some stories from the soil before the diggers and concrete mixers move in for the fourth time in 60 years.

Photographs

There are two galleries below. The first are contemporary aerial and ground images taken in November 2023. The second are historical images of the streets demolished and I have cited these sources as fully as possible but of course welcome any amendments or requests for removal.

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Historical photographs taken between 1956 and 1977:

^{Contemporary image copyright Tim Stubbings 2023. Sources for and additional material (including historical images) are listed further below.}

https://picturehalton.org.uk/

https://www.icevirtuallibrary.com/doi/pdf/10.1680/iicep.1965.9195

https://www.nationaltransporttrust.org.uk/heritage-sites/heritage-detail/silver-jubilee-bridge-runcorn

Facebook – The development of Runcorn to a New Town: https://www.facebook.com/groups/288012877904790

Facebook – Stuart Allen: https://www.facebook.com/stuart.allen.3538

Facebook – Andy Price: https://www.facebook.com/photo/?fbid=3468643044804&set=gm.352597834779627&idorvanity=288012877904790

https://www.facebook.com/photo/?fbid=10202072799091505&set=gm.597950256911049&idorvanity=288012877904790

Facebook – Stephen Dowle: https://www.facebook.com/photo/?fbid=2254984961279548&set=gm.1158413244353787

Andy Harmer / Stuart Allen: https://www.facebook.com/photo/?fbid=1121750428210279&set=pcb.483567795361882

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The Liverpool Collegiate is an imposing Grade II listed building with a facade of pink sandstone, designed in Tudor Gothic style by the architect Lonsdale Elmes (who had also designed city’s St.George’s Hall). Opened by William Gladstone on 6 January 1843, it was originally as a fee-paying school for boys of middle-class parents and administered as three distinct organisations under a single headmaster. The Upper School became Liverpool College and relocated to Lodge Lane in 1884, whilst the Middle and Lower (or Commercial) Schools occupied the original site and would combine to form the Liverpool Collegiate School in 1908, a grammar school under the management of the Liverpool Corporation.

Over nearly 80 years it changed from offering effectively an austere Victorian style of education to becoming a comprehensive school. The Education Act of 1944 whilst abolishing fee paying imposed selection by the 11 plus examination but by 1963 the Liverpool Education Committee announced its intention to abolish the 11 Plus and become a sixth form entry comprehensive school. By the 1970s the school was smaller with fewer staff and boys (900), and reduced funding. As exam results deteriorated, under investment in the building and numeras acts of vandalism, the future of the school looked uncertain. Asbestos lagging needed to be replaced, leading to an early end to term, and in 1983 the turrets on top of the school were declared unsafe. In 1983 the city announced plans to replace secondary schools with ‘community schools’ and as a result the Collegiate would be closed and its pupils moved to Breckfield Community Comprehensive School.

On Friday 8 March 1985 a fire, apparently due to an electrical fault in the kitchens below the school hall, damaged large parts of the building. All 530 pupils were evacuated and no casualties were reported but all three floors above the dining hall were destroyed. In 1987 the building was closed and left to deteriorate and fall victim to looting and arson until redeveloped into apartments by Urban Splash in 1998.

I visited the school in 1992 with a roll of Ilford HP5 and a battered Canon AE-1. A friendly security guard allowed access. Although the main stairwells were safe and intact, the upper floors were full of water damage and rotting floor timbers from the missing sections of roof above the hall. There was widspread fire damage to doors, roof timbers and floors as you can see from the gallery below.

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My first ever camera was a Konica Pop (fixed lens 35mm point and shoot film camera). I can’t draw. I’m hopeless at it. My brother is an accomplished artist, my mother could paint and thankfully my parents bought me the Konica was I was about 12. 

I took it with me to university in 1989 but I was a genuine, flat broke student and the costs of film and processing meant that it had very little use. After buying a old Russian-made Zenit, I traded up to a Fujica with a dodgy shutter, a momentary brush with a Nikon EM, a dreadful Praktica (it scratched the film when you wound it through) and finally a faithful Canon AE-1.

I took a series of pictures on the Konica Pop during 1989-91 that made it into an exhibition called “Welcome to The South”.

Homeless men around London Victoria – Konica Pop camera

Homeless men Victoria London 1989

London Street scenes – Konica Pop camera

London 1992 corner of Grape Street and Shaftsbury Avenue

London 1991 street market

Ebury Bridge London Sw1 overlooking Grosvenor Road Rail Depot.

London 1991 corner of Gower Street and University Street

London 1991 Turpentine Lane Peabody Estate Pimlico

London 1991 street market

Covent Garden fairgournd ride 1992

London 1991 Buckingham Palace Road man with Christian literature

London 1991 Women walking in Chelsea

London 1991 disused railway buildings at Battersea Power Station

London 1991 view of Battersea Power Station from Battersea Park Road

London 1991 Camden young people outside HSBC Camden High Street

London 1991 car cleaners Buckingham Palace Road

London 1991 unknown house in Camden

London 1991 boy in Camden

London 1991 underpass near Royal Waterloo Hospital for Children and Women

London 1991 Grand National Day Camden High Street

London 1991 Balcony of Georgian townhouse off Camden High Street

London 1991 Camden 1951 cadillac CSK 532

Warehouse at Loman Street London SE1

Loman Street London SE1 looking towards Great Suffolk Street

Now demolished cafe corner of Surrey Row London SE1

Pakeman House Surrey Row London SE1

Family Southwark London SE1

A. Smith funeral parlour, 122 Southwark Bridge Road, Borough of Southwark, London SE1. Now demolished.

Doorway London SE1

Old British Rail carriage 1991

London Bridge Station

Green Gragon Court looking towards Bedale Street London SE1

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Liverpool contains one of the most diverse range of architecture and urban spaces of any of the European post-industrial cities. It owes this mainly to a rapid expansion of trade and population within the context of the British Empire and the Industrial Revolution, spanning some 300 years. Shipping firms access to offices space, banking and insurance. Traders required warehouses. Workers needed housing. The bombing of the early 1940s, uncoordinated post-war rebuilding plans and the decline in the traditional port activities shifted the centre of gravity away from the commercial district and more towards retail.

Water Street

Water Street is one of the city’s oldest streets (dating back to the 13th century) and the main approach from the river. At the other end is Liverpool Town Hall (built 1749-1754) at the junction of Castle Street. The image above (taken from Lower Catsle St) shows the town hall and the Liver Buildings reflected in the windows of the Mowgli restaurant (originally the Manchester and Liverpool District Bank, later the NatWest, then Midshire Building Society).

Martins Bank, 4 Water Street Liverpool.

The 150ft Martins Bank was designed along Roman lines by Herbert Rowse and opened in 1932 (his “masterpiece” says Pevsner). Rowse studied under Reilly at the University School of Architecture and was influenced by his travles across America.

Nine floors are above ground plus a mezzanine and three below, steel framed, reinforced, Portland stone clad and sitting on 50ft deep foundations. It hasn’t served a customer since 2007 (Barclays aquired Martins in 1969), but plans are progressing by Kinrise to covert it to  office, social and restaurant space. The main bronze doors – see the pictures below – are viewed as a superior example of American classicism and any grasshoppers you can see are a reference to the old Martins coat of arms. The other relief sculptures at the entrance have provoked controversy as dignifying the role of slavery in Liverpool’s economy; other see them as referencing the international aspect of the city’s trade and prosperity.

Tempest Hey Liverpool, L1

Between Moorfields and Exchange East lies Tempest Hey, Hackins Hey, Ryleys Gardens and Eberle St. Until the 1960s, this area still contained the remains of old warhouses and derelict dwellings before makinhg way for selective redevelopment with the rest given over to ground level car parks. The once squalid and narrow courts were overcrowded with many destitute immigrants who had arrived in Victorian Liverpool (the parish records show bricklayers, tallow chandlers and mariners.

No.15 Tempest Hey remains. It was designed in 1849 by William Culshaw as a warehouse and offices for brokers John Rawlinson, Sons & Co.

Between Moorfields and Hackins Hey is a car park and the a mural on the rear to one of the Moorfield shops:

The 1979 Tempest Building was given a makover in 2015 and is covered on one side by a mural by street artitts Nomad Clan. It took the all-female street art crew two weeks to complete the mural which at more than 21m tall is one of the biggest in the North of England.

Victoria Street, Liverpool L1

The Lisbon Building, 35 Victoria Street

The Lisbon bar is one of the city’s oldest watering holes but also regarded since the 1970s as onf of Liverpool’s first gay bars. It sits within a Grade II listed Lisbon Buildings completed in 1882. Victoria Street is one of Liverpools more recent “new” streets from 1868, cutting a line across the city from west to east through what were insanitarty houses. The western side became favoured by fruit dealers as offices and warehousing, banks, railway companies and a post office to the south, and the east occupied by newspapers.

In the 1900s The Lisbon Buildings housed tea merchants, sugar refiners and fruit merchants.  By the 1930s Yeoward Bros (the Yeoward Line ran steamer crossings from Liverpool to Lisbon and then on to the Canaries) operated from the ground floor, The Lisbon Grill from the basement and the offices of the Leigh and District Lending Society above.

The Ashcroft Building, 37 Victoria Street

Coucou Canard was a French insipred wine bar and bistro, sister restaurant of Champagne and Fromage bar next door that opened in April 2019. Both had previously had a presence at the Grand Central Food Bazaar on Renshaw Street. The two fronatges were previously home to Vietnamese restaurant Mr Ho’s. There was also meant to be a restaurant called “37” and the “Victoria Street Jazz bar” to compete the line up. By April 2020 however, the businesses had been wound up.

The Ashcroft Building was purpose built in 1883 for James Ashcroft for the manufacture and display of his famous billiard tables and fittings.

Johnson St, Liverpool L3

Corner of Johnson St and Great Crosshall St

Johnson St used to be home to Bent’s Brewery Co Ltd until the end of the 1960s. Named after the two builders who has premises there, it was also full of tightly packed slum dwellings (courts 1,3,10 snadwiched between Johnson Street and North Street) together with an oil / turps warehouse.

Museum archives Johnson St

The National Museums of Liverpool occupy 20-22 for storage of their archives of exhbits and documents. This and the Reserve Store (North Street) were originally a warehouse owned by Higson’s.

The more modern buildings with concrete floors (North Street and Johnson St) are listed on the 1950 Goad Insurance Map as being bottling plants and wines and spirit warehouses standing between the main brewery and the offices of the Fire Salvage Association of Liverpool.

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The Hornby designs were not based on any particular building and were in fact brickwork patterns printed directly onto beige plastic mouldings. At the time I lived not far from the preserved Hadlow Road station in Willaston (Wirral) and the working lines out of Chester – so the Hornby designs seemed to be too much like a toy. To be fair, Hornby were in the market for making toys, but they looked like this:

The Hornby railway buildings from the 1970s and 80s were quite basic.

The first thing I tried to do in about 1982 – pimp attempt #1 – was to apply paint. The top of the water tower received a coat of grey and cream; the goods shed some maroon gable ends as did the station buildings and the signal box. Chimneys were painted brown and terracotta, doors were coloured black and white and in an attempt to jazz everything up a bit more, I went  overboard in applying old fashioned advertisements.  After hand sanding and grey  washing the platforms to rough them up, adding a couple of hand-made Leominster signs and painted seats and I was pretty content.  Together with a mixture of Mainline and Hornby locos, coaches and wagons, this early BR set would remain boxed up and stored away until June 2022.

I suspect that it was during the lockdowns of 2020-21 the idea to revamp my old railway began to germinate. I was starting to sell some old toys and was about to do the same with the Hornby buildings until I got the idea to have a go at some customisation and take the old layout into the last days of steam – the mid-1960s – and to weather, date, distress and age everything and create a fictitious station and goods yard called Saltney Junction (based on the lines out of Cheshire, the Midland and Wales through Chester). The look and feel would be very season 1 of Endeavour.

Having not picked up a modelling brush or tube of glue in about 40 years, I got to work. What was meant to just reworking the old Hornby buildings a second time soon got way out of hand.

Water tower and signal box

The water tower was to be the test bed for everything else. I applied paper bricks and then weathered them. The Hornby plastic printed windows were replaced with framed windows. Edge or decorative bricks were added to the tops of the windows and the stone cap stones painted in and weathered with a slight texture applied  by adding self-raising flour to the wet paint. Finally, the water tank at the top was rusted and weathered. So far, so good. The signal box also had paper bricks glued on to it and by this time I experimented with adding separate slate roof tiles which were painted and then weathered (moss, lichen and a bit of bird poo). I left the Hornby windows intact but added decorative bricks above and added some angled window sills.

Station buildings

The same roof tile effect as the signal box were added together with the window bricks, sills and frames. With the main booking hall, the chimneys were cut down and the Hornby middle section excluded to make it more in keeping with a small rural station.Windows and a new balsa wood canopy were to be added later.

The problem I now had was that in order to make a junction needed to add more track, platforms and start to think about more than one siding. The Hornby engine sheds now looked completely wrong against the weathered buildings. I was going to need a bigger boat.

New layout  – intensive 2 month build

I have never made a layout in my life.  The limits of my imagination as I child were set by what I was able to put down on the living room carpet and then pack away again.

The initial limiter this time around was garage storage (and construction) space. I had worked with 8 x 4 poly-boards or insulation boards before and thought that it would form a lightweight but sturdy base allowing for wires to be placed through it. You could just about fit in twin track curves, short straight and some sidings with that size. I drilled and glued supporting strips of wood to the insulation base to make a rough light weight frame and then added sides to it made from plywood. The corners were held with brackets. A gap was left between the underneath wooden supports so that a decorating trestle table could fit in the slot for whole thing to rest on.

I didn’t want the layout to be completely devoid or vegetation or scenery, so I set about using old pieces of polystyrene packing to create small banks of earth in the corners and a small hill in the centre.  Webbing and liquid plaster were used to pack the holes between the polystyrene to build layers and add texture. A base coat of brown and sand spray paint was added to the raised sections and then a mixture of green paints applied with a brush. I also wanted a bridge to join the small hill to one of the banks of earth so I purchased an unfinished plastic kit that I could paint and weather.

When I started to lay a track bed (rolls of Javis fine granite) I realised that I was being drawn down a rabbit hole. How could I lay black plastic track onto a new gravel bed without it looking naff? Paint each section of track by hand and add some ballast of course. How can the banks and hill be left bare?  Add trees, static grass, bridgework and a blocked up tunnel entrance. What is the hill for? A radio mast, control room and connecting access road, naturally. And so it went on. Adding discarded and rusted pieces of track to the side of the mainline, a second engine shed for diesel locos, a special siding just to deal with oil wagons and one for the mail coaches. I was out of control.

Scrap yard

As the ideas started to grow that this could become a more substantial layout, this extended to a scrap yard somewhere amongst the goods yard. For this I wanted to include a non-runner coach or bus, old telephones boxes and lots of tyres. The bus was a not strictly to scale Atlas 1/72 Burlingham Seagull, J T Whittle (destination, Blackpool). By the time I had finished with it, the bus had peeling paintwork and two of its windows boarded up.

Engine Sheds and goods shed.

I never liked the Hornby engine and goods sheds (the were pretty much the same design just with different roof configurations and side wall panels, so decided to buy in something new.

The first engine shed (for the diesels – more on this later -) was a double road balsa wood kit made by Modelux. It was the roof design that caught my attention and although a bit tricky to construct, it was worth it. I added a second shed for the steam engines was a rather distressed Dapol kit that I painted and weathered. The goods shed was a second-hand scratch build kit that I painted and weathered.

Locos and rolling stock

Now that I was committed to a bit more realism (or as close as I could get to it) it was time to say farewell to the locos and rolling stock that I had owned as child. The Mainline 4-6-4 rebuilt Royal Scot (“Illustrious”) and the Hornby  2-6-2 Prairie looked a little bit plasticky and not in keeping with the grime of this layout. I had a very particular vision for this time period – the end of the steam age, the running down of some of the older infrastructure and the introduction of the diesel engines.

I added: a Bachmann Standard Class 5MT 73069 Black BRC1 Tender; Bachmann Class 3F Jinty 0606 tank; a Hornby Class 52 1009 Western Invader; and a Hornby R2121 BR Class 25 BoBo Diesel. This would be in keeping with the types of traffic passing through a junction between the Wirral and Chester in the mid to late 1960s.

The Class 52 has been introduced in 1962 to run passenger services between London  Paddington, Shrewsbury, Chester and Birkenhead. But a Class 52 could also be used for pulling freight. The Class 5MT would have operated passenger services between Birmingham and Holyhead via Chester but also Chester to Birkenhead. Once the diesel engines had taken over passenger routes the class 5 would have been used for pulling trains of freight wagons. The freight wagons in my layout include oil and chemicals for Crossfields in Warrington.

The BR Class 25 diesels operated on the London-Midland lines in the mid -1960s but also on freight duties between Warrington and Shrewsbury.

The Class 3F Jinty worked as a shunter or on small passenger services (suburban coach stock) anywhere between Birkenhead, Chester and Shrewsbury.

Other additions

The station and junction was large enough to have had a bus service, so I added a Chester Saltney bus and a Crosville Llandudo bus. I also added some passenger cars, freight lorries and small vans. The signage was a mix of old metal Hornby Dublo but with period posters printed off and glued on. More track and points inevitably meant more signals. A second signal box was installed at a level crossing (Bachmann Scenecraft) together with a pill box left over from WW2. The extended sidings were served by the same signal box as the station and a second water tower was installed next to the larger engine shed. Finally two footbridges were added – a metal Hornby Dublo and a Dapol kit.

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Sea; sand; salt; salt & vinegar; hot pavements;  pavement pizzas; candyfloss; hot dogs; wet dogs; dog shit; Lynx; sweat; tears; laughter; lager; shouting; touting; revving; bevving; exhausts; exhausted; queues; loos; poos; seaweed; weed; drains; drained; gulls; grills; burner; Turner; ice cream; sun screen screaming; ships; fish & chips; crowd; loud; wags; flags; it’s coming home; going home.

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One of the pleasures of growing up collecting vinyl records in the 1970s was the artwork and the sleeves themselves. You usually got a printed insert sleeve with the full lyrics and recording information. Design agencies such as Hipgnosis, Barney Bubbles and Reid Miles.  In the UK, if you were buying albums pressed by the EMI factory in Hayes, Middlesex, the factory workers would sometimes leave their initials or other messages between the inner groove and the label.

You don’t get the same impact of the individual artworks when viewed on a CD case or a music app so here’s a nod to some bands and classic album covers of the 1970s that you might have missed along the way.

SPANGLE – Moovers & Shakers (1978) and American Prime (1979).

COITUS –  The Interrupted (1975) and Something For The Weekend (1979)

THE INCONTINENTS – Bombs Away (1978) and Unlocked, Unloaded (1979)

PARALLAX – Trolley Dolley (1977) and Uncle Magnox (1979)

Ref: Classic lost album covers of the 1970s

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Hoath means “boggy heath” which seems a little unfair and does not reflect how it looks today.

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