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If that sounds straightforward, it’s not. Site restrictions have to be considered—for example, a platform may be too narrow for a proposed waiting shelter. “We look at the constraints and, if there’s a problem, we advise Malcolm and hopefully suggest alternative solutions,” explains Ron.
Approval for the works then has to be granted by Network Rail and any other train operators that use the station. As the landlord, Network Rail’s consent must be obtained for any project that changes the leasing and assets arrangement. Although the railway industry is not subject to meeting ordinary constraints, such as planning permission and building regulations, any proposed works must not be to the detriment of the local environment. And, as Ron Fletcher explains: “We always ask our designers and contractors to meet building regulations. If they can’t, for any reason, we review the project to see if it’s acceptable to proceed.” If the station is a listed building, however, listed planning approval must be obtained, and the Station Development team works with the relevant local authority and English Heritage to make enhancements where possible within the strict guidelines.
Even after a project receives approval from everyone, work cannot begin straight away. “Health and safety is a major issue,” says Malcolm. “Because of the environment we’re in, we’re very conscious of the fact that we can’t carry out work in a non-secure area.”
When required, the team must wait until they have a possession from Network Rail, which closes sections of the track to allow work to take place. “Possessions are a major obstacle for us, particularly for painting works,” says Ron. “They are very expensive to obtain, which can curtail a scheme. We try to devise ways around it—such as maximising train possession with Network Rail, which we then piggyback on—but it’s not always achievable.” This, on top of the time it takes to get approval from various parties, causes the cost of a project to rise, as Malcolm explains: “Costs are more inflated than outside the railway environment. ”
The successful completion of a scheme, however, makes it all worthwhile. “One of the benefits of our job is to see our vision developed, implemented and then used by passengers,” says Malcolm. “We all see ourselves as passengers—we like to go to stations and see pleasant facilities that we would want to use ourselves.”
And what of those poor homeless house martins? Malcolm recounts the story with a rueful smile. “We painted the station at Micheldever, only to have a passenger point out that the house martins could no longer build their nests under the eaves because the paint was too glossy. So, we’ve fixed some nesting boxes up there for the birds.” It’s all in a day’s work for Malcolm, Ron and their teams.
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