DESCRIPTION
This late 19th century red brick school is a fine example of educational architecture from the period, which is still in use for its original purpose and despite some unfortunate additions retains its fill of Victorian charm. The most visually striking architectural feature is the use of double pitched slated roofs, resulting in rather a haphazard but lively roofscape with a profusion of gables of different sizes facing in different directions. This is further embellished by a small central turret and water tabling. Distinctive stone bands traverse the gables below the apex, but although the trios of window openings are still topped and tailed with stone lintels and cills set in bands, the windows themselves are now of plastic rather than timber. Originally divided for use by girls to one side and boys to the other, it is now divided along age lines between infants and juniors.
MATERIALS Red brick, slate, sandstone
ARCHITECT Thomas Oliver Builders RJ & JW Carr
DATES 1878
ADDITIONAL INFORMATION Cost £5000. Matthew Lowes Clerk of Works.

Now The Sound Room, Redheugh Studios. DESCRIPTION / STATEMENT OF SIGNIFICANCE
This refined, restrained brown brick building, lying low to the land, was formerly the Redheugh Library, one of the first community libraries in Gateshead, and in all likelihood partly inspiring the later, curvaceous Borough Treasurer’s Department. Its flat, layered planes are reminiscent of Frank Lloyd Wright’s prairie style, but despite the stark contrast in the context, it succeeds extremely well here, drawing the landscape in with integral planting beds to the perimeter wall (at the base of the visual hierarchy). The horizontality of the building planes are skilfully complemented by the vertically proportioned windows, with the only notable detail stout moulded door surrounds in painted concrete(?). Subtle variation is provided by the use of differing brick bonds – English Bond to the western end, elegantly curved and originally housing the reading room, with stretcher bond to the remainder of the main building and English Garden Wall Bond to the perimeter. The layout appears to have been broadly similar to that of the central library, with a central lending area and a reference room to the right of the entrance, plus a basement for storage. Whilst the external appearance of the building has been compromised due to problems with vandalism and alterations necessitated by a change of use (skylights removed and windows blocked up, with haphazard repair works), it is remarkable that it has survived at all in such a hostile location. Although they are covered up, the deep sash windows do survive to the apse, with skirtings below, and the old radiators have been incorporated into the new heating system. In the basement doors can still be seen with their original handles and keyholes, but all the historic shelving has been stripped out.
MATERIALS Brown brick, concrete, timber
DATES 1939

DESCRIPTION / STATEMENT OF SIGNIFICANCE
This lively early 20th century pub, replacing an earlier pub of the same name, employs a variety of materials to present a cheerful, idiosyncratic face to a street scene lacking much else in the way of historic interest(?). Red brick, and faience adorned with swags, combine with the Welsh slate roof and green glazed tiles(?) to create an animated composition, curved at the western end to make the most of the narrow, sloping and visually prominent corner site. Design details are skilfully used, including arched openings, punctuated with key blocks, varying in width to accentuate the distinctive site, as well as creating visual interplay between the interior and exterior. The building retains virtually all of its original detailing, including timber windows and doors(?), jovial ball finials to a broad parapet dormer, and playful ‘butterfly’ ridge tiles. Even the original signage, which formed part of the architectural scheme, has been cared for, with any new signage and illumination added discreetly to the side. The rooflight, too, is traditionally styled. Overall the pub is a successful representative of a period of eclectic architectural styles, which allowed for adventurous and inventive combinations of detailing, and makes a fine contribution to the distinguished collection of public house architecture in the borough.
MATERIALS Red brick, faience, timber, slate, terracotta

Joseph Cowen erected a statue of Garibaldi beside the Widdrington's summerhouse (HER 1699) in 1867, in honour of the Italian patriot's visit to Tyneside in 1854. It stood about 7ft tall. It was sculpted by Burn of Newcastle. The statue collapsed at the turn of this century due to damage by either cattle or vandals. The head is on display in Blaydon Library and the body of the statue was recently discovered in a local allotment. A statuette of Garibaldi the Italian revolutionary, a friend of Mr. Joseph Cowen who stayed with him at the Hall on one occasion, was placed on the north side of the summerhouse by a Mr. Robert Eadie of Blaydon. Miss Jane Cowen, daughter of Joseph, gave the Summer Hill to the local community as a playground. Due to rough handling by the children the statue was eventually broken and eventually disappeared. The legs are now located at St. Joseph's RC Primary School, Croftdale Road, Blaydon (NZ 1769 6302). The head is at Blaydon Branch Library (NZ 1864 6335).

DESCRIPTION
Single storey former Miners’ Welfare Hall. Of orange-red brick divided into bays with brick pilasters. The roof is of Welsh slate and clay ridge tiles with a brick chimney and turret vents. To the gables are brick water tables and green-painted barge boards. It retains the original multipane green-painted metal windows in arched openings with stone sills. An unfortunate, flat-roofed porch has been added which obscures the original arched entrance doorway. Currently used as a furniture workshop (Pine and Polished Furniture).
STATEMENT OF SIGNIFICANCE This building is historically important as the Clara Vale Miners’ Hall – the pit having been the origin of the village itself – despite its location in Crawcrook. The character of the building has been retained (particularly because the original windows are still present) with the few visible alterations such as the porch addition being reversible. It is a good, representative example of a type of building which was once commonplace in the whole of the North East. It is positive for the future of the building that it is still in use.
MATERIALS Brick, slate, metal
DATES 1923 (on building).

1960-3 by J.H. Napper & Partners. Faces a small shopping centre at the centre of the Leam Lane housing estate. Angled concrete frame supporting the two pools. Ends glazed, sides clerestory lit. Brick changing room blocks under the raked sides with their tiers of seats. External stairs to foyer. Restaurant suspended over the learners' pool {2}. DESCRIPTION / STATEMENT OF SIGNIFICANCE
A large, exceptional and imposing example of modernist architecture, this swimming baths is constructed in steel framed glass and concrete, with ridged steel roofing sheets more commonly seen on factory buildings. Set centrally in the principal elevation is a cantilevered double dogleg staircase with white steel horizontally panelled railings. The narrow, vertical panes of glass are massed together to fill the angled concrete frame with ridged steel sheeting above. The upper portion is supported on each side by concrete pillars and brackets, as it projects outward in wings over the flat roofed bottom floor. Controversial from the beginning, some local people thought it too expensive, whereas it was lauded in the architectural press as a great achievement. It was particularly recognised for the way it dealt with a complex design problem, achieving a workable solution whilst displaying architectural quality, as well as pioneering the new standards of pool design only introduced by the Ministry of Housing after the design was complete. Of particular interest was the solution to condensation, rife in such a place, by the innovative use of heating coils and individual condensation outlets to each glazing panel. It is a dramatic landmark building, especially emphasised by the open nature of its setting.
MATERIALS Steel, glass, concrete
PROJECT ARCHITECT Alexander Collerton (Partner in charge J Errington, J H Napper & Partners); Structural Engineers W A Fairhurst & Partners; Quantity Surveyors Turner & Townsend
DATES 1963.
Lynn Pearson calls this a 'concrete and glass icon'. Influenced by the 1956 Melbourne Olympic Pool of 1956. The pool is 110 feet x 42 feet. An over provision of seats (1000) and subsidence problems sent costs over £234,000. In 2010 Felling was replaced with a leisure centre at Heworth.

DESCRIPTION / STATEMENT OF SIGNIFICANCE
These solid sandstone cottages give the appearance of being on the cusp between vernacular and polite architecture, and though not some of the very earliest buildings in the village, they are still a worthy survival of their time. A rhythm has been developed for the terrace, but it is irregular rather than conventionally classical, with 2 straight elevations interspersed with 2 gabled elevations and an asymmetrical pattern to the fenestration. The solid dressed stone surrounds to the principal window openings convey a sense of permanence, contrasting strangely with the slimmer lintels to the door openings. The slate roofs are of an unusually shallow pitch – in all likelihood replacing the heavier stone slabs which would have been a more usual local material at the time the cottages were built. The gabled elevations advance from the rest of the building and display more detailing, including water tabling, turret-shaped kneelers at an angle to the building, prominent dressed quoins and a jetty-effect in a moulded string course to the 1st floor. The walls are of rubble construction (including some very small stones), indicating economic constraints related to the choice of materials. Number 1 retains its original windows, but many have been replaced and some blocked up, with some renewal of stone surrounds, and door replacement, which is commonly seen in historic buildings but is unfortunate. There is an offshoot to the rear in colliery brick.
MATERIALS Sandstone, slate
DATES c1830s

DESCRIPTION
This 2 and 3 storey building was originally the 2nd Co-operative stores premises in High Spen, with an adjoining manger’s house (Holyoak House). It is constructed in orange-red brick with stone dressings. The roof is of Welsh slate with punctured terracotta ridge tiles, and a gable to the south end of the west elevation. To the ground floor the historic shop-fronts have been replaced with a pebble-dashed panel with a row of plain windows above. The deep fascias remain, with heavily moulded cornice supported by brackets above, as do the stall risers of substantial stone blocks. There are 3 shop bays with rusticated pilasters set between them. There are 2 doorways set in rusticated stone surrounds with round-arched lights above. To the 1st floor there are various window patterns (including oculus lights) all with moulded stone sills and lintels. There is an elaborate stone dedication plaque of classical form with columns surmounted by a pediment. There is a deep cornice above, which also delineates the gable. A shop-front has been inserted into the south wall. The building was used extensively, with several departments (including butcher’s, drapery, cobblers and grocery) on the ground floor. There was millinery and hardware, but also a library, reading room, games room and public hall to the first floor. The building was therefore the social hub of the village and so of great importance to its social history.
MATERIALS Red brick, stone, slate
ARCHITECT William Crooks Jnr (Architect & Surveyor, Church Street, Blaydon)
DATES 1913 (plans May 1912, Holyoake house Dec 1912)
ADDITIONAL INFORMATION The building has 2’ 6” clay and gravel foundations, and a Northern Damp Proof Course 3” above ground level & below the floor. The storeys are 12’ and 11’ high. Structural timbers are 9” x 3” & 7” x 3”, and walls are 14” x 9” brick. The building was used as an Emergency Rest Centre and an Emergency Feeding Centre during WWII, as well as the stable to the rear being used by the Auxiliary Fire Service.

A striking building, both inside and out, by an architect who combined twentieth-century forms and techniques with traditional stylistic references in an interesting way. 1962 by David Brown. Portal frames diagonally placed {2}. DESCRIPTION / STATEMENT OF SIGNIFICANCE
This lofty church in a modern style with very simple, sparse detailing, was designed as one of 3 churches planned for the Leam Lane Estate when it was conceived in the 1950s. It enjoys perhaps the best situation of the 3 now, due to the way the site has developed. Built in good quality handmade rich orange-red brick with core dressings and a shallow-pitched copper roof, it has a monumental presence on the estate, enhanced by the predominantly low surrounding development. It was opened on March 9th 1962, about a year before the nearby swimming baths (also Locally Listed); the scale being similar but the radically different styles forming an interesting contrast. The fenestration is, as ever, crucial to the character of the building, with the predominant motif of triplicate tall lancets (with shallow pointed heads echoing the roof pitch) creating a rhythm to the east and west elevations, and a compact wheel window with unusually broad surround featuring to the entrance (south) elevation. The latter is balanced in this elevation by a shallow gabled surround housing double timber doors, with a stepped effect notable on the elevation beginning to the east with a tall square bell tower, lowering to the nave, and then descending to a small porch at the west. Internally, the architect also designed the high altar, with its Italian marble top and Irish green marble front (enhanced by a canopy of wood inlaid with gold above), as well as an elaborate font created from 8 pieces of Italian marble bonded with resin. There are many references to traditional church architecture, therefore, but they are successfully re-interpreted in a modern style, creating a light, bright spacious building which makes a significant contribution to the architecture of the area.
MATERIALS Red brick, core, copper
ARCHITECT David Brown
DATES 1962 (built)
ADDITIONAL INFORMATION
When it was opened, the building was blessed by the Bishop of Hexham and Newcastle, James Cunningham, Father John Daly dressed the high altar, and Father Lawrence Murray of Easington Colliery preached. A crucifix of black steel was installed, with a gold and white tabernacle, silver candelabra and flower sconces. The church cost £40,000, and wasn’t consecrated until it had been paid for in full. The stained glass wheel window was designed by Cate Watkinson of Watkinson Glass Associates, Newcastle Arts Centre, Westgate Rd. Cate has designed glass pieces for many high profile locations, including St Mary’s R C Cathedral, Newcastle, and Newcastle International Airport.

DESCRIPTION & STATEMENT OF SIGNIFICANCE
Mechanics Institutes began in the early 19th century under the patronage of local industrialists who realised that providing adult education and library facilities to working men would give them a more skilled workforce. This resulted in architecture in a civic vein, similar to libraries of the period, often classical in style and sometimes quite grandiose. This 2 storey former Institute is a very well-detailed example of the type, and makes an important contribution to the historic grouping in the immediate area. Constructed in cyclopean rusticated sandstone, it features ashlar detailing to the front (east) elevation, and squared, snecked stonework to the sides and rear. The shallow pitched roof is of welsh slate with stone water tabling culminating in light kneelers, and a central finialled gable to the front. Below this the central bays are set slightly forward, with pairs of single pane timber sashes with lights above, separated by slender Corinthian pilasters. Single bays flank this with the southern ground floor bay altered to accommodate a door instead of the original window. The doorway to the north remains with its deep pediment supported on curved brackets over a 6 panel timber door with light above. Stepped string courses pass between the sashes and their top lights to both floors, and a deep cornice conceals rainwater goods in an eccentric use of gutter, continuing in cast iron to the side.
MATERIALS Sandstone, slate
DATES 1892 (inscription)
ADDITIONAL INFORMATION Plans submitted 1891, Additions 1896