Parish hall to Church of St. Andrew. Dated 1928. Rubble magnesian limestone with ashlar and concrete dressings. Lakeland slate roof. One storey. Two cross wings of two storeys. Right link to church one storey. PRIESTMAN BUILDING 1928 in panel over door. Pointed arches to large mullion and transom windows Some windows blocked at time of survey. Included for group value.

Parish church. 1906-7. By Edward S Prior, site architect was A Randall Wells. Principal benefactor John Priestman. Inscriptions by Eric Gill. Interior has painted plaster by MacDonald Gill to a design by Prior. Stained glass by HA Payne. Marsden magnesian limestone reubble, reinforced concrete arches, purlins and tracery. Roof stone slates. Sanctuary, south tower over chancel, choir with north vestry, and south morning chapel. Free Gothic style.
Exterior – windows have innovative-tracery of triangular headed lights, Saxon style. Hexagonal buttresses to tower. Tower has round stair turret. Morning chapel has large pointed-arched window.
Interior – rubble except for painted plaster in chancel and sanctuary. Painted domed vault under tower. Big concrete purlins carry the oak roof rafters. Baptistry has stone bowl font by AR Wells, has carved hexagonal piers and wood cover by Thompson of Kilburn. Panelled choir and sanctuary. Furnishings and fittings of highest quality throughout in the spirit of the Arts and Crafts Movement.
East window has stained glass Ascension. South morning chapel has Christ the Comforter by Payne. East morning chapel has signs of the Evangelists made by Thompson and Snee of Gateshead, said to be designed by Burne-Jones.
The building combines vernacular and modern materials in a completely new approach to church architecture. A rare artistic achievement.
Pevsner - 1906-7 by E.S. Prior and A. Randall Wells, Lethaby's clerk of works at Brockhampton, who directly supervised the building. One of the most architecturally most interesting and successful churches of its date in England. The essentials and all the details can still be called neo-Gothic, that is the church still adheres to the historicism of the C19, but not one motif is to be found that is not treated originally. Grey , rough Marsden stone (the green roof slates are post-war; they should be sandstone). Big tower (a costal landmark for ships) with large diamond-shped corner buttresses and a wide aiseless nave and transepts. The tower is placed above the chancel at the east end of the church, and the east end of the chancel projects very slightly beyond it, so that a gable is visible. Nave articulated inside by wide and broad (parabolic) stone arches across, starting nearly from the ground. They are in fact carried on very short double shafts, polygonal and with cushion capitals, and behind these is just enough space left, not for an aisle, but for a passage to reach the pews. Again the transepts are in the usual position, but their arches towards the nave are struck diagonally from the narrower chancel arch towards the wider nave walls. The parabolic construction Prior had used before at another seaside church, Bothenhampton, Dorset. Perhaps the idea of a visual reference to the upturned keel of a boat is not so far-fetched. All the arches are reinforced concrete encased in stone, the ridge piece and purlins of concrete, and only the rafters wooden; not so pure Arts and Crafts. Finally the windows are mostly of Gothic shapes, but the tracery is of unheard-of varieties. The triangular heads externally to many lights are no doubt Saxon-inspired. Arches are everywhere replaced by straight lines and the mullions are unmoulded polygonal shafts. The building is a model of how personality can be combined with just enough adherence to tradition to make it acceptable for a church. All the furnishings are worth examining too. The reredos is a Burne-Jones tapestry woven by Morris & Co, the chancel carpet a Morris design, the altar cross and candlesticks of polished wrought iron (made by A. Bucknell, 1906) and the processional cross are exquisite works of Ernest Gimson, who also designed the lectern, wood-inlaid with ebony chevron and mother-of-pearl and silver foliage. The dedication plates inside and foundation stones outside are early works of Eric Gill. Stone font, a broad low bowl on four supports, by Randall Wells. Stained glass in the east window designed and coloured by H.A. Payne of Birmingham, that in the south transept window by Payne and assistants c.1908. No wonder that so much care was lavished on the furnishings Prior himeslf twenty years before had been closely connected with the developing Arts and Crafts movement. All that is later (1927) is the painted ceiling by Macdonald Gill, restored in 1967 by Maurice Partland. Behind the church, Priestman Hall, a sympathetic building of 1928. The church was built to serve a rising Edwardian suburb with terraces of red brick houses focussed on the leafy Roker Park running down a dene to Sunderland's seaside. Larger Edwardian terraces along the seafront. 1930s suburban growth towards Whitburn.

Three houses in a terrace. Late C18 with C19 alterations. Garden wall bond brick with painted ashlar dressings. Welsh slate roof with ashlar and brick chimneys. 2 storeys with basements to Nos 162 and 164. Door at left of each house. Plain overlights in architraves with cornices. No. 160 has 6-panelled door in pilaster and entablature surround. Nos. 162 and 164 have bay window to basement and ground floor. Renewed sashes in No. 164. Top-hung casements in No. 162 and No. 160 (which has renewed glazing and applied glazing bars). Ridge chimneys.

House. C1850. Garden wall bond brick with painted ashlar dressings. Welsh slate roof with brick chimney. 3 storeys. Central double-panelled door of Sunderland type with folds back to form reveals to inner door. In surround of pilasters. Wedge stone lintels and projecting stone sills to flanking casements. First floor central sash window.

Formerly known as Nicholson House. Villa, now students’ union accommodation. 1850. By J & B Green. For Alderman William Nicholson, supplier of copper, brass and iron fittings for ships. Ashlar with brick rear additions. Welsh slate roof with ashlar chimneys and gable copings. Tudor Style. L plan with rear outbuildings forming one side of rear yard.
Exterior – garden front 2 storeys. Buttressed projection contains Tudor arched surround to renewed glazed 4-panel door and mullioned overlight. Left bays have paired ground-floor windows and 2 windows under gablets with flower carved hoodmoulds. Tall corniced panelled stone chimneys. Main entrance in left return. Half-glazed 4 panel door in Tudor arch with leafy carved spandrels. Oriel with rose, thistle and shamrock carved on bracket. Second gable has central stepped chimney projection with carved Gothic lettering for WM and 1850 with heraldic device.

School. C1900. Bright red brick with terracotta dressings and slate roof. Symmetrical with 2 storeys. Right corner has pentice roof on 2 storey porch, with fat terracotta columns on brick base, over steps up to doors. Flanking sections have 3 windows on each floor. Stair towers between these have small windows. Rood parapet. Mullion and transom windows with glazing bars. Pyramids with lucarnes over towers. Long central roof with 5 dormers and ridge ventilator with domed top.

School. C1900. Bright red brick with terracotta dressings and slate roof. Symmetrical with 2 storeys. Left corner has pentice roof on 2 storey porch, with fat terracotta columns on brick base, over steps up to doors. One window beside it and two above. Flanking sections have 3 windows on each floor. Stair towers between these have small windows. Rood parapet. Mullion and transom windows with glazing bars. Pyramids with lucarnes over towers. Long central roof with 5 dormers and ridge ventilator with domed top.

Parish church. 1874. By JP Pritchett. Thin uneven courses of rubble with ashlar dressings and red sandstone nookshafts. Stone slate roof. High chancel, 5-bay nave, north porch and north-east tower. Late C13 style. Geometric tracery to east window. Spire taken down 1982.
Interior – high chancel arch. Scissor-braced roof on moulded corbels. Painted stone reredos. Octagonal stone font with high relief panels of evangelists. Pews panelled with shaped ends. High quality glass in east window shows Christ in Glory with Passion and Crucifixion, commemorating Martha Short, wife of George Short (shipbuilder) d.1893. West window in north aisle by Powell & Bros. Leeds, to George Short, d.1863, in medieval style showing Noah and Ark, and St. Joseph the carpenter {1}. 1874 by J.P. Prichett. Decorated style. North east tower with tall spire (removed in 1982) {2}.

Branch library. Dated 1909. Architect Hugh TD Hedley, contractor WB Cooper. Donor of site Ald. William Burns JP. Bright red stretcher bond brick with sandstone ashlar dressings, roof of Lakeland slate. Baroque style.
One storey. Renewed side steps to central porch. Panelled door, in architrave with BRANCH LIBRARY incised on frieze. Heavily rusticated columns and ogee dentilled pediment with date 1909. Sash windows. Commemorative stone at left names site donor and architect and Town Clerk; another at right names contractor, Mayor and officials.
One of 3 libraries (the others Monkwearmouth andf Hendon) paid for by Andrew Carnegie with £10,000 given to provide 2 libraries.

Row of 9 cottages. C1870. Originally brick, Nos. 80, 82 and 84 now pebble-dashed. Painted ashlar dressings and Welsh slate roofs. One storey. Round brick arches over renewed doors and overlights paired between single window houses. Segment headed gauged brick flat arches over renewed windows with projecting stone sills. These houses have sociological as well as architectural interest, representing the Sunderland single-storey cottage which was the preferred house-type for C19 working class housing in the town.