"1984 by J. & D. Daryshire; landscape architects Kendrick Associates Landscape. Warm stone, low-pitched roofs and an interesting garden with roofed walks give this small group of buildings a reassuring domestic air. Bedrooms look onto the garden, and the whole group is sheltered from the street by a courtyard-like car park".

A careful Queen Anne Revival house of c. 1908 by Newcombe & Newcombe for Max Holzapfel (i.e. crab apple - hence the bunches of iron apples on the wrought iron gates). Good lettering in low relief on the later Newcastle Education Committee panel over the gate {Pevsner}. The interior is beautifully decorated with timber panelling and carved timber and plasterwork with the crab apple motif featuring throughout. Max Engelbert Adolph Holzapfel was born on 3 April 1861. He was the German consul in Newcastle before the First World War. In 1881 Max, his elder brother Albert and Charles Petrie established Holzapfel Ltd to produce marine anti-fouling coatings (see HER 16015). He became a naturalized British subject in 1887. In 1895 he married Susan Grey Dick. They had four children, Susan Henrietta, Sophia, Dorothy Julia and Max Albert. In 1901 they were living in Jesmond. While their new house at Kenton Lodge was being built they lived at Heddon Hall. Max Holzapfel died in London on 26 March 1932. By the 1940s the house had become a training college, later Trinity College Special School.
The gatehouse was built in the 1930s. It is a small two-storey building with some classical detailing. It is red brick with a tiled roof.
By 1941 a new wing had been added to the north-west of the main building. This is two storeys with a single-storey section at its eastern end. The walls are red/brown brick and the roof tiled. The building has decorative projecting eaves. It has been designed to fit in with the 1908 house.
In the 1960s a further extension was added. This is almost square in plan. It is two storeys. The walls are brick with concrete bands in vertical panels. The roof is flat and concealed by a low parapet. This building is much more functional and utilitarian.
By 1970 further buildings had been built to the west of the house. These were four freestanding portacabins. In 2014 a buildings recording was undertaken by AOC Archaeology. The survey identified that many of the Edwardian features within the house had survived such as elaborate fireplace surrounds, doorknobs, decorated ceilings and cast-iron radiators. Its original layout has been compromised due to the need to partition off some of the family rooms to create classrooms.

Replaced a 1896 corrugated iron church on same plot. 1910-11 Decorated Gothic style. Rock-faced sandstone with ashlar dressings and blue-grey slate roofs. Cruciform in plan, orientated east to west. Apsed chancel, vestry on south side linking to a presbytery, a three-bay aisled nave with short transepts, west porch and NW and SW towers. Foundation stone laid on 14th August 1910, opened on 3 December 1911. The architect was Charles Menart. The interior was quite bare but enriched over time, with additional marble cladding to the sanctuary, stained glass to the apse in 1911 and a west gallery with organ in 1920s. After 1932 the bare walls were clad in Italian marble. After WW2 three fine stained glass windows by Harry Clarke Studios (leading figure in Irish Arts and Crafts) were installed. In 1970 a wide glass porch was added at the west end. In 1983 the west organ and choir gallery was enlarged and a partition inserted. The interior was reordered in 1985-6 when the altar rails and ornate baldacchino over the high altar were removed. The rails were relocated against the side chapel walls and parts of the baldacchino were incorporated into a new lectern, font and supports for uplighters in the apse. The sanctuary dais was extended forward into the nave, with a new forward altar. Pevsner (1992) describes it as "not a particularly interesting church, with vaguely Perpendicular windows and oddly incorporated west towers from a demolished Early English-style church in New Bridge Street, Newcastle. Not to be missed by students of stained glass because there are three extravagantly rich windows by Harry Clarke" {1}. Sandstone has blackened considerably. The church has been extended on the west side with a modern glass structure (1970), which permits views of the stone arches of the original exterior. A presbytery is adjacent, three storeys with slate roof. Stone wall to Church Road. The church with its two west towers is a major landmark in the Gosforth Conservation Area. In 2003-04 the old ‘tin’ church (St Charles’ Primary School) was demolished and a new parish centre built, forming a garden ‘cloister’ between hall and church.
The church was listed Grade II in 2016 with the following description:
Details
Roman Catholic Church and presbytery, 1910-11 to the designs of Charles Menart. Decorated Gothic style.
MATERIALS: rock-faced sandstone with ashlar dressings and blue-grey slate roofs.
PLAN: cruciform, oriented E to W. It has an apsed chancel, with a vestry on the S side linking to a presbytery, a three-bay aisled nave with short transepts, W porch, and NW and SW towers.
EXTERIOR: the CHURCH occupies a central location in Gosforth. It has steeply pitched roofs and stone gable copings. The E end has a five-sided apse with a pyramidal roof; the central face is blind and there are wide round-headed windows to the other faces in the style of the C16. The chancel has paired lancets with cusped heads to the N and S sides, and a single-storey vestry with a pitched roof has been added to the S side. The gabled transepts have large and wide pointed-arch windows with a Decorated Gothic window to the S, surmounted by a cross finial. The three-bay nave has a clerestory of three, wide round-headed windows similar to those of the apse, each under a small eaves gable, and those to the S side have tracery in a perpendicular style. The N aisle is largely obscured by the modern parish room addition, but the S aisle has a pent roof and each of the three bays has paired lancets with cusped heads. The three-bay W end is surmounted by a cross finial and has a large pointed arch window with hood mould to the centre gabled bay and similar tracery to that of the S clerestory. The Gothic W entrance in the central bay is formed of ashlar stonework beneath a shallow porch and includes a pair of tall pointed-arched openings alternating with pilasters supporting canopied niches, the whole now encased within a modern glass porch. The two end bays are formed by a pair of tall towers, blind for the most part but with cusp-headed lancets to the ground and upper stages, the latter set within shallow rectangular projections. The upper stage is also set back slightly and constructed of coursed squared sandstone. The towers are surmounted by octagonal broached spires with gabled lucarnes to the cardinal faces and a crocket finial. From the N and S outer faces of the towers project tall, gabled stair turrets.
The PRESBYTERY has two storeys plus attics with quoins, sill bands and hipped roofs of slate with overhanging eaves and decorative ridge tiles; there are external stone stacks to the N and S gables, that to the latter with ashlar detailing. Window frames are mostly original six-over one horned sashes, with some replacements. The S elevation has a two-bay cross wing to the right with a scrolled pedimented parapet, prominent verges and scrolled kneelers. It has a canted bay window with a segmental-arched and crenellated parapet to the ground floor, a pair of rectangular windows to the first floor and triple narrow small-pane rectangular windows to the attic, which also has an Art Nouveau-style apron with Fleur-de-Lys motif above. To the left there is a two-bay range with a five-panelled door main entrance and canted bay to the ground floor with continuous porch, and to the first floor a pair of rectangular windows and a large keyed, round-headed window. There is a single attic dormer with a segmental head. The building is attached at the SW corner to the Church vestry by a narrow linking block.
INTERIOR: the CHURCH'S walls are clad in Italian marble slabs in cream, black and white and piers and columns are square with recessed corners and a classical moulding rather than capitals. The sanctuary has projecting canted steps and the apse has a pointed arch blind arcade; the marble cladding of the latter has black bands outlining panels of cream-coloured stone. Marble pilasters support the chancel roof which has arch-braced trusses and a winged angel boss. The E window comprises four stained glass windows depicting scenes from the life of Christ, signed Atkinson Bros. The side chapels flank the sanctuary and that to the N contains a reduced form of the original high altar and a section of the original marble altar rail. The Lady Chapel to the South has angel bosses to its arch-braced roof from the dismantled baldacchino and a font also comprising pieces of the latter, and a section of the original altar rail. The shallow transepts have tall wide pointed arches with transverse arches, and both have high quality stained glass windows by Harry Clarke Studios: to the N a Pieta and to the S Adoration of the Shepherds and the Magi. Also to the N transept, high on the wall facing the tabernacle is a First World War memorial recording the names of the 36 Fallen from the parish; this is a large copy of Raphael’s ‘Sistine Madonna’. The nave has stone arcades of three wide, stone pointed arches springing from clustered columns of square form alternating with slim pilasters which rise to the round-headed clerestory to support the decorative arch-braced, collar-rafter roof. The central window of the S side also has a fine stained glass window by Harry Clarke Studios of Christ before Pilate. Hand carved marble Stations of the Cross are affixed to the walls of the aisles. At the west end, the organ gallery is supported on a pair of slender cast-iron columns and a brass rail with Perspex panels.
The PRESBYTERY has geometric tiles to the entrance hall and five-panel doors throughout the ground and first floors. The ground floor has a central stair hall with a small fireplace with an unusual, ornate chimneypiece and reception rooms off. Reception rooms to the front have original timber or stone chimneypieces, ceiling roses, skirtings and cornices with that to the right also timber-panelled. The main staircase is a closed-string open-well stair with turned balusters and ornate newel posts and is lit by a round-headed stair window with stained glass to its upper parts. The first floor landing has an identical small fireplace and bedrooms off; bedrooms mostly have original fireplaces and chimneypieces, ceiling roses, cornices, skirtings and at least one has an original fitted cupboard. A plaster arched opening leads to the second floor via a winder staircase; rooms are small and have original small cast-iron chimneypieces to the fireplaces and doors are mostly four-panel.
SUBSIDIARY FEATURES: an arched and buttressed main corner entrance with flanking, stepped walls with convex coping stones. The stepped wall extends to the E with a central entrance flanked by piers with a stone band and pyramidal caps.

1963-5 by Williamson, Faulkner Brown & Partners for Newcastle City Council. The Lightfoot Centre was conceived in the wake of the Wolfenden Report of 1960, which promoted the construction of multi purpose sports centres. When it opened in 1965 its 61m diameter 'flying saucer' dome was the largest in Europe. Its laminated timber ribs were covered in prefabricated reinforced fibreglass panels, cladding that had never been used before on this scale. Beneath the 14m high dome is an expanse of 2,300 square metres. There are two tennis courts and eight badminton courts. Refurbished 1990.
The building, now known as the Walker Activity Dome, was assessed for listing in 2023, but was not added to the National Heritage List.

Small development of 'model cottages' north of Shields Road. Some designed by E. Cratney, others by K.B. Spurgin and White & Stephenson for the Walker Model Housing Exhibition of 1908. The post 1919 Walker Estate was designed by F.L. Thompson, R. Dann & S.P. Taylor.

1967-70 by W.B. Edwards & Partners. 'Bold and uncompromising'.

John Dobson Street was designed by City Engineer, Bradshaw, and opened in 1970. Bewick Court, 1969-71 by T.K. Powell & Partners, sits on a deck above the street. There is a piazza in front of the flats leading to the back of the Central Library. From there walkways lead to M.E.A. House in Ellison Place. 21 storey tower block, first-floor entrance from Princess Square. Refurbished with new cladding by Red Box Design c.2000.

Designed by Sir Robert Matthew in the early 1960s. Includes a reproduction of the interior of Grainger's Royal Arcade of 1831-2 by Dobson. McCombie - now called 55 degrees North. Designed in 1961 by Robert Matthew, Johnson-Marshall & Partners. Built 1963-9. Opened 1970. Refurbished 2004 as a ground-floor bar and offices, flats and penthouses by Ryder HKS. A slab block cantilevered over the roundabout and roadway. Long concrete elevations punctured by a grid of openings. Originally with low stone-clad blocks facing south and west; partly replaced with a 'wave' screen, pink-rendered, and a fountain. Within the ground floor was originally a sorry imitation of the interior of Dobson's Royal Arcade. Named after Sir Joseph Wilson Swan.

1968-71 by Fitzroy, Robinson & Partners. Clad in roach bed Portland stone in big vertical slabs which step back as they ascend the curve of the street. Described in Pevsner (1992) as 'a vigorous building'. This branch of the Bank of England apparently cost £1.5 million. It opened in June 1971 when business was transferred from Grey Street {1}. Building was considered for listing by English Heritage in November 2009 but was not listed because the design would need to be of greater architectural significance to be designated, because the interior decoration is typical not exceptional and because many of the internal fixtures and fittings have been removed or damaged. Fitzroy Robinson designed three Bank of England Regional Headquarters - this one 1966-7, Birmingham and Manchester. The building was designed to handle money rather than public accounts and so it has a large bullion yard and secure treasury in the basement and a small banking hall on the ground floor. The building was originally furnished with brass fittings to door handles, 'walnut' veneers to the principal offices, and a green and brown colour scheme for carpets and wallpaper. The building is Modernist, with structural columns, retaining walls and suspended floors in reinforced concrete. Infill panels are in brick and clad in various materials. Most of the building is clad in Portland stone. The roof levels are clad in sheet bronze, the podium in dark grey granite. The building is five storeys with sub-basement to the west. The bank's public entrance is on Pilgrim Street and has bronzed double doors set in a portico. The south-facing and Pilgrim Street facades have polygonal two-storey oriels with perpendicular mullions. The eastern part of the site is the Bullion Yard. The two treasury floors are beneath the ground floor of the bank. All window frames are louvers are in bronze with bronze tinted plate glass. Inside the stairs are terrazzo with wooden balustrades to above ground levels and concrete with metal balustrades to the lower floors. The basement banker's counter, milling and counting room and treasury contain original steel doors, locking mechanisms, lifts and counters. The public space on the ground floor has marble floors and walls. The banker's counter has a wall of glass with brass frames. The counter has been stripped of its brass cladding. Behind the glass screen is a large banking hall with coffered ceiling and roof lights and glass-walled clerk's offices. The offices retain the original colour scheme, veneered walls, glass and sliding wooden room dividers. The second floor contains staff facilities (games room, kitchen and dining room), senior staff rooms and the agent's emergency flat. The roof level contains the plant (boiler house, refrigeration room and air conditioning fans). Demolished summer 2012.

1969-75 by Chapman Taylor & Partners, in conjunction with City Planning Officer, Wilfred Burns. The height of the centre was kept to that of the surrounding buildings, but a multi-storey hotel clad in bronze anodized aluminium, designed by Arne Jacobsen was originally planned on the north side. Panelled brick walls on Blackett Street and Old Eldon Square, with a colonnaded balcony. On the terrace there is a bronze sculpture, 'Man and pigeons' by Andre Wallace, 1976. Linking bridge over Blackett Street was enhanced with a gable of blue glass in 1988. The north-west side with bus concourse and service access is blank because a dual carriageway was planned along here. Shop windows are later insertions. Inside the walkways are named after medieval streets. Frequent seats, planters, fountains etc. In 1988 the shopping centre was extended to the corner of Clayton Street and Newgate Street. In 1989 Eldon Garden was built, to a design by Fitch Bennoy. In 2007 Eldon Square regenerated and a new bus concourse constructed. McCombie - in the place of the west and north ranges of Old Eldon Square are blank-panelled brick elevations facing onto the green square, the upper level recessed behind a walkway; the height of the new build was kept to that of the surroundings. A first-floor pedestrian circulation was planned with ground-floor traffic and service roads, and a recreation centre within the top floor. Originally covering 7-8 acres, increasing to 13 and still expanding, the centre set new standards for such developments by retaining some original facades. Grainger's elevations to Nelson Street and the north end of Grainger Street remained, with inevitably awkward junctions. The south side of Blackett Street is mostly dull blank brick, the ground floor a colonnaded footpath, except for mirror-glazing near the Monument. The bridge over Blackett Street was widened and given a bright blue glass gable in 1988. In Percy Street and Old Eldon Square, forbidding blank brick walls have been enclosed in glass-fronted additions, 2006-8 by Comprehensive Design of Edinburgh. The old bus station behind the north side has been remodelled as retail space. The new bus station faces Percy Street. The side wall of the ramp from Northumberland Street is blank apart from sculpture salvaged from 1970s demolitions (the old library in New Bridge Street 1881, the YMCA in Blackett Street 1889 and the old Town Hall, Cloth Market 1858-63). The canopied entrance used to have a subtle 'E' on it, now replaced with the words 'Eldon Square'. The interior used to have rather fun huge pencils for seats. These have been replaced with round benches on steel cones. More top lighting has been introduced.