DESCRIPTION / STATEMENT OF SIGNIFICANCE
This fine former parsonage of St. Alban’s Church, Windy Nook, was apparently designed by the same architect and built at the same time as the church. This architect was the amateur Thomas Liddell, the 2nd son of Lord Ravensworth, who also worked on Glamis Castle in 1850. Constructed with a dressed frontage and rubble sides and rear, it is understated but refined, with pleasing, simple details. Ashlar quoins, window surrounds and string course stand slightly proud of the frontage, and the whole stands on an ashlar plinth. The roof is of steeply pitched Welsh slate with stone water tabling, as well as a stone chimney to the northern gable. The Ravensworth influence is seen in the delicate curved kneelers, which were a fond feature of buildings on their estates. To the base of this gable is a small timber plank door. Until recently, the building retained its original, hornless 6 over 6 timber sashes with narrow glazing bars (in 3 asymmetrical bays to the principal elevation) however it is extremely regrettable that these fine windows have now been replaced with poor double glazed casement imitations. To the north at the rear there is an extension, added in 1909, but this is in harmonious stone, which again until recently retained its own original 2 over 2 timber sashes. It is a testament to simple quality, enclosed as it is by stone walls interspersed with pyramid-capped gate piers. Although the recent loss of windows loses something of the character of the building, it is nevertheless a special building, and a fortunate survival in the area. MATERIALS Sandstone, slate, timber ARCHITECT Thomas Liddell DATES 1841-2 (Extended 1909) LOCAL LIST

Rebuilt in the 1920s in an ornate and obtrusive late Edwardian style in red brick and with stone dressings to its arched windows, a corner turret and accentuated gables {2}. DESCRIPTION / STATEMENT OF SIGNIFICANCE
This pub was rebuilt in the 1920s, towards the end of the great wave of rebuilding in Gateshead, exhibiting a certain commonality with the Blue Bell on the High Street in its use of granite and narrow, tall chimneys. It features a corner turret, a modest expression of the prevalent style, but otherwise is utterly unrestrained, utilising a cheerful variety of materials and a welter of detail. Standing on a pink granite moulded plinth, it then ascends through sandstone pilasters to a red brick upper storey with stone details, terminating in a graduated slate roof. The overall appearance is rather expansive and bustling, with every inch of the ground floor filled with the broad arched windows, slightly more modest sashes to the 1st floor, and the roof busy with turret, chimneys and dormers. The chimney to the front sports a whimsical dormer feature, quite idiosyncratic and possibly unique. An elaborate door canopy over the quadruple door to the corner completes the picture of conviviality, most suitable for a public house. Of particular interest are the leaded lights with coloured margin detail, with dentil moulding to the lower windows, and the curved windows to the corner, requiring that extra degree of craftsmanship, perhaps denoting a building designed to imply the wealth of its owners. It is pleasing that even the cast iron rainwater goods remain, and although the extension has a large footprint it is low and quite sympathetically designed, not detracting from the character of the original building. MATERIALS Pink granite, red brick, sandstone, timber, leaded lights LOCAL LIST

DESCRIPTION
Modest sized stone built with elegant gables topped with timber pinnacles. Prominent double central chimney on red tiled roof. Bay window in outward-facing gable with small window above. LOCAL LIST

Stone built octagonal gate piers with rounded tops approximately 5 feet high. LOCAL LIST

DESCRIPTION & SIGNIFICANCE
This beautifully finished and well-kept turn of the 20th century rural church is in snecked, tooled, golden sandstone with ashlar details. Below the small bell turret the stonework advances, giving the impression of a tower, but with an unusual and dramatic full height round-headed lancet rebated within a stone surround. The slate roof features stone water tabling leading into corner buttresses. The ashlar window surrounds frame round-headed lancets with leaded coloured lights. The church is of excellent quality with an elegant simplicity to its design, especially given that it was built largely by voluntary local labour, with the foreman, Gowland, recruiting a team of masons as the sole paid workers. The Clerk of Works was the Colliery Manager, and the stonemen from the colliery quarried the stone in their spare time, transporting it using colliery vehicles. When the project ran into financial difficulties, the villagers also helped out. It was therefore a church very deeply connected with the people of the area, and stands as a testament to their commitment, a graceful and unspoilt landmark for the area. The spacious, grassy churchyard, with its mature trees, also makes a very special, peaceful contribution to the local landscape. MATERIALS Sandstone, slate, stained glass ARCHITECT Diocesan Architect
Clerk of Works: John English
Foreman: Mr Gowland DATES Built 1907, opened 1909. LOCAL LIST

Isolated terrace built for private gentleman and Gateshead tradesmen and merchants, built in phases between 1819 and 1824 on land belonging to William Hylers, local iron master. Nos. 1 to 10 were built as one planned development. The houses are of stone with muted classical detailing, ashlar to the front, random rubble to the rear. Two storeys high over service basements. Small rear service yards but long front gardens, an arrangement characteristic of many of Bensham's early semi-rural terraces {2}. DESCRIPTION / STATEMENT OF SIGNIFICANCE
These well-built 2 storey terraced houses were developed in a gap between the older, Listed part of Claremont Place, and the houses constructed at the south western end, in the garden of what is now no. 21. The reminders of this plot layout are still visible in some substantial and attractive moulded stone gate piers, marking the original gateway, and further in, flanking a solid stone plinth wall which would have formed the right hand side of a railed boundary (a little of which remains) within the outer gates. The front gardens make a huge impact on the buildings, as they are so long that the buildings are almost obscured by the mature landscaping. This creates a secluded feel, enhanced by the use of natural materials and simple forms in their construction. All are in large blocks of coursed, squared sandstone, with minimal detailing including solid stone bays, slightly eared architraves, and cill bands, but additional decorative features to the double gables of no. 20 in the form of floral carving and simplified Prince of Wales feathers finials. Slate roofs crown the houses, with a variety of ridge tiles, including traditional loops to no. 20 and rather odd, ‘stegosaurus’-like tiles to no. 19. They are part of the early history of development in Gateshead, making a group value contribution to the Listed remainder of the terrace. MATERIALS Sandstone, slate DATES Later 19th century. LOCAL LIST

House, pre-dates 1840. LOCAL LIST

Built in the 1930s. A brown brick, twin bayed miner's institute with a hint of art deco. DESCRIPTION /
This former miners’ welfare hall has a rather severe, solid, military appearance, with classic 1930s simple geometric detailing and tight vertical emphasis to fenestration. It is constructed in brown brick to the front and red to the rear, with idiosyncratic clay tile detail - above doors and columns to the 2 forward bays, and on windowsills. Most of the original windows remain, although some have been replaced with plastic. Again, the original hopper heads are still in situ attached to plastic rainwater goods. The hipped roof is covered in Welsh slate with terracotta ridge tiles, although the plans proposed clay tiles. It is very evocative of its era, and suits the bleak, gritty atmosphere of the settlement well. The design included a large central hall appropriate for functions and performances, floored in oak, with a stage, chair storage under, and dressing rooms. The supper and card room, off, was supplied by a kitchen. To the front, the left entrance reached the library facilities, and the right anterooms to the hall, with cloakrooms and toilets. Above were games, billiards and committee rooms. It is unusual in that all its original internal features (except the heating) remain. No architraves were to be fitted to the windows, with only angle beads and plaster above the dado, but there was panelling below, and terrazzo floors to each lobby. MATERIALS Brown brick, slate, clay tiles ARCHITECT S J Stephenson esq.
(2 Saville Place, Newcastle)
BUILDERS Shield Brothers (Clavering Works, Swalwell) DATES 1936
Plans 1931 ADDITIONAL INFORMATION Opened by Duke & Duchess of York 21/07/36, shortly before they became King George VI and Queen Elizabeth, it replaced the old institute and reading room in Post Office Row. LOCAL LIST

DESCRIPTION / STATEMENT OF SIGNIFICANCE
This smart building is of great significance in its evocation of the vast impact created by the construction of the Tyne Bridge. In warm brick with artificial stone string courses, simple cornice and contrasting pale pointing, its sinuous form follows the pattern Church Street, at the time newly redirected to accommodate the approach to the bridge. As it ascends the street, the height rises from 2 to 3 storeys finished with fluted panels, through a feature tower displaying a flagpole on a hexagonal plaque. It takes full advantage of the prominence of its location with a striking curved terminus echoing the tighter curve of the Central pub opposite. It was designed as a showroom space for Snowball’s, who had a large store at the bottom of the street, hence the shallow, extremely long, highly glazed frontage that would enable great visibility to traffic travelling south over the bridge. It was a very modern building in its time, with what must have been an impressive glazed single storey arcade running the length of the rear, entered by the 2 doorways to Church St. Upstairs there were fitting rooms so it is likely that the clothing was on this level. The whole is detailed with elegant simplicity, with some Deco hints, including leaded toplights to the ground floor (now painted over) and simple but refined metal casements above (with secondary glazing behind) in a harmonious design. The slim section timber shopfronts appear predominantly original (although there are some unfortunate alterations to several bays) and in the past have cheerfully displayed canopies on still extant brackets, which could be brought back into operation. A single storey felt-roofed lean-to nestles at the rear. Overall, the building illuminates the forward-looking atmosphere at the time of its construction, when much of the old centre of Gateshead was being demolished around it. It creates a fine punctuation mark to the end of the elegant and world-famous bridge, and therefore has a strong relationship with it, forming an important part of its context. MATERIALS Brick, artificial stone, metal ARCHITECT James W Corking
(16 West Street, Gateshead) DATES 1932 ADDITIONAL INFORMATION
The store later became Shephards. The canopies were made by Hardy & Stewart of Newcastle. LOCAL LIST

The grandest surviving house in Chowdene Conservation Area. A tall irregular house with steeply pitched roofs and prominent chimney stacks. DESCRIPTION
Later 19th century tall house of Scottish-Tudor appearance. Coursed stone. High pitched slate roofs, irregular shape. LOCAL LIST