a design guide for the

A DESIGN GUIDE FORTHE
HISTORIC CITY
Conservation Area Londonderry
MARCH 2012
Price £10
2
Foreword
by Alex Atwood MLA, Minister for the Environment
The history of Derry spans more than a thousand years, from its origins as an early
Christian monastic settlement through to the Plantation period some 400 years ago, when
the defensive walls were constructed and the modern city founded. Since then, Derry has
remained important strategically, culturally and as a centre for trade and commerce serving the North West of the island of Ireland.
Derry has been portrayed as a divided city due to its turbulent past, epitomised by the Siege
of Derry and the years of conflict. As we move forward into the new millennium, there is an
opportunity to foster mutual appreciation of a common history, celebration of our diversity,
respect for our difference and a more informed understanding of recent and not so recent
history. The Historic City represents the core of Derry and is, therefore, the ideal area where
everyone can share space and enjoy the cultural, commercial and architectural merits of
the city.
Let there be no doubt about it. This is challenging work. Heritage or valued buildings may
be at risk and DOE has had to step in – to help protect and, on one occasion, permitted
demolition. The aim of this guide is to confirm my own and DOE’s belief in the value of the
built heritage and to confirm the need to protect it.
The Conservation Area Design Guide has been subject to public consultation and has
been prepared in liaison with Derry City Council and the Historic Buildings Council. I would
therefore like to thank everyone who has contributed to the preparation of this document
and I am pleased to be given the opportunity to present it for future use.
Strategically located on the Hill of Derry overlooking the River Foyle, the Historic City
Conservation Area, comprises:
the Walled City;
the Guildhall and Foyle Embankment;
the Fountain area;
the Longtower precinct; and
Carlisle Road. This Conservation Area Design Guide not only celebrates the area’s history and architecture
but also provides guidance to encourage investment that will preserve and enhance the
character and appearance of the area, whilst also assisting in generating economic
prosperity through the improvement of existing properties and new development.
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Contents
1 STATUS OF THE DESIGN GUIDANCE
7
4 PROTECTING CHARACTER45
2 INTRODUCTION8
2.1 Purpose8
2.2 Methodology 8
2.3 Objectives of Conservation Area designation9
2.4
Principles9
3 CONSERVATION AREA CHARACTER APPRAISAL
10
3.1 What makes the citys landscape special
10
3.2
The Wider Setting10
3.3
The Immediate Setting12
3.4
The Conservation Area12
3.5
Architectural and Historical Development15
3.6
Historic Monuments and Buildings24
3.7
Design Character26
3.8
The Importance of Open and Green Spaces33
3.9
Views and Vistas38
3.10
Townscape40
3.11
Signature Patterns41
3.12 Prevalant Local Traditional Materials and Colours
43
4.1 Authenticity45
4.2 Change46
4.3 Principles of repair48
4.4 Windows and doors50
4.5 Dormer windows52
4.6 Roofs54
4.7 Renewal of historic rainwater goods
56
4.8
Typical eaves, fascias, soffits and verges57
4.9
External wall finishes 58
4.10
Gates, railings and other ironwork62
4.11
Shopfronts63
4.12
Signs and lettering66
4.13
Roller shutters70
4.14
Sun blinds and awnings71
4.15
Hoardings72
4.16
Appropriate materials72
44
5 BLENDING THE NEW WITH THE OLD
73
5.1
Quality of conservation and design73
5.2
Design quality75
5.3
Prominence76
5.4
Orientation76
5.5
Size and scale77
5.6
Form or shape77
5.7 Proportion78
5.8 Volume and massing 78
5.9 Roofscape79
5.10 Townscape80
5.11 Setting81
5.12 Quality of architecture82
5.13
Height82
5.14 Sustainability83
6 SUCCESSFUL STREETS, ROADS AND SQUARES
85
6.1
Streets and squares85
6.2
Roads85
6.3
Traffic and parking85
6.4
Materials86
6.5
Ramps86
6.6
Lighting86
6.7
Street furniture88
7 A PLACE TO LIVE, WORK AND VISIT
90
8 REGULATIONS AND PLANNING
93
APPENDIX 195
Statutory Designation Order for The Historic City Conservation Area
APPENDIX 296
Map 1 Conservation Area boundary and listed buildings 96
Map 2
Contours Map97
Map 3
Townscape analysis98
Map 4
Views and Vistas99
Map 5
Long distance views and vistas100
APPENDIX 3101
Acknowledgements
APPENDIX 4103
Schedule of Listed Buildings
APPENDIX 5107
Sources of Advice and funding
8.1
Regulations and Planning93
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2. St. Columb’s Cathedral gates onto London Street.
“These buildings whose original purpose was profane and
innocent of any aspiration towards symbolic status, have
not only developed that symbolic status but have even...
removed themselves from the realm of the profane into
the realm of the sacred.”
Seamus Heaney
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1Status of the Design Guidance
1.1 The Department of the Environment originally designated the Historic City
Conservation Area Londonderry on 25th February 1977. Following a Conservation Area
Review of the city’s inner urban area, launched in June 2004, the Department re-designated
the Area (with boundary amendments). A copy of the Statutory Order designating the
Conservation Area is included at Appendix 1. Fig.1 (opposite) shows the Conservation Area
boundary as re-designated on 6th June 2006.
1.3 This guidance supersedes the Londonderry Historic City Booklet (1977) and the
Historic City Conservation Area (Interim Document, published in June 2006), and should
be read in conjunction with the Historic City Conservation Area Baseline Audit. Proposals
must also comply with other relevant strategic planning policy and guidance and the local
development plan.
1.4 This guidance has been prepared in consultation with various stakeholders including
Derry City Council, The Historic Buildings Council (HBC) and Northern Ireland Environment
Agency (NIEA). A list of key stakeholders involved in the consultation is included at
Appendix 3.
Fig 1. Conservation area boundary and listed buildings
1.2 The overall planning policy context for Conservation Areas is contained in Planning
Policy Statement 6 (PPS6) Planning, Archaeology and the Built Heritage. This Design
Guidance interprets policy contained in PPS6 and constitutes Supplementary Planning
Guidance for the Historic City Conservation Area. This Guidance will be taken into account
by the Department as a material consideration in the determination of planning applications
either within the Historic City Conservation Area, or which may affect its setting. If there is
any disagreement between the contents of this guidance and PPS6, the requirements of
PPS6 will prevail. Applicants should be aware that such planning applications are required
to meet the policies set out in PPS6 and, in particular, policies BH12, BH13 and BH14 as
they relate to Conservation Areas.
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2 Introduction
2.1 Purpose of the Design Guidance
2.2Methodology
2.1.1 This Design Guidance is intended for all those with an interest in the Historic
City Conservation Area, or those intending to undertake work on its buildings, trees and
landscapes, streets or spaces.
2.2.1 To identify its special architectural and historic character, a Baseline Audit of the
Historic City Conservation Area has been carried out (following the methodology set down
by English Heritage). Essentially, this appraises and assesses what it is that is distinctive
and special about the Conservation Area, including the architectural and historic interest.
2.1.2 It is intended to guide future development and assist the Department in managing
change, either within or affecting the setting of the Conservation Area, to ensure that it
preserves or enhances the special character or appearance of the Historic City.
2.1.3. The Guide defines the principles of conservation, building design and urban
design that will be applied by the Department to all proposals within the Historic City
Conservation Area. The guide also requires all applicants to consider the setting and wider
context surrounding the Conservation Area in order to enhance its long term character and
appearance and its contribution to the city’s wider built environment.
2.1.4 Historic buildings are special. The combination of materials, design and/or details
makes a place diverse and unique. They have the bonus of embodying the memory and
legacy of generations and times past. As many historic towns and cities are re-developed,
their special character is often diluted. Large scale and rapid change can cause confusion
as once recognisable landmarks disappear. In an increasingly homogeneous world buildings
and places that tell the story of the city’s past are invaluable. Conservation Areas are
designated because they are deemed to have “special architectural or historic interest the
character or appearance of which it is desirable to preserve or enhance”. Character is the
result of many factors. It is in a constant state of flux and subject to many pressures and
problems. Sometimes these pressures can change quickly and impact dramatically on the
existing character such as this city experienced during the worst years of ‘The Troubles’.
Incremental dilution of their character through the piecemeal loss of historic structures and/
or their details is a loss to the entire city and its people.
2.2.2 The Baseline Audit identifies problems and pressures that impact on the Historic
City Conservation Area and its setting. This analysis underlies the content and approach
taken in the Design Guide. It provides the basis for:
•
•
•
balancing conflicting needs
avoiding dilution the original character
sustaining and enhancing its social and economic vitality
2.2.3 There is scope for change and potential for enhancement within the Conservation
Area and its setting. This document aims to guide the process of change management.
Ultimately its objective is the encouragement of exemplary conservation in tandem with
thoughtful, high quality design of:
•
•
•
•
new buildings
extensions/alterations/conversions to old buildings
public and private realm
other new elements being inserted into the historic environment
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2.3 Objectives of Conservation Area Designation
2.4 Principles of the Guide
2.3.1 Conservation Areas are ‘areas of special architectural or historic interest the
character or appearance of which it is desirable to preserve or enhance’ [under the
provisions of Article 50, The Planning (Northern Ireland) Order 1991]. The objectives of
Conservation Area designation are:
2.4.1 The Guide seeks to:
•
•
•
•
•
•
To preserve or enhance the character or appearance of the Conservation Area,
and encourage the retention, rehabilitation and reuse of existing buildings, other
historic structures and open and green spaces of architectural and/or historic
interest
To provide a framework for a co-ordinated approach to development affecting
the Conservation Area by establishing clear and consistent guidance for use by
Development Management section
To increase local awareness of the meaning and value of Conservation Area
designation and to foster a civic pride in the history and architectural heritage of
the city
To co-ordinate and influence development, maintenance, or minor works by
Statutory Agencies and other public sector bodies
To preserve or enhance the character or appearance of the Conservation Area
through protection and the pro-active management of change
To provide information on sources of grant aid and technical advice that may be
available
•
•
•
•
Encourage a well cared for historic environment
Promote safe, vibrant and well maintained streets and other public spaces
Uphold and strengthen the Conservation Area’s unique character and appearance
Add value to the existing historic building stock, the quality of the environment,
and the experience
2.3.2 It is advisable to contact your local planning office prior to undertaking works to
ascertain the relevant permission required.
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3 Conservation Area Character Appraisal
3.1 What makes the city’s landscape special?
Surrounding mountains
3.1.1 This city lies in the wide valley of the River Foyle, sandwiched between the low
range of the Sperrin Hills in Co. Tyrone (to the east) and Co. Donegal’s Inishowen Hills (to
the north), both of which can be seen from various vantage points in the city.
A hilly city
3.1.2 The origins of the original settlement evolved on a hilly island in the River Foyle
that lay at the eastern end of a small range of hills between the Swilly and Foyle valleys.
To the north these hills are cut off from the Inishowen Peninsula in Co. Donegal by a valley
(sometimes known as the Pennyburn Depression). They are isolated further by a low lying
marshy area between the eastern Donegal villages of Carrigans and Newtowncunningham
(the hills terminate at Grianán Mountain whose summit is dominated by the ancient
fortifications of An Grianán of Aileach).
3.1.3 The city developed on the rising slopes of the River Foyle’s western bank, on the
outer curve of a wide sweeping bend in the river. The old Walled City occupies a strategic
defensive position on this rising ground. The modern city has grown over time along the
river and up and down the hills and hollows of the western ‘Cityside’ towards Minkey Hill as
well as on the hills of the eastern side of the river – the ‘Waterside’.
River
3.1.4 The River Foyle is a majestic river, believed to be the second fastest flowing in
Europe. It rises at the confluence of the Rivers Mourne and Finn close to Strabane, Co.
Tyrone. Flowing northwards it enters the Atlantic Ocean at Magilligan. By the time the
ancient monastic settlement of “Derrie” had been formed in the 6th century the route of
the river around the west side of the one time island, on which it was sited, had silted up
forming marshy ground – creating the area known today as ‘The Bogside’. The modern
route of the river sweeps past the east side of the original hilly island giving it a curvaceous
configuration that is a crucial ingredient in the city’s distinctive character and appearance
and adds enormously to its beauty in both its immediate and wider setting.
Rocks
3.1.5 The earth movements that created the city’s hilly topography occurred as part of
the Caledonian Upheaval about 450,000,000 years ago. This lifted and violently folded a
layer of schist rock that had hardened out of sands and clays, washed down onto the floor
of seas. This would have preceded formation of the Atlantic Ocean. This schist, also known
locally as ‘whinstone’ is the bedrock for the hills on which the city was built and it is the
same rock that has been used to build the famous historic City Walls, and many of its most
significant older buildings, as well as yard, alley and other boundary walls. The presence
of so much of the city’s local stone in these structures is still one of the most visible and
important elements in the city’s character and appearance and inextricably links the city to
its geological roots.
3.2 The Wider Setting
3.2.1 This local hilly topography generates views to and from almost anywhere in the
city. The backdrop of the Donegal, Loughermore and Sperrin Hills (framing the River Foyle)
provide an impressive setting for long distance views across and along the river. From well
beyond its development limits there are stunning views towards the Conservation Area on
all approaches to the city; by road, rail, air and water.
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3.2.3 Good views also exist on the Cityside, from the upper levels of the Clarendon and
Great James Street areas, from Westend Park, Westland Street, Lecky Road, and Lonemoor
Road and from higher ground in both the Creggan and Rosemount areas.
3.2.4 A journey heading north on the main Dublin road (A5) through Magheramason
reveals glimpses of what is, arguably, one of the finest settings of any city on the island
of Ireland. Entering the city along the Old Letterkenny Road at Balloughry reveals a great
middle distance view as the spire of St Columb’s Cathedral rises from the hilltop of the
walled city and the distinctive blue painted steel of the Craigavon Bridge stretches out to
greet the Waterside.
3. River Foyle and all three Conservation Areas viewed from the Foyle Bridge
3.2.2 Some of the most dramatic views of the Conservation Area and its setting are from
the Waterside area; including Strabane Old Road, the Railway Line, Ebrington Barracks,
Craigavon Bridge, the Riverside Walk at Prehen and along some of the cross streets off
Chapel Road.
3.2.5 Views from the Foyle Bridge underscore the city’s magnificent relationship with its
river and the surrounding countryside. The river sweeps past the green sward of the Bay
Road Park in a great arc before it flows on beneath the bridge.
3.2.7 The wider setting of all three Conservation Areas extends north as far as the
Foyle Bridge and south as far as Prehen. As opportunities arise to redevelop this and other
riverside lands there is immense potential to enhance or detract from the setting of all three
Conservation Areas. The impact of new development should be assessed in relation to the
views and vistas identified at section 3.9 and in Maps 4 and 5.
Fig 2. Contours Map
3.2.6 The Conservation Area lies south of the Clarendon Street and Magee Conservation
Areas. All three Conservation Areas are visually interlinked and visible from each other,
with the Historic City Conservation Area clearly visible as part of the overall panorama. Its
historic buildings blend well into the surrounding hilly landscape.
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3.3 The Immediate Setting
3.4 The Conservation Area
3.3.1 The wide expanse of the River Foyle is an impressive and important landscape
feature in views to the east from, and west towards, the Conservation Area.
3.4.1 Map 1, Appendix 2 shows the extent of the designated area. Within it, the plan
of the walled city can be clearly made out. Four intersecting streets (at right angles and
centred on the Diamond) form the basis of the grid iron layout of roads and streets within
the walls. In the area around the Diamond (a perfect square on plan form) a second, partial
square, of secondary streets can also be seen. The regularity of these streets is interrupted
to the north west by the irregular city walls. To the north east the return street has been
subsumed within the Richmond Centre block.
3.3.2 The Conservation Area and its immediate riverside setting are severed by the
dual carriageway (from John Street roundabout to the City Hotel). The buildings that do
come reasonably close to the riverside are disconnected from each other and there is
little enclosure. The spatial relationship between three fine historic buildings and the river
(the Guildhall, Harbour Commissioners Office and Custom’s House) is low, with extensive
pedestrian severance.
3.3.3 The quality of the public realm within the immediate setting is lowest along the
length of the riverside walk between the City Hotel and Queen’s Quay. Substantial areas
are taken up with surface car parking, roundabouts and roads designed for fast moving
traffic. Pedestrians compete for space with moving and parked vehicles. However works
are ongoing to upgrade the public realm in this area.
3.4.2 The majority of buildings inside the walls follow the grid established by these
streets. There are two major exceptions: St Columb’s Cathedral and St Augustine’s Church.
Each of these buildings follows the ecclesiastical orientation of east /west within their
respective church grounds.
3.4.3 In addition to the main streets, there are four other exits from the walled city; three
are through later gates with the fourth ramped over the top of the wall at Richmond Street.
3.3.4 The blank appearance of Foyleside Shopping Centre along Orchard Street and
Bridge Street, detracts from the vitality of the Conservation Area.
3.4.4 Outside the walls, the grid iron pattern is lost as streets follow the route of least
resistance along the contours of the hill.
3.3.5 Strand Road (at Waterloo Place) provides a link from the Historic City to the
Clarendon Street Conservation Area. Recent public realm works and the re-introduction of
traffic has upgraded the overall character and appearance from Guildhall Square round to
the Strand Road/ William Street area.
3.4.5 The walled city rises from flat land (formerly the river’s edge) in the north east
to the summit of the hill in the south west, defending both high ground and river access.
St Columb’s Cathedral occupies the most prominent site at the top of the hill, while the
Diamond occupies a relatively flat section at the top of a very steep rise up from the former
‘Ship Quay’. Intersecting streets to the north west and south east are relatively flat for their
length while the hill rises gently again to the walls at Bishop’s Gate.
3.3.6 Residential development encloses the Conservation Area to the northwest, west
and south. The Lecky Road Flyover severs the Long Tower precinct from the residential
areas of the Bogside and Brandywell.
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3.4.6 Outside the walls, Bishop Street slopes gently downwards along the ridge of the
hill. Carlisle Road exits to the south east, sloping south across the hillside to Craigavon
Bridge while the adjacent terraced streets of the Fountain follow an older pattern, closer to
the grid alignment of the city.
3.4.7 To the north west, Waterloo Street follows the twisting line of the City Walls while
Fahan Street drops away from the walls towards the Bogside. To the south west of the
Conservation Area, the little enclave of the Long Tower Church and its surroundings sits
below the level of the walls. Reached by curving streets, its historic buildings align with the
contour of the hill and are slightly off alignment with the walled city. They look along the
slope of the hill to the towers of Lumen Christi College, beyond the Conservation Area to the
south.
3.4.8 Foyle Road (on both sides of the Craigavon Bridge head) and Carlisle Circus are
critical locations within the Historic City. As gateways into the Conservation Area, the former
Tillie & Henderson’s and Hamilton Factory sites offer the potential to greatly enhance its
character or appearance.
Key elements of the Conservation Area
3.4.9 Key elements within the boundary and setting that make a positive contribution to
both the Conservation Area and the wider city are;
•
•
•
•
•
•
City Walls
Historic Roofscape
Stepped terraced streets
River Foyle
Riverside walk
Key views and vistas (see Section 3.9)
•
•
•
•
Trees and gardens
Graveyards
Boundary walls
Public spaces/squares
3.4.10 These elements must be preserved or enhanced.
Character Zones within the Conservation Area
3.4.11 Subtle character changes occur several times within the Historic City Conservation
Area. The boundaries between the various character zones are sometimes based on factors
other than obvious historic or architectural characteristics – such as what it feels like as
one moves from one zone to another. This can be a response to changes in enclosure,
openness, levels of noise or smell, as much as activities.
3.4.12 The following five character zones have been identified in this Conservation Area:
•
•
•
•
•
The Walled City
William St/Chamberlain Street/High Street/Harvey Street
Waterloo Place/Guildhall Square/Harbour Square roundabout
Fountain Estate, Carlisle Road, Dacre Terrace, Carlisle Square
Long Tower Church and Primary School/Bishop Street Without
3.4.13 A detailed description of each zone (and associated map) can be found in the
Baseline Audit.
13
4. City Walls at Church Bastion
14
3.5 Architectural and Historic Development
Pre-Plantation History1
3.5.1 The low hill of Derry (formerly an island) near the mouth of the River Foyle was
easily accessible by sea. In early history, it lay at a conjunction of the two main parts of the
territory of the Cenél nEógan people in Inishowen and Tirowen, whose leading families are
represented in more modern times in the surnames of McLaughlin and O’Neill, and by the
Cenél Conaill, whose name is the main element of Tirconnell and who are represented by
the surname of O’Donnell and others.
3.5.2 On the island where the city later grew, there was an Early Christian monastery
which carried the great prestige of association with Colmcille (546AD) or Saint Columba.
The monastery reached its greatest religious and secular importance in the twelfth century,
although the seat of the diocese was not moved to Derry (from Maghera) until the middle of
the thirteenth century. The site included a major church building (Tempull Mór) constructed
in 1164, and an Augustinian monastery2. In addition, the O’Dohertys built a tower house
here for their overlords the O’Donnell’s, in lieu of certain taxes, on land purchased from the
Ua Lochlainn for 20 cows3.
3.5.3 All the elaborated names by which the place has been known, Daire Calgach, Doire
Cholmcille, and Londonderry are linked by the single Irish word, Doire - Derry, referring to
an oak-grove. This word appears in many Irish place-names and may sometimes, as in the
present case, carry implications of the ancient sacred significance of that tree.
Fig 3. Conservation Area boundary shown on 1600 map
Pre- Plantation Survival
3.5.4 Though the current arrangement of the Conservation Area derives mainly from
the later Walled City erected between 1613 and 1618, some parts still bear association
with the medieval period. Three sites have the strongest continuing associations, though
archaeological investigations may reveal others.
3.5.5 St Augustine’s Church, within the walls, is a remodelling (from the mid Nineteenth
Century) of an Eighteenth Century church in the Classical Style. This in turn may have
been a remodelling or rebuilding of part of the medieval Augustinian Abbey on the site,
which was occupied and used as a garrison church until the cathedral was completed in
1633. The Augustinian rule was adopted in the Thirteenth Century by the monks of the
Dubh Regles or Black Church4 and their building had a strong association with the original
Columbian foundation of the city in the sixth century. The site may therefore have been an
1
Dr. Brian Turner. Text adapted from the City Walls Conservation Plan (2007); by Derry City Council, Northern Ireland Environment Agency
and Northern Ireland Tourist Board. 2 Lacey 1990, 39-53. 3 Lacey 1999;19. 4 Lacey 1990;25.
15
ecclesiastical one for over 1400 years. Surrounding walls, nearby gardens and land under
car parking may also contain remnants of medieval and earlier fabric.
when their powder magazine exploded, killing at least thirty soldiers, and wounding many
others.
3.5.6 The Long Tower, to the south and below the ridge of the hill is reputed to be on
the site of the great church or ‘Tempul Mor’ of the medieval city. A cruciform plan of a
large building following an ecclesiastical alignment is shown in this area on a map of
the 1689 siege. An earlier map of 1600 shows a church and a tall round tower on the
same site - though this appears to be smaller. The current building has evolved from a
rectangular church of 1784. Between 1907 and 1909, major renovations were carried out
by an enthusiastic priest and amateur archaeologist (Father William Doherty) who took the
opportunity to look for remains. He recorded his discoveries by plaques on the floor and
walls.
3.5.11 In 1600, during the Nine Years War, Sir Henry Docwra, with 4,000 troops, was
sent to occupy Derry as part of a pincer movement against the army of Hugh O’Neill of
Tyrone. He found Derry to be ‘a place in manner of an island … the river called Lough Foyle
encompassing it on one side, and a bog most commonly wet and not easily passable except
in two or three places, dividing it from the main land.’ Docwra established two main forts
on the island of Derry, one by the riverside, and one up the hill near the site of the present
St Augustine’s Church. A map exists of this arrangement showing a further smaller fort to
the south of the city and some ecclesiastical ruins.
3.5.7 To the south west of the Walls, at the base of the hill, is St Columb’s Wells, a site
associated with the Saint from an early period and the subject of particular veneration on
the Saint’s Day, the 9th of June. The site is marked by a cast-iron Victorian pump.
3.5.8 Near the bottom of Magazine Street is the site of the O’ Doherty tower-house
referred to at 3.5.2 above. Remains of this have been located behind the Georgian buildings
to the rear of the tower of the current Tower Museum (built in 1986) – a conjectural
reconstruction of this building.
3.5.9 It is also likely that some of the roads into and out of the city follow a medieval
route. These would have been readjusted and subsumed within the new layout of the
planned city.
The Arrival of the English
3.5.10 Elizabethan forces first occupied Derry in 1566 and threw up defensive earthworks
for the garrison. However, they withdrew the following year after a devastating accident
3.5.12 Some Gaelic chieftains came over to Docwra’s side, including Cahir O’Doherty
who was knighted for his service. ‘Derrie’ received a city charter from James VI & I in 1604
which described it as ‘… a place very convenient to be made both a town of war and a
town of merchandize …’ However Docwra, who had been made Provost of the city for life,
was disappointed at subsequent lack of support for the city and departed in 1606. Cahir
O’Doherty revolted against his successor Paulet in 1608 and, although his rebellion failed,
the little fortified town was badly damaged.
The Ideal City
3.5.13 In 1607, the departure abroad of the principal Gaelic chiefs of Ulster (known as the
Flight of the Earls) - unexpectedly left the Crown with a wide swathe of territory covering two
thirds of the province, which came to be used for the Plantation of Ulster with settlers from
Britain. This was at the beginning of the age of colonial expansion and it was calculated
that Protestant settlers would both safeguard the country from foreign invasion and speed
its development in the money economy of Western Europe.
16
3.5.14 The London trade guilds, or Companies, undertook to carry out this plantation in
the area which became known first as the County of Coleraine and later as the County of
Londonderry, and to build two walled towns, one at Coleraine, and the other at Derry. In
1613 a company was incorporated for the purpose, by the name of ‘The Society of the
Governors and Assistants of London of the New Plantation of Ulster within the Realm of
Ireland’, later known as the Honourable the Irish Society. Derry received a new charter and
name, the City of Londonderry.
3.5.15 Also in 1613 the surveyors first ‘viewed and trod out the ground’ for the line of
the walls as they are today, and their building was largely finished in 1618, although there
were some minor additions a few years later. Their design was undertaken by Sir Edward
Doddington and their construction overseen by Peter Benson, a master builder from London.
They consisted of a 12ft thick earthen rampart faced with a 6ft deep outer face of stone.
The excavation of the earth for the rampart created a ditch on the outer side of the walls,
with the exception of the north-western part of the circuit that now overlooks the Bogside,
where the hillside was scarped to provide additional defence5. The height of the wall varies,
but shows little evidence of having been altered since its original construction. The inner
stone facing and the stone steps that now lead up to the wall walkways are not original
features, but later additions6.
3.5.16 Originally constructed with four gates radiating out from the central square, the
construction had a series of bastions to enable flanking fire along the intervening sections.
This allowed more artillery to be mounted, provided wide flanks allowing crossfire to bear
down along the external ditch, and eliminated any patches of dead ground opening clear
fields of fire for the flanks of the neighbouring bastions. In Britain, this new system is
best represented by the line of bastioned defences at Berwick-upon-Tweed, constructed
between 1560 and 1569, and the most costly fortification programme undertaken in
England during the reign of Elizabeth I7.
3.5.17 Inside, the regular plan has been linked by some to the ‘functional simplicity of
a Roman military camp’8 and by others to a similar source but via ‘the planned towns of
Edward 1 in Wales’9. A link has also been suggested with the plan of Vitry-le-Francoise in
France10 because it is known to have been circulating in military tracts in London during the
period. Turner11 has pointed out that ‘It was built at a time of European expansion and this
also brings it into comparison with Quebec City in Canada which was founded, and began
its defences, in the same period’. Others in turn, have suggested that this plan influenced
new settlements in the Americas - John Reps; an American historian of town planning has
suggested links with Philadelphia12.
3.5.18 Whatever the exact source of inspiration, it is clear that this was an ‘ideal town’.
The largest and most expensive settlement of the Ulster Plantation, funded by the City of
London, was an important opportunity to create a new city with appropriate functions and
services according to the latest principles of town planning. These derived at the time from
Renaissance studies of formal Roman prototypes. It is not insignificant that, as a mercantile
and post Reformation city, the focus of the plan is the market square. Gone is the central
place of the church found in a typical medieval arrangement, though it retains symbolic
prominence by being located at the highest point of the hill.
3.5.19 The city, by its permanence, was also an important symbol of the new order. With
its subsequent history of 3 sieges in its first 70 years (1641,1649 & 1689), the power
of this image as a bulwark was strongly reinforced and remained an important image in
local politics to the modern era. This explains why these walls remained in the Nineteenth
Century when most other cities removed theirs.
Lacey 1999, 68-69. 6 Lacey 1999, 69. 7 Kerrigan 1995, 3. 8 Rowan 1979, 365. 9 Dixon 2008, 63.
Conservation Plan 2007, 17. 12 Lacey 1990, 91.
5
10
Lacey 1990, 90.
11
Walls
17
Seventeenth Century Survival
5. The Spire at St.Columb’s Cathedral
3.5.20 Apart from the Walls and town plan, the most significant survivor of the Seventeenth
Century within the Conservation Area is St Columb’s Cathedral. Completed by 1633, it was
the first purpose-built Protestant Cathedral in the British Isles. Its style is often referred to
as Planter’s Gothic, but it owes its architectural design to its patrons in the City of London.
It is one of the best surviving examples of a London Church from the period as most of
its contemporaries were lost in the Great Fire of 1666. As built, it did not have a spire or
a chancel. Both, now found on the building, are additions from the Nineteenth Century
(though the building did have previous spires - a much taller one in the Eighteenth Century,
which was too heavy, and a wooden one (covered in lead) before the 1689 siege).
3.5.21 Within the city, there may well be archaeology associated with this period. Siege
Maps show the construction of a ravelin or triangular bulwark outside Bishops Gate to
provide extra defence and remains of this have been excavated13. A number of discoveries
have been made during redevelopment schemes, and some other buildings surviving on
Pump Street and elsewhere show clear traces of earlier brickwork at lower levels. It is most
likely that these walls date from the Eighteenth rather than the Seventeenth Century but the
example highlights the importance of taking care when developing or redeveloping within
the Walled City. Recent excavations at First Derry Presbyterian Church have uncovered
human remains. The large collection of artefacts found in the soil around the remains, such
as clay pipe bowls and pottery from Britain, Ireland and Continental Europe, date to the
1600s.
3.5.22 For this reason most of the Historic City Conservation Area has also been designated
as an Area of Archaeological Potential. This means that conditions for trial archaeological
excavations are likely to be attached to any permission to develop within the area.
13
Paul Logue, 1999.
18
The Georgian City
3.5.23 During the Eighteenth Century, life settled down and commerce flourished. The
Linen Industry was important across all of Ulster and the city had its own Linen Hall (near
where the Primark Building stands today). Linen Hall Street adjacent is a reminder of that
time. The port also flourished and expanded with trade conducted with America and Canada
as well as Britain and other parts of Ireland.
3.5.24 Buildings from this period (c1700-1830) are typified by regular lines, symmetry,
proportion and order. Streets of refined brick or rendered buildings formed regular elevations
with detail lavished on door fanlights and surrounds. Public buildings, however, were often
finished in stone and designed to sit apart from the dwellings.
3.5.25 Fredrick Augustus Hervey, Bishop of Derry and Earl of Bristol was an important
benefactor during the era. In addition to putting a spire on the Cathedral, he built a Bishop’s
Palace (now the Masonic Hall), donated Corinthian Columns for the Catholic, Long Tower
Church and paid for the erection of the Bishop’s Gate on the walls – a triumphal arch on
the Roman model, to celebrate the 100th year anniversary of the great siege.
6. The Deanery Bishop Street
3.5.26 Outside the walls, maps from the period show the expansion of the docks and
building along Bridge Street to the new crossing and along Bishop Street without. Roads
across the bog to the west and along the line of the present Francis Street have been
defined by buildings.
19
Georgian Survival
3.5.27 Within the Conservation Area much architecture survives from the 1740’s and
later. There are a number of fine merchant’s houses (with good fanlights) on Shipquay
Street and more narrow houses from the same period at the bottom of Magazine Street.
Pump Street and parts of Artillery Street (c1800) contain rendered buildings from the era
(including a former hotel) while Bishop Street contains a number of architectural set pieces.
The Deanery (see photo 6) has the finest fanlight in the city while the adjacent house is from
the early part of the century and has important internal detail.
3.5.28 Across the street, the former Bishop’s Palace is a country house within the city
while the Court House is a deliberate piece of public architecture. Faced in cut stone
with details in white Portland Stone from Dorset, this dates from 1817. The building is an
exercise in the Greek Revival with its columns an exact copy of the Erechtheum temple on
the Acropolis of Athens. Edward Smyth, the sculptor of the Custom House in Dublin, was
employed to execute the carvings on both this building and the adjacent Bishop’s gate.
3.5.29 On a side street off the plan (but still within the walled city) the First Presbyterian
Church was constructed in 1780. When first constructed this was a sober hall of simple
classical proportion. Its more exuberant classical façade of present times was added in the
next century.
Fig 4. 1799 map of the city
3.5.30 These buildings collectively set a tone and rhythm of well ordered and proportioned
buildings within the city creating a template for future years.
20
The Victorian Era
Fig 5. 1853 map of the city
3.5.31 The stimulus of port (particularly emigration) and industry (particularly shirt making)
resulted in a massive growth of the city during the Nineteenth Century. By the 1830’s the
city had expanded significantly beyond the walls with a new wharf constructed from Bridge
Street to the Ship Quay and supported by warehousing. Shirt making commenced slightly
later with the first factory constructed for Messrs Tillie and Henderson at the end of what is
now Craigavon Bridge in 1856. Carlisle Road was constructed to service the new Carlisle
Bridge further south and completed in 1863. This bridge serviced both road and rail traffic
on two decks until replaced by the similar Craigavon bridge in 1933. The terraced buildings
of the Fountain were also constructed by 1873.
21
Victorian Survival
3.5.32 Many of the surviving historic buildings within the Conservation Area date from the
nineteenth century. Many are shops and follow the proportion of their Georgian predecessors.
The buildings along Carlisle Road for example, stick strongly to this rhythm which helps to
highlight the prominence of the Methodist Church sitting, like the courthouse, as a stone
monument within respectful surroundings.
3.5.33 However, there was more of a taste for decoration during this period as exemplified
around the window openings, seen on a number of buildings, as well as some very fine
carving and detail on buildings constructed closer to the port on Foyle Street or the Guildhall
Square.
3.5.34 A number of fine classical Banks cluster in Shipquay Street and compete for
attention as rich and secure repositories for investor’s money. The Northern Bank in
Shipquay Place/Guildhall Square is a particularly large and fine example of the type, built
of massive sandstone blocks with robust detailing. All of the buildings surrounding the
square date from this period along with the centrepiece of the Guildhall itself (though only
the clock tower is Victorian as the rest burnt down in 1902). Many of these buildings have
rich carvings reflective of the taste of the period as well as the influences of an active port.
On the riverside, the Guildhall, the Harbour Master’s Office and Custom House stand as an
important group and are strong reminders of the importance of the port during this period.
6. The Guildhall
3.5.35 The listed former schools within the Conservation Area (Verbal Arts Centre,
Cathedral School and Playhouse) all date from this period and all display interesting detail.
3.5.36 The large shirt factories all date from the 19th century. Welch Margetson’s on
Carlisle Road (built in the Venetian Gothic style) manages to disguise its true bulk to Carlisle
Road and contributes positively to the townscape.
22
3.5.37 Two areas of Victorian terraced housing, located at the edge of the Conservation
Area (in the Fountain and towards William Street) display the Victorian taste for polychrome
brickwork (derived from the Venetian Gothic).
The Edwardian Period
3.5.38 The start of the Twentieth Century was a time of exuberance in architecture with a
taste for much detail and a mixing of styles. The Conservation Area benefited enormously
from the architecture of the era with many of its finials, domes and turrets constructed
during this period. The key building is the rebuilt Guildhall with its stone architecture
celebrating the history of the city.
3.5.39 Austin’s Department store, however, best encapsulates the exuberance of the era.
Significantly altering the proportions of the Diamond, it nevertheless forms an important
piece of townscape as well as a celebration of commerce. Further up Bishop Street, the
Northern Counties Club adds to the character of the Conservation Area with its corinthian
columns and roof top turrets. The recently restored Northern Counties Hotel in Waterloo
Place also greatly contributes to the character of this part of the city.
3.5.40 Between the wars and until the 1970’s, the Conservation Area saw little change
as the fortunes of the city declined. Outside the Conservation Area, redevelopment of the
riverside and removal of housing, between the Walls and the Bogside, marked the first
significant change in the early 1970’s. This was quickly followed by the bombing campaigns
associated with the Troubles, destroying large areas of the historic city. During this time
Bishop Street Without and large parts of the Fountain also lost their historic buildings
through redevelopment.
7. Austins The Diamond
Later Twentieth Century
23
3.5.41 The demolition of the city jail at Bishop Street (1973) was a key loss. Only one
tower of this building survives and is now used as a small museum.
3.5.42 During the Troubles, rebuilding the inner city became an economic priority and, in
1984, the Richmond Centre was constructed (incorporating part of Richmond Street). At the
same time many historic buildings were quickly repaired or rebuilt following bomb damage.
Waterloo Place in particular was badly affected over the period and shows evidence of
demolition and rapid rebuilding. Butcher Street was also completely rebuilt, losing its former
two storey Victorian Shops.
3.5.43 Subsequent efforts at peace-building have removed most of the tangible security
measures from the Conservation Area. Those remaining do not contribute in a positive
way to the area’s character or appearance. More positive are the efforts to re-use historic
buildings and structures.
3.6. Historic Monuments & Buildings
Historic Monuments
3.6.1 The City Walls are the largest Monument in State Care in Northern Ireland. Still
owned by the Honourable the Irish Society, the Northern Ireland Environment Agency
(and its predecessors) has maintained the structure through a far reaching guardianship
agreement which gave the State full control in 1955.
3.6.2 In 2007, following extensive stakeholder engagement, a (non-statutory) “Derry City
Walls Conservation Plan” was published for the monument by NIEA, Derry City Council and
the Northern Ireland Tourist Board. The document explains the history of the monument in
detail, why it is so important and sets out an agreed vision for its future. A Management
Group consisting of the main agencies involved with the structure has been set up to
ensure its full potential to the city and region is realised. The document may be of use
to those thinking of developing near the monument as it explains key concerns and the
approach that NIEA is likely to take in regard to planning consultations.
3.6.3 The Conservation Plan and further information on historic monuments and
archaeological sites of note in the area are available from the Sites and Monuments Record
at www.ni-environment.gov.uk. This includes information on the principal structures noted
in Medieval and Plantation literature as well as on the City Walls.
3.6.4 Development proposals on, adjoining or within the setting of the Monument (and
in turn the Conservation Area) will be assessed under policies contained within Planning
Policy Statement 6, the supplementary planning guidance contained within this Guide, as
well as any other relevant plans and policies.
Historic Buildings
3.6.5 The Historic City contains a large amount of historic buildings, listed and unlisted.
The buildings specifically mentioned in the preceding discussion are listed and an
examination of Map 1 shows that a large number of buildings within the Conservation
Area are also protected in this way. A full list of such buildings is provided at Appendix 4.
Further information on each building can be found on the Northern Ireland Buildings
Database at: www.ni-environment.gov.uk.
3.6.6 To be listed, a building must be of ‘special architectural or historic interest’ (Article
42 of the Planning (NI) Order 1991). Such buildings contribute greatly to the overall
character of the Conservation Area and special planning controls (requiring Listed Building
Consent) apply to any internal/external changes which affect their character.
3.6.7 Buildings listed by the Department are divided into four grades; A, B+, B1 and
B2 to give an indication of their relative importance. Gradings in Northern Ireland (unlike
24
elsewhere in the UK) are not statutory, so all grades are afforded equal protection (see
Revised Annex C of Planning Policy Statement 6, available at www.planningni.gov.uk). The
grades are, however, used by the Department as a management tool, in particular to help
in the assessment of grant-aid
3.6.8 The Northern Ireland Environment Agency is currently reviewing the Listed
Buildings list in Northern Ireland (Second Survey). However, the buildings within the Historic
City Conservation Area have not yet been covered by this review. This means that, in future,
some buildings may be added or removed from the list.
3.6.9 More details on buildings currently considered at risk can be found on the Built
Heritage at Risk in Northern Ireland (BHARNI) Register at www.ni-environment.gov.uk.
8. The Verbal Arts Centre at Double Bastion
3.6.10 Whether listed or not, a building may still contain important traces of the past which
contribute to the authenticity of the character or appearance of the Conservation Area.
Proposals affecting such buildings will therefore be assessed under policies contained
within Planning Policy Statement 6 and the guidance contained within this Guide.
25
3.7 Design Character
The Conservation Area
3.7.1 The Historic City Conservation Area and its setting is the area that is best known to
outsiders. The famous City Walls and the planned city within overlook the Bogside. Both are
highly symbolic of the city. Unique in Ireland (north or south) these places embody (perhaps
more than any others) what it is that is distinctive about this city, physically, historically,
socially and culturally.
3.7.2 The area is rich and diverse. Dominated by the hilly walled city and the spire of St
Columb’s Cathedral, the overwhelming image is that of a pleasing composition of tightly
packed buildings, large and small (many of them listed), jostling for position.
9. Listed building at Chamberlain Street
3.7.3 Sadly, a great many historic buildings, both inside and outside the City Walls, were
lost during the bombing campaign of the Troubles. Exemplary work was undertaken to save
many derelict buildings from outright demolition, particularly in Magazine Street, Pump
Street and London Street.
3.7.4 As the city slowly began to re-emerge after the worst years of conflict much
new-build work was commissioned in tandem with the repair of existing bomb damaged
buildings. It is important to bear in mind that whereas excellent, late 20th century architecture
emerged in some other parts of Europe, due to a positive development context – an entirely
different situation prevailed in Derry.
3.7.5 All of the new buildings that emerged here over the last thirty odd years were
the product of a painfully slow emergence from the Troubles. They reflect the extreme
political, economic and cultural difficulties experienced during that time. These buildings
undoubtedly helped in rebuilding the economy. Today, many are home to a host of dynamic
26
and hardworking community-based, cultural and charitable organisations whose presence
and activities enrich the social and community life of this city.
3.7.6 In that context, it is possible to appraise the legacy of these new additions in purely
architectural and townscape terms. When compared to earlier centuries, the architectural
quality of some of the new buildings erected since the 1970s is weak and unlikely to stand
the test of time.
3.7.8 Visible both from the City Walls and the surrounding historic streets, the work
carried out on these buildings has double effect and significantly enhances the character
and appearance of the Conservation Area as a whole.
3.7.9 Throughout the city, the general preference for PVCu has resulted in the removal
of some original painted timber doors and sliding sash windows. Their replacement in
PVCu frames of different size, design and glazing bar position invariably detracts from the
character and appearance of the Conservation Area as a whole.
10. Refurbished former Northern Counties Hotel at Waterloo Place
3.7.7 Sterling conservation work has been carried out within the Conservation Area
including: the conversion of the former First Derry Primary School to The Verbal Arts Centre;
the conversion of the former Convent of Mercy Schools to the Playhouse; the repair and
refurbishment of many properties under the highly successful Townscape Heritage Initiative
Scheme, the flagship building of which is the former Northern Counties Hotel (see photo
10).
27
Within the Walls
3.7.10 Within the Walls, the cruciform layout of the main streets runs from the four main
arched gateways at Shipquay, Ferryquay, Butcher and Bishop’s Gates and terminates at
‘The Diamond’. This generates a rectilinear grid pattern to which the remaining secondary
streets adhere. The overall footprint is the basis for the historic city’s very formal townscape
character.
3.7.11 With one exception, an architecturally diverse grouping of domestic-scaled
buildings within the Walls still adheres to and respects the street patterns of the town
planners of the Ulster Plantation in the early 17th century. The Richmond Centre, however,
built following the most difficult early years of the Troubles, has adversely altered the spatial
arrangement of the historic walled city’s street plan, particularly at lower Linenhall Street.
3.7.12 St Columb’s Cathedral, built in the Planters’ Elizabethan Gothic style, was followed
by fine Georgian, Victorian and Edwardian buildings from the architecturally rich periods of
the seventeenth, eighteenth, nineteenth and early 20th centuries.
11. Historic buildings step up Shipquay Street
3.7.13 The network of terraced streets within the Walls are lined with buildings that
respect the local building lines and each other, in height and scale. Mostly three storeys
in height (with some also having semi basements), they would originally have had shops
or commercial premises on the ground floor with living accommodation above. The overall
grouping of the historic buildings is eclectic in style and external finishes; however, they form
a cohesive group that is all the more vibrant for its diversity. Newly laid Caithness Stone,
large-format flags and granite kerbing within the Walled City has significantly improved the
appearance of the public realm in the area.
3.7.14 The upper section of Bishop Street Within contains some of the City’s grandest
civic buildings, including the Courthouse. The Apprentice Boys Memorial Hall, First Derry
Presbyterian Church, St. Augustine’s Church and the Verbal Arts Centre form a positive
group of public buildings along Magazine Street Upper.
3.7.15 Security features such as watch towers at Grand Parade and Bishop’s Gate have
now been dismantled and removed, however, the physical residue of ‘The Troubles’ still
remains in other smaller ways – many buildings still retain wire-mesh security grilles,
especially those with frontages or back returns facing the City Walls. Many shops retain
their impenetrable steel fronted roller shutters. Some security fencing still exists on The
Walls.
28
Outside the Walls
3.7.16 The famous planned Georgian walled city (whose continuous walls are the last
remaining on the island) contrasts with the William Street area. Numerous riots occurred
here throughout the Troubles and several buildings lost during that time have been rebuilt,
however, some gaps still exist.
3.7.17 Nevertheless, William Street presents a bustling, vibrant, colourful streetscene
and is full of character. It represents the commercial heart for the people of the Bogside,
Rosemount and Creggan Estates. Its continuing vitality is a relic of the last remaining
vestiges of the once thriving commercial activity in adjoining Waterloo Place.
3.7.19 There are, however, some excellent examples of the complete removal of external
shutters and grilles from properties within the Conservation Area at Castle Street/Waterloo
Street, Waterloo Place/Shipquay Place, Shipquay Street (through the THI Scheme).
3.7.20 The modern route of the river Foyle sweeps past the eastern side of the original
island giving it a curvaceous configuration that is a crucial ingredient in the city’s distinctive
historic character and appearance and adds enormously to its beauty, both from within the
Conservation Area and in its immediate and wider setting.
12. New public realm at Guildhall Square
3.7.18 Up until the late 1980s, Waterloo Place was a key focus of retail and commercial
activity in the city centre. Though it contains several fine buildings, including the former
Northern Counties Hotel, many significant buildings were lost during the worst years
of unrest. The appearance of some buildings in this area remains low grade and the
prominence of solid roller shutters considerably detract from the area, particularly in the
evening time. Many buildings still retain wire-mesh security grilles, in particular some of
those fronting or backing onto the City Walls.
29
3.7.21 The eastern edge of the Conservation Area, Foyle Embankment, is dominated by
the dual carriageway. The riverside walkway runs along the river’s edge at this location.
Harbour Square, Custom House and Queens Quay contain a high concentration of the
Conservation Areas listed buildings, including the Guildhall, Custom House and the Harbour
Master’s Office. These buildings are severed from the riverside by roads and a roundabout.
3.7.22 The Central Library is a low building relative to St Columb’s Hall. Its 1970s and
1980s construction explains its defensive shape and the regrettable set-back from the
established building line on Orchard and Foyle Streets (behind steel railings). Where future
opportunities arise, these should include a re-establishment of the historic building line.
3.7.23 Historic buildings, which once occupied the site of the two storey Translink Bus
Station and the adjacent car park, included single (Butter & Pork Market), two, three and
four storey (old City Hotel) buildings. Future redevelopment of the bus station and car park
sites would create an opportunity for appropriate scaled development along this side of the
street.
13. Terraced housing in The Fountain
3.7.24 The opposite side of Foyle Street remains as one of the finer street frontages within
the Conservation Area (despite being run-down).
3.7.25 The Fountain Estate (inextricably linked to Carlisle Road) has a different character.
Hemmed in by the City Walls to the north, derelict houses and the former Sinclair shirt
factory on Wapping Lane, and Carlisle Road to the east, this residential area is isolated
and, in parts, remains physically run-down. The former Welch Margetson Victorian bonded
warehouse (and adjoining red brick houses on Hawkin Street) are testimony to this area’s
links to the once thriving 19th century commercial activity and shirt making industry on
Carlisle Road and Square.
3.7.26 Quite a number of the small brick built workers’ houses in its tight network of
nineteenth century terraced streets are empty, semi-derelict or in poor condition.
30
14. Cupola at St. Columba’s Long Tower Church
Its presence and character today represents an important aspect of the story of the city’s
Protestant working class community during the 19th century.
3.7.27 The loss of the former Tillie and Henderson’s and Hamilton Shirt Factories, at a key
gateway sites on entry to the city, leaves an enormous void in the city’s, historic, architectural
and townscape fabric. The setting of the Historic City has been greatly diminished by their
loss. The design quality of any new building on this site (in terms of its scale, proportions,
height and materials) will be expected to reach the highest architectural standards, if it
is to support the remaining high quality historic architecture within this section of the
Conservation Area.
3.7.28 At some distance from the City Walls in the south west of the Conservation Area
lies the Victorian Long Tower Church. Its round headed windows and arched openings at the
deep timber louvres of the roof ventilator’s cupola all contribute to its classical architectural
expression (see photo 14).
3.7.29 Beside it the Victorian Gothic Long Tower Primary School is in a completely different
architectural style, however, the two blend well together along with the now derelict ‘Wee
Nun’s’ Infants School and the larger, turn-of-the-century, Long Tower Primary School on
Bishop Street Without.
3.7.30 Severed from its natural hinterland in the Bogside (by the Lecky Road Flyover
and the swathe of grass that extends between it and Fahan Street (see photo 20), not to
mention the boundary wall of the Fountain Estate and the City Walls themselves), the Long
Tower precinct is also physically isolated. However, the church with its flamboyant marble
and timber clad interior still occupies a central place in the city’s Catholic community.
31
The Immediate Setting
3.7.31 A number of high rise buildings lie outside the northern conservation area boundary
- most notably the City Hotel and the BT Tower.
3.7.32 The rear service yard and multi-storey carpark at Quayside Shopping Centre
represent some of the poorer architectural frontages onto the River Foyle and Harbour
Square.
15. Roofscape at Foyleside Shopping Centre (viewed from City Walls)
3.7.33 The riverside area is dominated by roads, roundabouts and surface car parking. The
riverside walkway is very well used, however, pedestrians and cyclists must compete with
moving and parked vehicles along Queen’s Quay carpark. Many buildings at this location
are also severed from the riverside. Work is currently underway to upgrade the public realm
in this area.
3.7.34 Foyleside Shopping Centre (and the associated multi-storey carparking) is the
largest single development within the setting of the walled city (see photo 15) and is
the most vibrant shopping centre in the city. Typical of shopping centres of its time, it is
fundamentally inward looking with few openings or windows (particularly on Bridge Street
and Orchard Street). Inactive frontages have substantially diminished street vitality along
Bridge Street and Orchard Street.
3.7.35 Active street frontages in any future development would make a significant
contribution to the vitality of the Conservation Area, making surrounding streets livelier at
different times of the day.
32
3.8 The importance of open and green spaces
3.8.1 The high density of many of the Conservation Area’s streets (with the exception of
the south western end and Harbour Square) is relieved by a number of key open and green
spaces, including the wider streets of the seventeenth century planned city and other large
public spaces.
3.8.2 The River Foyle, Foyle Embankment, the pedestrian route along the City Walls, the
Diamond, Guildhall Square and Waterloo Place, as well as the expanse of green hillside that
sweeps down to the Bogside from the north western base of the City Walls (the Banking see
photos 16 and 20), all have a vital role to play in giving the Conservation Area its unique
character and appearance. These public spaces provide pleasant environments. The visual
quality of some of these elements is excellent and this should be preserved, whilst others
would benefit from enhancement, for the enjoyment of existing and future generations.
3.8.4 South-west of Society Street and London Street, the plan form is less dense and
more dispersed. This is even more pronounced outside the Walls in the area between
Fahan Street, Barrack Street and Bishop Street Without (the Long Tower Precinct). In these
areas open space predominates. However, much of this is given over to vehicular traffic and
surface car parking. The large expanse of tarmac outside the Verbal Arts Centre (garden of
the former Bishop’s Palace - now The Masonic Hall) detracts visually from this area.
3.8.5 Much of the open space to the north-east of the Guildhall and Foyle Street includes
roads and carparks.
16. “The Banking” at Nailor’s Row
3.8.3 High density development exists northeast of Society Street and London Street,
as far as Bank Place and Union Hall Place (within the Walls), and in the area around
Chamberlain Street, Henry Street and George Street (outside the Walls).
33
17. Grand Parade in winter
3.8.6 The visual quality of that part of the riverside walk which lies within the Conservation
Area (and much of its setting) has been improved with the new pedestrian footbridge
however it remains weakened by the utilitarian, mild-steel balustrading.
3.8.7 An unfortunate and unintended effect of the use of flower boxes on top of this
balustrading is that they intermittently block the long distance views to the other side of the
river. Urban planting is much more effective when it helps to frame rather than block a view
and when it is fully integrated i.e. on the ground, on a sloping bank or against a building.
The City Walls
3.8.8 The Walls are the city’s most unique public space, mostly enclosed by its defensive
battlements, other buildings or low boundary walls. A thirty minute stroll along the Walls
allows locals and visitors alike to circumnavigate the entire old city. This pleasant walk
offers unexpected perspectives with intimate, elevated views into the Walled City, contrasted
against expansive, panoramic vistas outward to the riverside and the inland setting. These
include the Magee and Clarendon Street Conservation Areas. Walkers can leave the Walls
at will to examine its gates and bastions or to visit historic buildings such as St Augustine’s
Church or St Columb’s Cathedral and its historic artillery pieces dating from the Siege of
1689.
18. Grand Parade in summer
3.8.9 The identity of the city is intermeshed with the spaces enclosed and formed by the
City Walls, the impenetrable, sheer rubble walls which rise above Fahan Street towering
over the Bogside, and dominate at The Guildhall Square and on Orchard Street.
3.8.10 The character of the City Wall’s walkway changes constantly. Level and of constant
width at Shipquay Gate with relatively low castellated walls, it turns at Magazine Gate and
rises up to the hump-back section at Butcher Gate. Levelling out again, it rises gently along
Grand Parade where the views to the west open out and become panoramic across the
Bogside, Creggan and beyond.
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3.8.11 The orangey glow cast by the low afternoon winter sun against the high and long
local schist rubble stone boundary wall at Grand Parade (in conjunction with its mature
Sycamore trees) gives this stretch of the Walls a very European character. Photograph No’s
17 & 18 show how the character and appearance of this area changes throughout the day
and with the seasons.
3.8.17 The vacant Ulster Bank offers enormous scope for replacement with an
architecturally high quality building. Such a building could provide an excellent architectural
vista stop at the southern end of the Strand Road.
3.8.12 The steps up and over Bishop’s Gate lead to the gently sloping section past St
Columb’s Cathedral.
3.8.18 The Diamond is hugely important spatially, historically and through its contribution
to townscape character. The architectural quality of its enclosing facades is mixed and
includes some of the city’s finest buildings such as the listed Austin’s department store
and No.18, on the corner of Butcher Street. The area also contains some less attractive
architecture. The vista into Ferryquay Street is particularly poor and the overall appearance
of Butcher Street suffers from the negative impact of the gable end and corner tower of the
Tower Hotel.
3.8.13 The exposed aggregate concrete ground surface of the Walls has aged well and
its colour and texture now blends with the schist stone of the Walls. This seamless material
copes extremely well with the complexities of the changing levels.
3.8.14 At river level, there are glimpses of the Walled City behind and most notably at
The Guildhall, Harbour Office and Customs House grouping outside the Walls. From higher
ground on the Waterside, more of the Walled City is easily visible. The Parade Ground
at Ebrington offers clear views across to much of the Conservation Area. From here, the
stepped roofscape that is so crucial to the character or appearance of this historic city, is
in full view.
Waterloo Place
The Diamond
3.8.19 The space is reasonably well kept and has been upgraded recently in large-format
natural Caithness stone flags and granite kerbing. This is combined with very high quality
materials and workmanship and has made a great improvement visually.
3.8.20 The space immediately outside the former Richmond Chambers Offices benefits
from mid-day to early evening sun. However, the building’s use does not generate sufficient
pedestrian activity that could really benefit from its sunny location.
3.8.15 With the exception of a few buildings within and on its edges, there is little remaining
of the historic character and appearance of this section of the Conservation Area.
3.8.16 This space and its edges are currently undergoing piecemeal redevelopment and
regeneration. The accomplished refurbishment of the former Northern Counties Hotel at
Magazine Gate and the new public realm has greatly enhanced the appearance of this
area. There are a few historic buildings remaining within or on the edge of the square that
are worthy of retention and repair.
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Semi - private Spaces
3.8.21 Semi-private spaces also make a major contribution to the Conservation Area –
the relatively open and serene lawn cemetery at St Columb’s Cathedral and the more
enclosed, but still visible, small graveyard and garden at St Augustine’s Church (whose
oldest gravestone dates back to 1612) are very well kept (see photo 19).
3.8.22 Both graveyards provide very picturesque settings for their respective churches,
along and within the Walls. The combination of fine architecture and serene, tranquil,
green surroundings adds enormously to the character and appearance of the Walls. The
graveyards at the Long Tower are less public (but charming nonetheless), with the older
section quite visible to traffic using the Lecky Road Flyover.
Trees
19. Cemetery at St. Augustine’s Church
3.8.23 The power of a single mature tree to transform the visual experience and character
could not be better demonstrated than by the shapely tree in the grounds of St Columb’s
Cathedral near Church Bastion. Another surprisingly effective tree is the relatively small but
mature Hawthorn on the City Walls at Artillery Bastion opposite the Playhouse Community
Arts Centre. Although small, thorny and rather shapeless, it displays a symbolism and
importance all of its own.
3.8.24 Lime trees have been planted as street trees on the east side of Bishop Street and
Shipquay Street. Still relatively young trees, they have already reached a height of 8-10m.
They combine with quite ornate black painted ornate lamp standards to profile a vertical
emphasis, heightening the sense of perspective along these streets.
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Walls to The Bogside
20. “The Banking” at Fahan Street
3.8.25 Perhaps the most attractive part of the grassy bank sweeping down to Fahan Street
from the Walls is at its northern corner, where a small stand of semi-mature Sycamores
add seasonal interest and supports birdlife (terraced properties from the Victorian period
(Nailor’s Row) once stood here). However, the expanse of green hillside that extends to the
southwest is very exposed. Its existing high amenity value could be greatly enhanced by the
judicious planting of some native broadleaf trees to add interest without obliterating views
to and from the walled city.
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21. Views towards the historic city from Marlborough Street
3.9 Views and vistas
3.9.1 The local hilly topography allows views (to and from all three Conservation Areas)
from almost anywhere in the city. Some of the Historic City’s views and vistas are detailed
below;
3.9.2 Views into the Conservation Area;
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22. View from Butcher Gate
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Panoramic views from the Foyle Bridge;
From Foyle Embankment, along its length from Harbour Square roundabout to the
“old railway line” at the Foyle Valley Railway Museum;
Looking west from the Waterside area, from the River Foyle, the pedestrian
footbridge, the Railway Line, St Columb’s Park, Browning Drive, Ebrington, Duke
Street, Chapel Road, Fountain Hill, Dunfield Terrace, Strabane Old Road, Victoria
Park, the Waterside cycle path, Glendermott Road, Limavady Road. Foyleside
Shopping Centre dominates;
From Victoria Road, travelling towards the city;
From Old Letterkenny Road, travelling towards the city;
From higher ground at Creggan and Rosemount; particularly Bligh’s Lane, Creggan
Hill, Marlborough Street and Brooke Park;
From Stanley’s Walk the Lecky Road Flyover truncates views to the Long Tower
grouping;
Views of the Walls from Westend Park, Westland Street, Lecky Road, Little Diamond
and other terraced streets within the Bogside;
From Shipquay Street and the Diamond looking north east;
From side streets to the external face of the City Walls;
From Francis Street to Long Tower Church (long range).
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3.9.3 Views out of the Conservation Area;
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From the City Walls;
- Between Butcher Gate and Grand Parade – out over the Bogside,
- Brandywell, Creggan, Rosemount and Clarendon Street Conservation Area
- Between Bishop’s Gate and Ferryquay Gate – to Foyleside Shopping Centre and the
Waterside
From the upper floors of Austin’s Department Store to Brooke Park, Rosemount
Shirt Factory, St Eugene’s Cathedral and de Burgh Terrace as well as the riverside
down to Fort George, the Foyle Bridge, and out to the Inishowen Hills.
From the Diamond, to St. Columb’s Park House (on axis in the Waterside).
Butcher Street frames Butcher’s Gate, Brooke Park and Rosemount Shirt Factory
on the horizon.
Views of Ebrington Barracks framed by the Millennium Forum and St Columb’s
Hall.
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Between Bishop’s Gate and Ferryquay Gate – out over the Long Tower precinct,
the Fountain, Carlisle Road
From the City Walls - overlooking the Guildhall Square
From the Diamond, down Shipquay Street along Whittaker Street
3.9.5 It should, however, be noted that this is not an exhaustive list. Please also see Maps
4 and 5 (at Appendix 2) and the Historic City Baseline Audit for further detail on views and
vistas.
3.9.6 Proposals for development within the Conservation Area should ensure that the
views and vistas listed above and shown on the maps are preserved or enhanced.
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Looking south along Strand Road to Waterloo Place.
From the upper floors of Austin’s Department Store to Richmond Shopping Centre’s
roof plant rooms, Butcher Street and the Diamond.
Along Ferryquay Street, Carlisle Road, Wapping Lane
Pump Street frames the stunning gates and east end of St Columb’s Cathedral
From the Walls – to the front of buildings along side streets and into the rear of
adjoining properties at Waterloo Street, Foyle Street and Fountain Street.
From the side streets to the internal face of the City Walls.
Looking north and/or south from Waterloo Street
23. Entrance Gates at St. Columbs Cathedral
3.9.4 Views within the Conservation Area;
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3.10Townscape
Townscape Analysis
3.10.1 The Townscape Analysis map (Figure 6 opposite and at Map 3, Appendix 2) shows
that the Historic City Conservation Area is endowed with high quality street definition and
enclosure. These are highly significant and well worth preserving or enhancing.
3.10.2 However, poor quality definition and enclosure exists at Translink Bus Depot.
3.10.3 Upgrading of the public realm in the main cross streets of the Walled City has been
very successful at Shipquay Street, Bishop Street, Ferryquay Street and Butcher Street.
Recent upgrading of the public realm at Newmarket Street and from Guildhall Square
through to Waterloo Place, Waterloo Street, Strand Road and William Street has been highly
successful at enhancing the character and appearance of these areas. Work is also ongoing
at Queens Quay and at Chamberlain Street, Harvey Street and High Street to upgrade the
public realm in these areas.
3.10.5 Street frontages currently lacking in pedestrian vibrancy are; Foyle Street (outside
Foyleside); Bridge Street; Orchard Street and Linenhall Street.
Fig 6. Townscape Analysis Map
3.10.4 Effective tree planting exists at: the Long Tower precinct; around St. Columb’s
Cathedral, St. Augustine’s Church; Grand Parade; the Diamond; Shipquay Street; Foyle
Street; Whittaker Street and along the Foyle Embankment.
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3.11 Signature Patterns
Stepped Terraces
3.11.1 A number of patterns that make the city special and distinctive appear again and
again in this Conservation Area. These patterns are so pronounced that they are worth
identifying, partly to encourage their retention, but also to reinforce that they should be
reflected in new developments to ensure their survival.
3.11.5 Several streets within this Conservation Area such as Shipquay and Magazine
Streets, Waterloo St, Harvey and High Streets, and Wapping Lane have been laid out at
right angles to the contours of their steeply sloping streets. Two, two and a half, three and
three and a half storey street frontages and former townhouses generate one of the city’s
most distinctive characteristics - domestic-scale, terraced roofs, dormers and chimney
stacks marching steadily uphill. This pattern is repeated across the inner city on both sides
of the river.
Ecclesiastical Buildings
3.11.2 St Columb’s Cathedral, St Augustine’s Church, and the Long Tower Church stand
entirely within enclosed grounds. These exhibit a low density, dispersed plan form and
contrast strongly with the finer urban grain of the properties nearby in terms of plan form
and plot size. These churches are modest and of a relatively small scale. Nothing dominates
excessively.
Grand terraced streets
3.11.3 Several grand, wide streets have relatively dense, urban street patterns. Building
plots on these streets have been intensively developed in terms of their footprint and plot
ratio. On Shipquay Street, much of the curtilage of the properties has been completely
developed as far as Linenhall Street, however, some old gateways remain, allowing access
to the rear of properties. Streets such as Shipquay St, Bishop St and Carlisle Rd and other
public spaces counterbalance the intensity of plot development.
Narrow terraced streets
3.11.4 Examples of modest, narrower streets exist at Palace Street, Society Street, London
St, Chamberlain St, Waterloo Street, Fountain Street, Wapping Lane and Georges Street. All
of these have very dense urban street patterns. There is no front garden, rear yards are very
small and few have rear access.
Civic Buildings
3.11.6 Civic buildings inside and outside the Walled City are often (though not always)
physically separated from each other. Predominantly two to three storeys in height, their
size and scale is larger than many of the other buildings fronting the streets, however, they
do not dominate or overwhelm these. Roof shapes are either hipped with low ridges or
double pitched roofs at approximately 35°. Many civic buildings have parapets.
Walls
3.11.7 Numerous boundary walls built in the grey/green schist bedrock of the city (also
known as ‘whinstone’) exist within the Conservation Area. The most famous of these are
of course the City Walls - the very first example of the numerous, local rubble stone walls
across the city. There are many other yard walls, party walls, boundary walls and even
building walls, which look entirely different to the rubble walling found in other parts of
Northern Ireland such as Armagh City or the Mournes. Whinstone is no longer quarried
locally, making such walls a valuable physical asset to the city.
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Industrial warehouses and Factories
3.11.8 Relatively large in size but still modest in scale and respectful of the historic street
patterns, these buildings are reminders of the city’s industrial heritage.
Hipped roof and low ridge lines
3.11.9 Many of the factories within the Conservation Area display these features, including
Welch Margetson’s and the former Abercorn Factory.
Back returns and back alleys
3.11.10 Back returns are highly characteristic of the Conservation Area, particularly on
terraced properties. Back alleys exist at many of the residential areas of the Fountain and
Chamberlain Street.
24. The spire at Carlisle Road Methodist Church
Spires
3.11.11 There are a number of highly visible spires throughout the Conservation Area; the
most notable is that of St.Columb’s Cathedral. The spire of Carlisle Road Methodist Church
also forms an important element of the skyline in this part of the Conservation Area (see
photo 24).
Finials, Pinnacles and Roof ventilators
3.11.12 These details are characteristic of many of the grand or ecclesiastical buildings
within the Conservation Area.
Double pitched roofs
3.11.13 Most of the terraced properties within the Conservation Area display this roof type,
including their extensions.
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25. Brickwork detail at Kennedy Street in The Fountain
3.12 Prevalent local traditional materials and colours
3.12.1 The range of traditional materials which dominate the palette of colour and texture
of the Conservation Area, particularly within the terraced streets, are an essential element
of its identity. Overall, the mix is eclectic rather than homogenous and this brings vitality to
its character and appearance.
3.12.2Traditional materials are invariably natural and were usually, though not always,
a response to local availability and climatic demands. Painted plaster, unpainted lime
and sand:cement plasters reign supreme within the Walled City, though there are small
amounts of warm, reddish- brown brickwork. Red clay brick dominates in the Fountain
and Chamberlain Street areas and a mixture of red brick and painted plaster is evident
in Waterloo Place and Waterloo Street. Natural slate roofs, painted timber door and sash
windows frames predominate.
3.12.3 The unified appearance of the Conservation Area relies on predominant materials
being used. However, even historically, there are examples of unusual departures from the
most commonly used materials. Some are highly visible and are found in some of the area’s
landmark buildings.
3.12.4 The old red sandstone of The Guildhall, the yellow sandstone of the Northern
Bank, the putty coloured Portland stone of the Courthouse or the mica-quartz stone of the
Long Tower church all depart from the predominant palette of locally available traditional
materials. Some buildings dating from the 1930s and 40s, incorporate rustic finish red
brickwork. From very different eras and in different architectural styles, all these buildings
demonstrate how well chosen materials, different from the norm, can be used to very
positive effect when the architecture, materials, detailing and workmanship is high quality
and the choice of colour harmonious.
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43
3.12.5 The following materials are prevalent within the Conservation Area:
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reddish brown clay brick
warm red clay brick (the former Northern Counties Hotel)
painted plaster (the Playhouse, Austin’s Department Store)
sandstone, cream/buff colour (First Derry Presbyterian Church, St.Columb’s Hall)
local schist or whinstone (St.Columb’s Cathedral, St.Augustine’s Church)
red sandstone (the Guildhall)
rock-faced sandstone (Mitchell building, Foyle Street)
dressed stone (Harbour Commissioner’s Office, General Post Office and Custom
House)
Portland Stone
lime mortars/plasters (lime-washed, painted and unpainted –mostly on gables
and back returns)
unpainted sand:cement plaster (painted and unpainted)
timber, painted (windows, doors, fascias, soffits, sprockets)
lead – low pitched roofs, bay windows
cast iron - rainwater goods, railings, gates
glass (clear, stained and coloured)
welsh bangor blue natural slate - purple/blue/grey mix (also some dark grey
natural slate).
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Concrete
Granite setts and kerbs (Mourne granite)
Cast iron, painted (lamp standards)
Painted plaster
Caithness Stone
Reconstituted Stone
3.12.7 Please refer to the Baseline Audit for additional information on each of the five
Character Zones identified within the Conservation Area.
Key elements of the Conservation Area
3.12.8 Key elements that make a positive contribution to the Conservation Area and its
setting are;
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City Walls
Historic Roofscape
Stepped Terraces
River Foyle
Key views and vistas
Trees and gardens
Boundary walls
Public realm materials
3.12.6 The following materials are prevalent within the public realm:
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local schist or “whinstone”
wrought iron
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4 Protecting Character
4.1Authenticity
4.1.1 The authenticity of a historic building is reflected in the original materials that it was
made from when first built and how these were put together – its details. Some of these
materials are no longer available and traditional building skills may be in very short supply
today. However, there are several ways to retain authenticity in old buildings (whether or not
these are listed).
4.1.5 Conservation means keeping the historic fabric of all eras where this is generally
agreed to be of architectural and aesthetic value. The best architecture of earlier centuries
is of no greater or lesser importance than more recent architecture. It all has its place.
Removal of worthy architectural elements (that are the result of changes made over time)
in order to bring a building or building group ‘back’ to some arbitrary halcyon architectural
period, will not normally be acceptable.
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Minimum intervention
Maximum retention of fabric
Reversibility
Clarity
4.1.3 NIEA has produced a range of detailed guidance notes on historic details, all of
which can be downloaded from their website at; www.ni-environment.gov.uk.
4.1.4 Generally, the following will also help to maximise authenticity;
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Carry out repairs to slow down the rate of decay
Repair like with like
Avoid conjecture (ensure that evidence (historic photos and/or drawings) supports
approach)
26. No’s 1-3 Castle Gate; refurbished under the THI Scheme
4.1.2 Informed judgement is extremely important when repairing or changing old
buildings appropriately and this requires a degree of specialist knowledge. The following
four internationally adopted principles of conservation help maximise authenticity. They are;
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4.2Change
4.2.1 Over time, the needs of people using historic buildings change. To meet those
needs it is sometimes necessary to make minor alterations. Change can also involve major
works and extensions. If a building’s original purpose ceases and it becomes disused, its
condition can deteriorate quickly, sometimes resulting in dereliction. When this occurs,
there is a risk of losing it altogether. It is then vitally important to find an appropriate new
use or mix of uses for the building.
27. The former Mercy Schools; now The Playhouse Theatre
4.2.2 The Historic City Conservation Area has a number of buildings for which new
uses have been found. These include the former Welch Margetson’s bonded warehouse
in Horace Street (now offices), the former St Mary’s and St Joseph’s Schools on Artillery
Street (now the Playhouse Theatre - see photo 27) which have all found good sustainable
new uses.
4.2.3 When spaces of historic interiors are substantially affected by a change of use to
the extent that external alterations become necessary, these should be sympathetic to the
remainder of the building, its surrounding context and streetscape. This does not mean
that these changes must be expressed in the historic style of the building or other historic
buildings in the wider setting. Instead the design of alterations and/or extensions should
respect and integrate well in terms of scale, shape, massing, proportions and materials.
Extensions and alterations
4.2.4 The shape and alignment of extensions should respect or enhance the existing
street line and roofscape. Necessary extensions and alterations should complement the
original old building and be subservient to it. They should express the best architecture/
interior design and the highest quality materials and workmanship of today.
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4.2.5 Extensions and alterations to historic buildings need to be very skilfully handled to
avoid dominating (or even obliterating) the original. In general, when working with extensions
to the back returns or sides of properties, the following should be avoided:
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The height of a back return ridgeline coming very close to, equal to or higher than
the ridge line of a building’s main roof. They should be subservient.
Back return eaves lines that are higher than the main roof eaves line
Front, side or rear extensions that accommodate escape stairs and/or lift shafts
only. Where these cannot be avoided their overall form and roof shape should be
simple and should not detract from the simplicity of the building’s main roof shape
Where the repeating signature townscape pattern of back returns remains (or is
partially discernible along the rear of an historic terrace) extensions that erode this
pattern and/or infill the rear property curtilage will not be acceptable. Where these
are unavoidable, their design should respect and enhance the signature pattern of
the area.
Fire escapes and lift shafts
4.2.6 Historically, external fire escapes were unsightly. However, where new means of
escape are necessary (to meet current Building Regulations) or if existing structures are to
be replaced, they present a design opportunity, regardless of where they are located on the
building. The same is true for lift shafts, which by their very nature often take on a tower
like form.
these to be designed in a positive way that enhances the character of the Conservation
Area.
4.2.8 The new modern extension to the Playhouse is a great example of how these can
be dealt with in a way that blends new with old (see photo 47).
Satellite Dishes, Burglar Alarms and Flues
4.2.9 The thoughtless positioning of additional equipment (such as satellite dishes,
burglar alarms and flues) on buildings within the Conservation Area can have a very
negative impact on an otherwise aesthetically high quality environment. Avoid installing
these externally, but where necessary great care should be given to positioning these
devices discreetly.
4.2.10 Satellite dishes or burglar alarms should be positioned on the least visible side
of a building as the sides and rear of buildings can often make a positive contribution to
streetscape and are frequently visible from other streets. In some cases, it may be possible
to position burglar alarm sounding bells internally.
4.2.11 The colour of these devices should also be carefully chosen so that they blend
into the streetscape when viewed from a distance. Satellite dishes made from a perforated
metal are less obvious than solid dishes.
4.2.12 The local area planning office can be contacted for up to date advice on installing
any of these items on properties within the Conservation Area.
4.2.7 Both of these elements present a considerable challenge. They deserve as much
care and creative thought as any other extension to a building. Such extensions should be
designed to be subservient to the host building and take care not to obstruct the skyline
of the Conservation Area. With skill and creative design, however, there is great scope for
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4.3 Principles of repair
Avoiding loss of historic detail
4.3.1 These apply to any part of a building. When undertaking repair work the aim should
be to:
4.3.4 The same principles apply to protecting the character of the large scale elements.
Removal of original detail should be avoided if at all possible. Details should be repaired
in situ as far as possible. If a detail is beyond repair but sufficient fabric remains to record
it then this should be used to make an exact replica in the same materials as the original.
Lost details should be accepted and their absence used as an opportunity to create a
contemporary replacement that is sensitive to the overall composition – the latter requires
great design skill and it is recommended that a skilled creative professional be employed to
carry out this work. Do not make it up.
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Retain as much of the original as possible
Repair like with like
Carry out necessary research
Fully record details before dismantling any part of the building
Avoid creating problems for the future
Ensure the repair is reversible. Materials whose future removal would damage
original historic fabric should be avoided.
Details
4.3.2 The details of historic buildings are enormously important; these refer to the
smaller components that are put together to make parts of a building. All parts of a detail
are important – the materials, the dimensions of the materials, their colour, shape, texture,
the craftsmanship and method of manufacture, how they relate to other details in the
building and finally to the overall whole. Important historic details occur inside and out – all
are equally important.
4.3.3 The unthinking removal (or covering over) of original detail on a historic building
(listed or unlisted) greatly undermines the overall character or appearance of a building
the Conservation Area. When this happens again and again, the overall authenticity of the
street and the wider Conservation Area is significantly diluted.
Avoid elimination of historic details
4.3.5 There is often a lot of interesting fine detail at roof level. Whilst this may not always
be readily visible the City’s topography means that roofs can often be seen at close quarters
from other buildings and from higher ground. Some very refined and delicate details such
as chimneys with decorative stoneware pots, decorative cast terracotta ridge tiles or dormer
windows with cast iron or carved timber ridge finials make an enormous contribution to the
area’s skyline, eaves line and its overall character.
Vulnerable details
4.3.6 Several elements of historic building detail are very vulnerable to removal. Their
replacement in materials such as PVCu, and in some cases extruded aluminium or pressed
metal, is undermining the historic character and architectural quality of the Conservation
Area. This will not be acceptable. Details most affected include:
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Cast iron rainwater goods (guttering and down pipes)
Painted timber soffits and fascias
Window architraves (especially at dormers)
Dormer cheeks
Rooflights
Painted timber sliding sash windows and doors
Decorative ridge tiles
Fine cast iron and carved timber finials at ridges and apexes
Traditional shop fronts
The importance of detail on new buildings, alterations and extensions
28. Eaves and roof detailing at No’s 1-3 Castle Gate
4.3.7 When creating a new building or carrying out alterations or extensions to an existing
building the design and construction quality of the detailing is just as critical to the overall
architectural success as good siting, planning, shape, massing, proportion, materials and
composition of facades.
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4.4 Windows and doors
Windows (including ironmongery)
4.4.1 Timber frames often look much worse than they are because of badly peeling
paintwork. The base timber may be sound or only rotten in isolated places. A skilled
craftsperson can piece in durable timber to leave a sound window that functions perfectly
well, in sharp contrast to characterless uPVC.
4.4.2 The visual character and delicate quality of old glass is just as important as the
window frame. Repairing existing timber windows is the only way to retain their refined
design details, original materials and craftsmanship.
29. Entrance door at St. Augustine’s Church
4.4.3 The existing vertical window proportions of historic buildings within the Conservation
Area provide a guide for the size and proportion of new windows. Existing window openings
should not be enlarged and existing detailing around openings should be retained or
replaced (as appropriate).
4.4.4 Existing poorly designed windows (usually replacement and made of inappropriate
or low quality materials) can be removed if an opportunity arises. When original drawings
or examples of original windows remain (such as in parts of a unified terrace), these can
be copied exactly. The number of panes in the window should match either the remainder
of the building (if some still exist) or should take a lead from the surrounding area. Avoid
imitation bars, applied to or sandwiched between double glazed panes. New windows that
are well designed and fabricated clearly denote an old building’s ongoing evolution.
4.4.5 The use of secondary glazing is also an option. This can be fitted internally, with no
visual impact on the external character or appearance of the building, whilst at the same
time improving the thermal and sound proofing properties of the existing windows.
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4.4.6 Historic ironmongery on windows is a very important aspect of their character and
appearance. Ironmongery includes such fittings as handles, hinges, fastenings, window
pulls etc. These are often unique to the building. Care should be taken to retain, clean and
re-use these as many modern replacement “lookalikes” bear no comparison.
4.4.7 Window openings in extensions should mirror the proportions of those in the
existing building and have similar solid to void ratio. Replacement sills should be substantial,
constructed in either precast concrete or stone and should match the original in profile and
depth of leading edge.
a paramount consideration. Door accessories (knockers, knobs, letterboxes, locks and
handles) should be made of traditional materials including brass, bronze or cast iron.
When doors are being replaced, the existing door furniture should be reused if possible.
It is important to limit the number of door accessories to a minimum particularly where
properties have been converted to flats. Intercom systems require careful attention to siting
and design if they are to integrate successfully.
4.4.8 On new buildings, the vertical emphasis of windows and the ratio of solid to void
found on existing historic buildings should be replicated. A horizontal emphasis or large
sections of undivided glazing are not characteristic of the Conservation Area and will not
be acceptable. New windows should be timber with an opaque paint finish. Varnishes will
not be acceptable. Powder coated aluminium may be an acceptable alternative to timber,
however, each proposal will be assessed on its individual merits.
Doors (including ironmongery)
4.4.9 Conservation areas invariably contain excellent examples of historic door cases,
fanlights and panelled doors. Generally, doors are vertically boarded or four to six panelled
timber with bolection mouldings. These door types should be used when replacement
becomes necessary, especially on front elevations. They should be constructed in timber
and have an opaque painted finish. If there is no fanlight in the entrance, glass panels may
be substituted for solid ones in the upper parts of panelled doors although large expanses
of glass are inappropriate and should be avoided. Doors with integral fanlights should not
form part of the door design and sidelights should be plain glass.
4.4.10 In buildings of modern design, the same design constraints will not apply and
modern materials and forms may be acceptable, although good design will always be
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4.5 Dormer windows
Traditional dormers
4.5.1 Traditional dormer windows light the attics of many properties within the Historic
City. Many of these windows are already beautiful and need no improvement in design
(though they may well need repair). However, some are at risk. Across the Conservation
Area, details vary in terms of dormer window shape, proportion, treatment of ridges and
dormer cheeks but common features are:
30. Traditional dormer windows at Carlisle Road
•
•
•
•
•
•
•
•
•
the front of the dormer generally rises in line with the front façade
dormers are placed centrally in relation to the width of the front façade
they have a modest size and are small in scale
they are well proportioned
their roofs are generally double pitched – dormer pitch angle is the same as that
of the main roof
they have a vertical rather than a horizontal shape
they do not have gutters
the dormer cheeks are clad in vertical slate or lead
the window frames are normally opaque painted timber sliding sash
4.5.2 Very fine examples of dormers can be seen at Carlisle Road (see photo 30) and
Chamberlain Street (see photo 31).
Insertion of dormers
4.5.3 If a dormer window has been previously removed, there are a number of valid
options:
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•
•
•
•
•
it can be left as is – this can be done even if the rest of the terrace still retains
dormers
if evidence exists as to the size, shape and detail of the original (i.e. original
architect’s drawings for the building or if there are others on the building), then a
replica adhering to the evidence could be reinstated
if no evidence remains of the design of a previous historic dormer, then a new one
could be created whose design respects the adjacent dormers in size and scale
if the building is part of an otherwise unified terrace with no dormers then it is best
to avoid disruption of the overall unified pattern. The insertion of new dormers in
this instance will not normally be acceptable
if the terrace is made up of an eclectic mix then the insertion of a dormer may be
acceptable but the quality of its design and materials must be very high
4.5.5 If a building is historic or part of a terrace with no dormers, then it is best to avoid
the insertion of a new dormer altogether, otherwise very careful consideration should be
given to its design. Preferably, they should be located in rear roof elevations but, if this is
not possible, consideration may be given to placing them in front roof elevations, provided
they are of traditional design and in scale with the existing building. In this instance, each
proposal will be assessed on its individual merit.
4.5.6 New dormers in historic terraces should respect the size and scale of the host
building and the remainder of the terrace. They should be designed to respect the position,
size, shape and proportion of other relevant historic dormers on the terrace but should still
be clearly of their own time.
31. Traditional dormer windows at Chamberlain Street
4.5.4 The temptation to change the size, shape, scale, and materials, or the size and
configuration of windows should be resisted.
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4.6 Roofs
Rooflights
Roofing materials
4.6.6 Rooflights have always been part of historic buildings. Where they occurred in town
houses, there was usually just one on the front roof plane (and perhaps another on the
back or on a back return). They were invariably very small and existed to serve a very basic
function – admittance of light and air to a staircase or small box room at attic level. Usually
cast iron (painted black or dark grey) they may have had one simple vertical dividing bar (or
none at all). Their dark colour, small size and small numbers usually allowed them to blend
well into the overall architectural character or appearance.
4.6.1 Traditional pitched (35°-40°) and slated roofs with (painted or powder coated
black) cast iron gutters or cast aluminium rainwater goods are consistent with the historic
character or appearance of the Conservation Area. In residential areas, simple pitched roofs
with full gable ends are the norm. Small areas of flat roofs (particularly rear extensions)
may be found on a number of buildings. Natural slate is the prevalent roofing material
throughout the Conservation Area.
4.6.2 Roof covering should be either the traditional ‘Bangor Blue’ slate or a natural slate
which matches those in colour, texture and form. Ridge tiles should be simple inverted V
section in clay. Roofs to new buildings should reflect traditional period designs.
4.6.7 When repairing an existing rooflight on an historic building the aim should be to
retain the historic cast iron or patent glazing framing and spacing if possible. If a replacement
frame is necessary (because the original is beyond repair), a new cast iron frame whose
appearance, size and position matches the original should be avoided.
4.6.3 Artificial or composite slates are not characteristic of the area and will not be
acceptable. If a new roof is required on an existing building, it may be possible to salvage
sufficient slates from the existing roof to cover the front slope and a new, natural slate, on
the rear.
4.6.8 When a critical need arises to create a new rooflight on a historic building, the
number of new rooflights should be kept to an absolute minimum and located on roof
planes that are not visable from surrounding streets and buildings. However, it must be
noted that due to the local hilly topography, rooflights may be more visible in the Historic
City than in some other Conservation Areas.
4.6.4 New roofs, including those on building extensions should be pitched and ridged.
Roof ridges should line through with adjacent properties in the terrace with the angle of
pitch also generally consistent, although some slight variation is sometimes apparent. Main
roofs should pitch away and upwards from the street frontage. The depth of the building
footprint should also reflect the prevailing situation as this determines roof span and ridge
height. Roofs to extensions should reflect the roof design of the parent building.
4.6.9 On larger buildings, one large, well-designed, continuous panel of roof glazing
that respects and makes an overall contribution to the architecture of the building (viewed
from near and afar) may be preferable to several smaller roof lights of the same or mixed
sizes peppered across the roof plane. However, proposals will be judged on their individual
merits.
4.6.5 On new, modern buildings, alternative roofing materials may be acceptable;
however, they should blend in with and be sensitive to the character, design, materials and
colours on surrounding properties.
4.6.10 In general, whether replacing rooflights or installing new ones, the following should
be avoided:
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•
•
•
•
•
•
uPVC frames
new frames whose colour does not blend well with the historic roof covering or the
wider roofscape
new frames whose thickness lacks the visual refinement of the original
large or medium sized individual rooflights (square or rectangular). These have
relatively large panes of glass that reflect a lot of light. They also catch the eye and
detract from the wider roofscape
overuse of rooflights on a single building. When these are visible from street level
or higher levels of the Conservation Area (or the city), they can detract from an
otherwise architecturally high quality building
rooflights whose opening light rotates through 360°
4.6.15 Adding chimney stacks (of the correct scale and proportion) to new works is also
important to retain the particular character or appearance of the roofscape, the building
and the streetscape, even if they are not to be used for their original function. There is the
possibility of soil vent stacks being directed through flues and terminating beneath the
chimney pots, or a mechanical ventilation system having its exhaust through the chimney.
However, each proposal will be assessed on its merits.
Chimneys
4.6.11 Chimney stacks located on ridge lines add character and interest to the skyline of
the Conservation Area, particularly due to its hilly topography and stepped streetscapes.
4.6.12 Where renovations to existing buildings are being carried out and chimneys are
no longer in use, they should nevertheless be retained and repaired so as to maintain the
existing roofscape silhouette.
4.6.13 Where clay pots are missing, they should be replaced as part of any proposal.
There are many different styles of pots to choose from, examples of which can be taken
from within the Conservation Area itself.
4.6.14 Whilst all existing chimney stacks should be retained, where possible, if there is a
structural reason why one requires to be taken down, it should be rebuilt to match exactly
the style, proportion and detailing of the original form (or those on adjoining buildings),
including corbelling and other appropriate detailing.
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4.7 Renewal of existing historic rainwater goods
4.7.2 Traditionally, down pipes were round. The detailing on hopper heads was often
quite elaborate and gave considerable aesthetic quality a feature which had a utilitarian
function. Replacement gutters should match the original profile.
4.7.3 Cast-iron is expensive but its texture and solidity has a rich aesthetic quality, and
is likely to last much longer than cheaper alternatives. Consideration should be given to
reinstating cast-iron when replacing existing, rusted rainwater goods. Cast aluminium is
an acceptable substitute provided the profiles match the original. Extruded aluminium and
uPVC will not be acceptable within the Conservation Area.
33. Cast iron downpipe at Clarence Avenue
32. Good example of renewal of historic rainwater goods at the former Fire Station in The Fountain
4.7.1 Traditionally, guttering and down pipes were cast-iron and painted. The profile
of gutters is often half-round, supported on iron rise and fall brackets. Sometimes, the
guttering on fronts of buildings has a more elaborate ogee or bolection profile moulding.
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4.8 Typical eaves, fascias, soffits and verges
4.8.2 Parapets concealing lead lined gutters behind are
common in the Conservation Area at important commercial
and some civic buildings. The roof shape behind these
is often hipped with low ridgelines – either concealing a
valley gutter in the middle or a flat lead roof. This helped
to achieve a small scale on relatively large commercial
buildings. It exists at such buildings as the Northern Bank,
Guildhall Square and at No 1 Shipquay Place.
4.8.3 The raised verge typical of classical pediments
occurs at The Courthouse, The Guildhall and Austin’s
Department Store.
36. Minimal slate overhang at Hawkin Street
35. Raised verge at The Guildhall
34. Parapet at Northern Bank, Guildhall Square
4.8.1 There are three main eaves types in the Conservation Area: a parapet, often found on many of the more important commercial buildings within the Walled City; an overhanging
eaves, supported by a timber fascia and soffit or, a decorative brick corbel or no eaves at all – sometimes along front facades and very common on the rear and back returns of terraces.
New proposals should respect and reflect these typical details and blend with either existing (host buildings) or adjoining buildings (in new build schemes).
4.8.4 The side gables and backs of terraced buildings
usually have a minimal slate overhang. Bargeboards,
fascias or soffits are absent. At most a small projecting
single course, brick or plaster corbel may exist just below
the slate overhang to provide fixing for rise and fall gutter
brackets.
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4.9 External Wall finishes
4.9.1 Wall finishes vary within the Conservation Area, however, a few predominate; red
brick and natural stone (with lime pointing) and lime render (painted and unpainted). In new
proposals, the overriding considerations should be:
(a) to retain existing facades to preserve or enhance the character of the building and the
Conservation Area; and
(b) to ensure that finishes to extensions match the existing building.
4.9.2 With new buildings, external wall finishes should reflect the range of traditional
finishes within the area. Decorative stone and plaster details should be retained or reinstated
where possible.
Stone and Brick patterns
4.9.3 Repairs to brick and stonework should be undertaken before considering
replacement. Damaged or defective bricks should be carefully cut out to avoid causing
disturbance to surrounding sound bricks. Replacements should match the originals in
dimensions, strength, texture of finish and colour. They should be laid in the same bond and
width of joint and the same joint finish as the existing.
4.9.4 Natural stone is often used for the external walls of buildings within the Conservation
Area. The colours, textures and patterning of these stones add considerably to the
character and appearance of the Historic City. Repairs should be undertaken by competent
professionals to ensure that the quality of the stonework is not affected. It is essential, in
the first instance, that the causes of any damage or decay are carefully investigated and
identified in order that their effect may be eliminated. Stones should only be replaced where
they have lost their structural integrity or serious fracture or spalling has occurred.
4.9.5 In new proposals, detailed consideration must be given to the type, colour and
texture of brick or stone to be used, to ensure that it blends with surrounding materials
and does not adversely affect the character or appearance of the Conservation Area.
Reconstituted stone is not characteristic of the Historic City and will not normally be
acceptable.
Plaster, pointing and render
4.9.6 Repairs to, or renewal of, historic plaster, pointing and renders often produce
unsatisfactory results and adverse comment, primarily because of the failure to appreciate
the importance of the differences between porous and non-porous mortar mixtures in
terms of appearance and performance.
4.9.7 In the early part of the 20th century, mortar and plaster mixes changed from
porous, breathable, flexible lime putty:sand mixes to inflexible non-porous, hard, mixes of
sand:cement (perhaps gauged with bagged lime). Technically, these two mixes look and
behave very differently.
4.9.8 Older brick buildings benefit from the use of permeable lime mortar because
it allows maximum breathability, does not crack as a result of building movement or
temperature change and the moisture that has penetrated the brickwork is allowed to
escape through the joint and not through the brick unit. Modern brick walls are made to
shed water because the brick is harder, more vitreous and impervious to water penetration.
4.9.9 Re-pointing should only be undertaken where mortar has perished or is breaking
down and either has lost or is in danger of losing its structural integrity, leaving open or
deeply recessed joints vulnerable to water penetration. Where re-pointing is needed, a
sound example of original pointing should be found and carefully matched in mix and finish
in the new work. Lime mortar is preferred, both functionally and from an aesthetic point of
view.
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4.9.10 It is essential that renovations to structures built with a lime/sand mortar are
completed with a similar lime/sand mix. When using traditional lime mortars, it is highly
important to select sand which is appropriate to that of the original pointing, where the
sand needs to be very well graded and sharp rather than soft. Lime based mortar pointing,
applied incorrectly or with inadequate protection under the wrong weather conditions, can
also fail.
Cladding
4.9.11 Cement based mortar pointing can cause surrounding brick or stone surfaces to
spall off, speeding up the overall decay of the wall. The use of angle grinders to remove
existing pointing should be avoided (particularly when it is a sand:cement mix). These
power tools can damage the corners and surface of historic brick and stone badly. Mortar
repairs, sometimes referred to as ‘Plastic’ repairs, should be carried out using hydraulic
lime or lime putty based mortars, coloured to match the original with brick or stone dust.
Resin or cement based repairs are inappropriate. Important decisions about when and how
to remove cement based pointing, how to renew it to achieve the optimum aesthetic and
technical results, and where and how to carry out ‘plastic’ repairs, should be taken under
guidance by an appropriately trained conservation professional.
4.9.15 Specification of paints is a specialist area. Paints applied on old porous masonry,
plasters and timber, all of which need to breathe to ensure that they do not decay quickly
should also be porous, otherwise they can undo a lot of good repair work beneath.
Sometimes, the historic paint itself is worthy of retention. Paint scrapes, taken internally
and externally, (to remove layers of modern paints) can identify historic paints, colours,
distempers and lime-washes behind. This can reveal very interesting information about a
building and how its overall colour and surface texture have changed over time.
4.9.12 The inevitable movement in a building over time causes inflexible cement based
renders to develop numerous fine hairline cracks. Rainwater enters the structure through
these. The non-porous render prevents the evaporation process and serious problems of
dampness can develop or worsen.
4.9.13 Decisions about when or how to remove inappropriate cement based renders or
about the appropriate mix and application of lime based mortars, plasters and renders
requires specialist knowledge (see Appendix 5 for sources of advice).
4.9.14 The application of surface cladding – including stone, timber, tiles etc, is not
characteristic of the Historic City and will not be acceptable.
Paints
4.9.16 Lime and cement based rendered walls were often unpainted. Sometimes, this
occurred front and back and sometimes only on the back. Over time, these renders
developed a surface patina that is part of their historic character or appearance and forms
part of the Conservation Area’s colour palette.
4.9.17 It is more authentic to leave such walls unpainted where possible. Unpainted lime
renders have a luminosity that has a visual appeal of its own. Whilst painting can brighten
up lime or cement renders in the short term, it also creates a maintenance burden for the
future where none existed previously. Unless paintwork is renewed regularly, it can look
worse than any unpainted render.
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Colour
4.9.18 The use of colour is an important consideration in building elevation and streetscape.
Painting schemes should be harmonious and add to the environment, rather than detract
from and be injurious to the streetscape.
4.9.19 Rendered facades will often be enhanced if distinctive architectural features (e.g.
quoins and decorative plaster moulding around doors and windows) are picked out in a
contrasting colour or a much deeper version of the main elevational colour.
4.9.20 Unless positioned at, or close to, a clear architectural break between a building and
its neighbour, downpipes may mar the appearance of a building and should, therefore, be
camouflaged by the use of the same colour as their background.
4.9.21 The painting of one storey in a different colour from another (except in cases where
the ground floor has a very clear differentiation from the upper floors) usually detracts from
the overall character or appearance of a building and streetscape, and will not normally be
acceptable in the Conservation Area.
4.9.24 Whilst experience has shown that pastel shades are most effective in showing off a
building within a streetscape, there are so many suitable combinations of colour that there
would be little merit in attempting to provide further guidance in this document, other than
to say that pleasing examples of colour schemes that co-ordinate well should be used and
noted (if possible photographed) for future use.
Patina
4.9.25 The present appearance of a historic building is likely to be quite different from
how it looked originally. Over time, exposure to the elements changes the colour and
texture of external surfaces. This alteration in the appearance of the building, referred to
as its ‘patina’, can suggest the antiquity of the building and add to character. Whether or
not it is appropriate to clean historic buildings can be a matter of fine judgement but if a
decision is taken to do so, cleaning should be carried out with great care, as texture and
historic detail can be adversely affected if the cleaning method is wrong. As always, the
advice of a conservation specialist is required to inform such decisions.
4.9.22 In the case of a listed building, painting the façade can be a material alteration
which affects its character or appearance if it obliterates features of interest or alters the
proportions or balance of the building e.g. painting over face brickwork, timbering, lettering
or other details of architectural or historic importance. The local area planning office or
Northern Ireland Environment Agency (NIEA) should be contacted for further advice and
guidance on this.
4.9.23 Careful consideration should be given to proposed colour schemes and these
should be specified on all applications. Care should be taken when co-ordinating a colour
scheme for a terrace of buildings to ensure that compatibility is achieved or maintained.
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61
37. The Playhouse Theatre
4.10 Gates, railings and other ironwork
4.10.1 Historic gates, railings, finials etc often embody very intricate details, exhibit a high
standard of craftsmanship and add a level of refinement to the character or appearance
of a building. Loss of this is highly regrettable. Regular maintenance of historic ironwork is
vitally important to avoid loss in the first place. Regular removal of rust and repainting is the
key to preserving it.
4.10.2 Where original details exist, ironwork can be recreated – though, usually, at great
cost. Often, they do not exist or the original detail may be too badly rusted to decipher.
38. Modern gates at Bishop Street
4.10.3 In these instances, it is better to design replacement metalwork that maintains a
degree of refinement and is sensitive to the original architecture. A high level of design skill
is required to achieve a successful contemporary approach.
4.10.4 It is most likely that new railings, gates or other metalwork will be made of mild steel
- galvanised or painted. There may be circumstances/locations where other metals such as
stainless steel, bronze or copper may be acceptable depending on whether their colour is
harmonious with the mix of colours in the building. When designing new railings or gates,
the gauge of the metal and the size and weight of section specified should be carefully
considered to be appropriate for the architecture of the original. The use of excessively light
sections and gauges can detract from otherwise acceptable designs for new railings and
gates.
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4.11 Shopfronts
Historic Shopfronts
4.11.1 The primary purpose of a shopfront is to attract the attention of passing shoppers.
Appropriate signage, lighting, detailed finishes, attractive entrances and window displays
all influence the potential customer.
4.11.3 The physical destruction caused during the troubles has resulted in the loss of
most of the original historic shopfronts, both within the Conservation Area boundary and
within its immediate setting. This heightens the importance of retaining the few that remain,
including the following;
•
•
•
•
•
Henderson’s Music Shop, Bishop Street
Ulster Cancer Foundation Shop, Shipquay Street
Madden’s Tobacco Shop, Waterloo Place (see photo 39)
Mulhern’s Bar, Strand Road
Faller’s, Strand Road
39. Madden’s tobacco shop sign Waterloo Place
4.11.2 Retail businesses make a significant contribution to the Historic City Conservation
Area, given its location within the Commercial Core. Some of their shopfronts make a
positive contribution to the distinctive townscape of our town centre, adding enormous
character, variety and interest to the streetscape.
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4.11.4 There may well be others (or parts thereof) hidden behind more recent frontages.
These should also be preserved or enhanced when opportunities arise.
to the original. The new piece should not stand out visually, nor should it be an uninformed
impression of an historical detail.
Repairing historic shopfronts
4.11.10 Stall risers, where they exist, must be retained.
4.11.5 Before undertaking any work, it is important to understand the full history of a
building and its shopfront. There are many sources which can assist with this including old
photographs, local libraries, local historians.
New shopfronts
4.11.7 Traditional features add interest and variety and can make a shopfront distinctive.
Every effort should be made to retain the historic fabric of original shopfronts. Where these
exist, they should be retained and conserved. This means that rather than ripping out an
old painted timber shop front (along with its historic glazing – if it still survives) it is better to
repair any damaged or rotten frame in-situ by splicing in new durable timber. This way, the
old glass is also much more likely to survive – it has a quality all of its own. Clever repair
work by a specialist glazier can also save some damaged glass.
4.11.8 If a small part of a detail is missing, yet some remains – it should be copied
faithfully and exactly. Conjecture should be avoided. If the detail is missing and there is
no clue to the original it is better to omit it rather than guess what it might have been.
Uninformed interventions (where detailing and workmanship lack refinement and aesthetic
rigour) will only detract from the character or appearance of the original shopfront.
4.11.9 It may be necessary, for technical or structural reasons, to insert a missing part of
a shopfront. A skilled practitioner can design elements like this with care and sensitivity so
that it reads clearly as being a new part, while still being harmonious with and sympathetic
4.11.12 The predominant traditional shopfront materials are painted timber frames and
doors. Sometimes, there are painted side pilasters, and a painted timber signboard with
a hand painted sign. Sometimes, the fascia and side pilasters are painted plaster with the
sign hand painted onto the plaster.
40. Shopfront at Pump Street
4.11.6 It is often possible to restore historic shopfronts on the basis of sound research
and physical evidence. This can aid in conservation and restoration work and can offer a
fascinating insight into the history of the original building and shopfront design.
4.11.11 Careful consideration must be given to ensure that the traditional fabric of the
building is not compromised whilst, at the same time, meeting the needs of the occupier.
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4.11.13 Timber is the most preferred material for new shopfronts. Other materials may be
acceptable, however, they must demonstrate that they respect the building façade of which
they are a part, in terms of its composition, mix of materials and colours and the overall
composition of adjoining facades and shop frontages. Each proposal will be assessed on its
individual merits.
4.11.14 When the historic fabric no longer exists, this presents an opportunity to design
an excellent, contemporary shopfront that is sympathetic to the old building in terms of its
scale, proportions and materials. Where a new shopfront involves two or more plot widths
or building frontages, the identity of each building must be respected. This can be achieved
by a change of fascia detail or by using two separate (but interrelated) shopfronts – creating
a visual break between elevations. This allows the ongoing story of the Conservation Area
to unfold and to be clearly read by future generations.
4.11.15 Stall risers of an appropriate depth (300mm min) must always be provided. Large
expanses of glazing will not be acceptable.
Inappropriate materials
4.11.16 The following materials will not be acceptable in shopfronts within the Conservation
Area or its setting;
•
•
uPVC, Perspex, polycarbonate, moulded plastic, etc
the application of ceramic tiling/imitation stone or brick veneers (particularly on
the front elevation and on pilasters/fascias/stallrisers)
Lintol Heights
4.11.18 The original lintol heights of windows and fanlights over doors should be
maintained as these heights are crucial to the scale of the shopfront. Lowering these to
accommodate internal suspended ceilings, signs and roller shutter or canopy mechanisms
has a detrimental visual impact on the historic fabric.
Applications
4.11.19 Applications for new shopfronts or alterations should illustrate proposals within
the street context to demonstrate how the proposal blends in. Applications should show
elevations of facades with shopfronts, elevations of the shopfront itself and details including
sections.
4.11.20 Materials should be clearly annotated on the drawing (with leader arrows indicating
precisely what material is being used and where). The colour/texture of each material should
be clearly and accurately shown on the elevation. Every aspect of the application should
be shown in detail. For example, when applying to alter some aspect of a shopfront (such
as changing a fascia sign) the application should show the shopfront within the full façade
of the building, sufficient street context, as well as the details of the existing situation and
proposed alteration in full.
4.11.21 All proposals will be assessed against the policies contained within PPS 6 and the
guidance set out in this document.
4.11.17 The removal of existing render to reveal stonework behind will not normally be
acceptable. A very small amount of PVCu (used as discreet individual lettering applied to a
timber or powder coated aluminium signboard) may, exceptionally, be acceptable.
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4.12 Signs and Lettering
Historic signage
4.12.1 A distinctive feature of many historic shopfronts in this Conservation Area and in
other parts of Northern Ireland, involved hand painted lettering onto a painted timber or
plaster signboard or fascia (see photos 42 & 43).
41. Traditional signage at Mulhern’s Bar, Strand Road
4.12.2 Gradually, alternative methods were developed, such as V-cut and gilded lettering
with a plate glass covering. This suggested quality, as at Fallers Jewellers, Strand Road, and,
at times, gave a three dimensional effect, as at Mulhern’s Bar, Strand Road (see photo 41).
Cut and individually applied timber letters (appliqué) were also a stylish alternative. Other
historic forms of advertising included three dimensional hanging signs, i.e. the “Teapot”
previously at Waterloo Place.
4.12.3 The colour, skill and artistry involved in this approach generated very distinctive
signage that often made a positive contribution to the overall character or appearance
of the shopfront and streetscape. Over the years, there has been a departure from this
method, with considerable and regrettable loss of character.
4.12.4 Some original historic shopfront signage exists within the Conservation Area.
However, the architectural quality of some of the remaining historic buildings (and many
new buildings) does suffer from inappropriate signage.
4.12.5 Signs which respect the original shopfront design will be the most effective (this
can be achieved by subtle or more innovative designs). In contrast, the use of signs of an
inappropriate scale or style can seriously detract from a shopfront, particularly if they alter
the original fascia depth.
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New signage
4.12.7 Proposals that draw on historic approaches and those which reinterpret them in a
contemporary manner are encouraged. This may be achieved by using individual lettering
(such as timber, brushed stainless steel or powder coated aluminium) mounted to sit proud
of a plastered or timber fascia or, lettering formed in plaster, such as at the former Britannia
Hall in Society Street and the former Madden’s Mineral Works in Queen Street.
42. Hand painted signage at Shipquay Street
4.12.6 A proliferation of signs (of all shapes and sizes) projecting from buildings, illuminated
sign boxes or individual polycarbonate lettering, large temporary signs i.e. For Sale or To
Let, generally combine to form an unsightly visual mess.
4.12.8 Details on new signage should be kept to a minimum, avoiding any superfluous
information. Discreet logos may be acceptable, however, each application will be judged on
its individual merits.
4.12.9 A proliferation of projecting signs can seriously harm the character or appearance
of a historic building or streetscape. Their visual impact is often completely lost when
there are several, located one after the other, along a street frontage. As such, and only in
exceptional circumstances, will more than one projecting sign be allowed on any building.
4.12.10 Where signage is required for upper floor premises, this should be achieved by a
simple plaque, sensitively located at the ground floor entrance.
43. Hand painted signage at Castle Street
Projecting signs
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4.12.11 Generally, projecting signs, at right angles to the façade, should be simple,
discreet and small. They should not be situated above the lower edge of the cill of first floor
windows. Consideration should also be given to the heights of projecting signs, relative
to each other on any street frontage, especially on a sloping street, where failure to give
appropriate consideration to this can produce a disorderly effect.
4.12.12 Banner-type signs (often of vertical proportion and located on upper floors) and
projecting box signs are uncharacteristic of the Conservation Area, and will be not be
acceptable.
Sandblasted signs
4.12.13 Signs that are etched or sandblasted onto shop windows, doors or fanlights may
be acceptable, provided they respect the character and appearance of the host building.
Corporate identity signage
44. Shopfront at Waterloo Street
4.12.14 Corporate organisations and national multiples must take account of the historic
character and appearance of the Conservation Area. Proposals for shopfronts and signage
must be sympathetic to, blend in with, and make a positive contribution to the area.
4.12.15 The scale of the existing premises must also be considered, as it may require a
modification of standard corporate signage, including the logo, to ensure that the proposal
is sensitive to the host building and the streetscape.
Lighting
4.12.16 Some of the most successful shopfronts have no external lighting at all. If lighting
is required it must be discreetly installed.
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45. Hand painted sign at Castle Gate
4.12.17 Bracketed lights that project from the main façade of the building (either
continuously or at intervals) create or add to visual clutter within the streetscape.
4.12.18 Self-illuminated signage (where LED fittings are completely hidden behind
individual projecting lettering) may be acceptable, although this is unlikely to be the case
on Listed Buildings within the Conservation Area.
4.12.19 Internally illuminated box signs (lighting concealed within the box) detract from the
character and appearance of the area, and will not be acceptable.
4.12.20 In properties where there is no traditional shopfront, skilful design and detailing
is required to ensure that the new addition respects and blends well with the host building
and surrounding streetscape. In this instance, each proposal will be judged on its individual
merits.
Surface Wiring
4.12.21 Electrical wiring necessary to power awnings, sun blinds, shutters, lights etc must
be given consideration at design stage so that it is concealed. Surface wiring or conduit
clipped to the façade or signboard can detract from the character or appearance of a
property, and will not be acceptable within the Conservation Area.
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4.13 Roller shutters
4.13.1 Restoration work carried out under the Townscape Heritage Initiative (THI) Scheme
deserves a special mention in relation to the success of encouraging the removal of external
shutters from a number of properties in the Conservation Area.
4.13.2 External roller shutters adversely impact on the character or appearance of
shopfronts, streetscapes and the Conservation Area as a whole. Solid steel shutters have
an extremely deadening impact on the street, particularly when the premises are closed
and, as such, they will not be acceptable within the Conservation Area.
46. Ground floor window signage at Waterloo Street
4.13.3 Open lattice or fretwork effect shutters (powder coated or painted) are much more
effective in preserving the character and appearance of buildings. These should ideally be
positioned on the inside of the shop window. This arrangement has been installed at several
shops in Waterloo Street with a very positive effect on the character and appearance of
the area. If this method is not possible, the shutter housing must sit flush with the external
façade of the front of the building.
4.13.4 Retrospectively fitted (external) roller shutters will not be acceptable. Their bulky
casings (normally in pressed aluminium) fixed to the external surface of the building is highly
unsightly and detrimental to the character and appearance of the Conservation Area. Efforts
to overcome this problem and conceal these casings often results in an inappropriate form
of development.
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4.14 Sun Blinds and Awnings
4.14.1 Canopies and awnings, used as permanent features, are not acceptable within
the Conservation Area as they can visually detract from its character or appearance.
However, overhanging canopies/awnings such as the traditional canvas, retractable type
are a traditional feature in Northern Ireland. These may be acceptable in principle, however,
retrospective fitting can add bulk to an otherwise acceptable shop fascia. They are best
designed as an integral part of the shopfront with their support mechanisms and casings
fully concealed within the overall wall thickness.
4.14.3 When fully extended, the awning should provide 0.5m clearance behind the kerb
line and the frame of the awning should be a minimum of 2.3m above the footway. The
material covering the awning may extend to a lower height in order to provide the necessary
protection to the shop window from the prevailing sunlight but should give a minimum
clearance of 2.1m above the footway. In pedestrianised areas, they need to be carefully
designed to avoid obstruction.
47. Historic awnings along Ferryquay Street
4.14.2 Canopies and awnings should not project beyond the face of the wall. Care should
be taken to integrate their size, colour and any integral signage with the host shopfront and
other adjacent shopfronts and canopies in the street. They should be located at the level
of the cornice of the entablature, and it is suggested that the leading edge of the awning
could be of moulded timber so that when retracted, it will act or read as a cornice. Canopies
whose length is shorter than the overall length of a shopfront or shopfront bays should be
avoided.
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4.15 Hoardings
4.15.1 Proposals for large hoardings can lead to a proliferation of signs and can cause
serious harm to the character or appearance of historic buildings and streetscapes.
Therefore, they will not be permitted within the Conservation Area or its setting.
4.16 Appropriate materials
4.16.1 The traditional materials listed previously are appropriate when repairing historic
fabric, altering/extending old buildings or constructing new buildings, provided their colour
harmonises with the old.
4.16.2 Some traditional materials may no longer be readily available (such as local schist
stone or wrought iron). The skills to use them may be in short supply or, for some, their cost
may be prohibitive.
4.16.3 There are a number of alternative modern materials that can be used in conjunction
with, or separately from, the traditional materials already listed. However, these should
be part of a well designed, well detailed building whose overall appearance enhances,
harmonises with, and complements the existing context created by the historic materials
and their palette of colours.
4.16.6 Avoid the following materials:
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concrete roof tiles
fibrous cement slates
uPVC (often used for windows, doors, sills, fascias, soffits, barges dormer cheeks
and rainwater goods)
extruded aluminium gutters and down pipes (especially square down pipes and
ogee section versions)
limitations of natural materials (stone, brick, slate etc)
stone from other places (in boundary walls)
4.16.7 Because the schist stone is no longer quarried locally, stone from surrounding
counties and further afield has been imported for use in new rubble stone walling. This
has very different textures and colourings and the trend is effectively undermining one of
the most significant aspects of the city’s regional identity. While use of stone from other
locations can never be ruled out, in significant buildings caution should be exercised before
deciding to form new boundary walls. As an alternative, consideration could be given to the
use of materials other than stone.
4.16.4 The Design Guide seeks to encourage quality, creativity and innovation in the
Conservation Area’s physical fabric. Appropriate new materials or existing traditional
materials used in an unusual way may be acceptable.
4.16.5 Sometimes, the modern materials chosen will match what is already there and
sometimes they will not but they should always be compatible with each other both within
the building and within the wider environmental context.
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5Blending the new with the old
5.1 Quality of conservation and design
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•
Conservation is about conserving or ‘saving’ authentic traditional historic
architecture.
Conservation is not about copying the original authentic historic architecture many
decades or centuries after it has been built.
New buildings, extensions or alterations in the Conservation Area
5.1.2 Passing stylistic trends and fashion come and go. High quality design endures.
Rather than dictating a particular style, the Guide aims to promote a high quality environment
that incorporates innovative contemporary design alongside authentic historic structures.
This should respect, reinforce and add to the Conservation Area’s best historical signature
patterns, architectural traditions and their exemplary conservation. The Guide encourages
individual expression in new design in conjunction with excellent conservation of historic
buildings so that new buildings can evolve creatively.
Innovative contemporary approach
5.1.3. Contemporary architecture may come in a shape and/or in new materials and
other elements that no one has ever seen before – it will then be something that innovates.
Within the Conservation Area, the challenge is to do this whilst preserving or enhancing the
character or appearance of the area.
48. Modern extension to the rear of The Playhouse Theatre
5.1.1. When building afresh within a historic environment, new work is most successful
and has greatest integrity when it is high quality, respectful of the surrounding historic
context and reflects the architectural expression of its own time i.e. it is contemporary.
There is no single version of contemporary architectural expression.
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Traditional contemporary approach
Blending in
5.1.4 Another approach that may fit into the contemporary category is one that draws
heavily on tradition for the design solution. Traditional shapes, massing, materials and siting
still offer considerable scope for contemporary expression within the traditional form or
materials specified. The contemporary expression may come in the shape, proportion and
composition of windows and doors or other elements. It may be evident in the approach
taken to detailing. There is plenty of scope for reinterpreting historic form and detail in a
way that is clearly rooted in the past but of today.
5.1.8 Blending into an existing historic context does not mean that new buildings,
extensions to old ones or other elements within the public realm should copy the existing
historic architectural styles. For any new element to blend into the Conservation Area and
its setting it should have several qualities:
5.1.5 Sometimes a design solution derived from something traditional can, in the hands
of an experienced and skilful architect, be transformed into something exceptional, yet
traditional at the same time.
Reproduction
5.1.6 ‘Reproduction’ or ‘pastiche’ reproduces the architectural styles, language,
proportion and detailing of the past – usually from the 18th and 19th centuries. Modern
day building economics and restricted budgets often prohibit the level of refinement in
detailing and craftsmanship that were part and parcel of the rich architectural quality of
the historic originals. The ‘pastiche’ or ‘reproduction’ end product is, more often than not,
a pale imitation of its predecessors, and frequently built in materials and/or a standard of
workmanship that does not compare. Such an approach can lack authenticity.
•
•
•
•
•
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•
respect for its context
appropriate siting
appropriate height and massing
compatible scale
good proportion overall and also in its elements and details
a well composed arrangement and rhythm of elements (for example windows and
doors)
choice of materials and colours should complement the surrounding context
meet the policies set out in PPS6 and the guidance contained within this document
5.1.7 A faithful reproduction of historic styles requires a very high degree of architectural
knowledge of and expertise in the architectural theories and detailing of past historic
architectural styles on the part of the practitioner.
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5.2 Design quality
5.2.1 The quality of the environment within a Conservation Area or city reflects the
attitudes of the collective community that creates and uses it. If the City is to maintain its
uniqueness, it will be essential to avoid the modern trend towards visual uniformity.
•
•
Just because a site exists does not mean that it is suitable for any building type.
the building integrates positively with existing ground levels and facilitates positive
interaction between its users and surrounding streets and public spaces.
good use is made of light and sun falling on the building.
Diversity and richness
5.2.2 Regulation and prescription do not achieve good design and often stifle the very
quality, creativity and innovation needed. This Guide seeks to encourage the evolution of
a context from which better design and conservation can emerge. Good design requires
well functioning buildings (and public spaces) that meet the needs of their users. Durable,
long-lasting materials, high-quality workmanship and responsible environmental systems
are also essential. These contribute to the longevity of a building and its sustainability. Great
looking buildings and spaces that are well used and last longest represent best value for
money.
The right building for the site
5.2.3 Building land is a finite resource, particularly within the Historic City. Within the
Conservation Area there is a need to ensure that:
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•
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sites are developed with buildings whose functions suit the potential of the site.
the orientation of the site is appropriate for the building and the uses within it and
that the views from, past and to it are good.
the uses to be accommodated within the building will be compatible with others in
the area.
a feasibility study is carried out to examine the appropriateness of the size of
the proposed building for the proposed site and for its surrounding context.
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5.3 Prominence
5.3.1 The Guildhall is prominent and flamboyant. The colour of its main walling material
stands out from the buildings around it. It demonstrates how a well designed building can
be both prominent and respectful.
5.3.2 Buildings should have a suitable level of prominence for their site and take their
place respectfully within the overall grouping in the Conservation Area and its setting. This
does not prohibit originality, but when discretion is appropriate it requires restraint with
regard to the location, physical size, height and appearance of the building.
5.4 Orientation
5.4.1 Existing street patterns and plan forms often dictate the orientation of buildings,
particularly terraces. The aim should be to achieve a good relationship between a new
building and/or extension and its surrounding buildings and open spaces. Detached
buildings that form part of a dispersed plan form enclosed by an existing historic boundary
can respect this, but their orientation should also take account of and address the street
pattern beyond the boundary.
49. The Courthouse
5.4.2 Internal and external building functions that benefit greatly from high quality natural
light and sunshine, such as cafe terraces, are best positioned on the sides of the building
that will admit this light at the times of the day when it is most beneficial.
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5.5 Size and scale
5.5.1 Size and scale are not the same thing. Two buildings of equal size and volume can
have very different scales depending on how this is handled by the designer.
5.5.2 For example, the low ridge height and highly decorative corbelled eaves in pale
yellow stock bricks reduces the apparent height of the eaves and roof of the former Welsh
Margetson’s building on Carlisle Road. The rich detailing in Victorian brickwork (particularly
along the eaves), carved sandstone at the arched headed windows, skilled use of dark blue/
black engineering bricks to pick out the line of the segmental arched window heads and
projecting sandstone hood moulding and string courses above corbelled cant bricks, all lift
the character and appearance of this enormous building.
5.5.3 The scale found in many of the Conservation Area’s old buildings can be a starting
point for establishing an appropriate scale for new buildings and extensions, without
resorting to copying the original.
5.6.1 The generic form or shape of the historic buildings in the Conservation Area is
relatively simple. The larger buildings are mostly three to four storeys high close to the
Walled City. Several of these have pitched slated roofs, often with hips at the ends. Outside
the Walls, individual buildings tend to be slightly lower at three storeys, except along the
river, where warehouse and former shirt factories were four to five storeys. Former grand
townhouses are usually two room deep and three to three and a half storeys high, with
one to two storey back returns. Double pitched roofs at approximately 35° are common.
The eaves and ridge line of back returns is usually lower than those of the main roof. The
workers’ terraced houses are usually two to two and a half storeys high, with one to two
storey back returns.
50. Apprentice Boys Hall, Upper Magazine Street
5.6 Form or shape
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Clues
5.7 Proportion
5.6.2 Several examples exist of very large, long buildings, of up to four storeys whose
pitched roofs integrate successfully into the overall townscape. Their ridge height is relatively
low because the plan depth is quite narrow. The former Welch Margetson’s and Abercorn
Factories are good examples.
5.7.1 Good proportion is often found in historic buildings, however it is uncommon in
many buildings created since the mid 20th century. Since then, a host of relatively new
architectural theories have emerged and historic systems of proportion fallen out of use.
Good proportion should apply to the whole building.
5.6.3 Slavish copying of traditional signature roof shape is not advocated. Only reference
it for clues it may offer for contemporary reinterpretation.
5.8 Volume and massing
Potential Pitfalls
5.8.1 Volume and massing are not the same. Two buildings could have roughly the same
volume but completely different massing. Massing is the way in which the overall volume
inside the ‘shell’ or ‘skin’ of the building is held together. It might simply be contained by a
big box or it might be a collection of smaller boxes or other shapes that all together make
up the whole building. Volume and massing are interlinked with scale and proportion - one
affects the other.
5.6.4 The following should be avoided:
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unsightly flat roofs and roof plant rooms. Unless these are designed with care
their shape and materials can generate very unsightly views, particularly when
overlooked from a height.
steep pitched roofs on deep plan buildings where these generate excessively bulky,
dominant and high roof shapes that fail to integrate into the wider roofscape.
large expanses of flat roof or partial concealment of flat roofs by applying mansard
or other roof profiles along the frontage only. These generate unsightly views,
especially when viewed from higher ground and rear approaches.
extensions whose pitched roof, ridge and eaves line is higher than the original
ridge line, particularly when this changes the shape of the original roof plane on
the main roof.
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51. Carlisle Road Methodist Church
5.9 Roofscape
5.9.1 Roofscape is what an overall grouping of roofs in the area looks like from a distance.
One aspect of this is the line traced by the edges of roofs, spires, towers, turrets and trees
against the horizon. It is also the near distance view against the sky of the roofs, chimneys,
dormers and eaves line along a particular street – for example the outline of Shipquay
Street (looking uphill).
5.9.2 Sometimes, it is the very finest of details that make all the difference to the elegance
of this skyline. The repair of existing historic buildings should ensure that all elements of
roofs that contribute to the skyline are retained. These include ridge lines, dormers, spires,
towers, turrets, cupolas, chimney stacks and pots, pinnacles, finials, ventilators, and cast or
wrought ironwork, etc.
5.9.3 Given the hilly topography of this Conservation Area, roof design will be an important
element of any new proposal. Roof plant should be sensitively located so that it does not
detract from views or vistas into or out of the Area, particularly when viewed from the City
Walls.
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5.10 Townscape
5.10.1 Townscape is how all parts of the buildings and surrounding open spaces look
together. New development should create positive townscape within itself and enhance the
surrounding historic townscape.
5.10.2 Vistas also help people to locate themselves, assisting movement. Development
should frame existing vistas and create new ones. This might be the careful positioning
of a significant building to close the view at the end of a long and wide street or even the
judicious planting of a long tree lined avenue, where appropriate.
Learning lessons from the past
52. Quality townscape at Shipquay Street
5.10.3 When renewing buildings or parts of streets today, there are lessons that can be
learnt from the excellent skills in Urbanism demonstrated by town planners and architects
who created the historic fabric of the historic city since the Plantation and through the 18th
and 19th centuries, without resorting to copying of surrounding architectural context.
5.10.4 There are key lessons in the way the buildings that make up the city’s rich legacy
of built heritage were designed and laid out to form an attractive and well composed overall
townscape. This is relevant with regard to street patterns, relationships between buildings
and public spaces, vistas and vista stops, block and plot sizes, appropriate form, height,
massing, scale, materials etc. Clearly, this is not to suggest that new proposals should look
like older buildings, but rather that the essence of historic approaches to street design
and the respect that old buildings had for each other and the city’s hilly context should be
evident in new development.
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5.11 Setting
53. Views of historic city from Waterside
5.11.1 Policy BH 12 of PPS 6 states that “important views within, into and out of the
area are protected”. Section 7.11 reinforces this by stating that, in instances where new
development is proposed within the setting. “Special care is required in the location and
design of development proposals close to a Conservation Area... new development will be
expected to respect the character and appearance of the adjacent Conservation Area while
the Department will also seek to retain important views into and out of the area”.
5.11.2 Because of the city’s hilly topography, there are numerous vantage points that
provide high quality panoramic views as well as more focused views and vistas, into and
out of the Conservation Area (see Section 3.9 and Maps 4 & 5, Appendix 2). At times, the
Conservation Area itself forms part of the wider setting for the other two Conservation
Areas, and in particular, the Clarendon Street Conservation Area, due to its close proximity.
There is great potential for new development, either within the immediate or wider setting,
to impact positively or negatively on the character and appearance of the Conservation
Area.
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5.11.3 This Design Guide seeks to encourage the evolution of much higher quality
development within the setting, commensurate with the rich character and appearance
of the Conservation Area. All new development within the setting should meet the policies
contained within PPS6, address the guidance contained in this Guide and aim to achieve
excellent design quality.
Riverside development
5.11.4 Few cities have a river as wide as the Foyle. The local hilly topography means that
this area is very height sensitive, particularly along the riverside. Because of its width, it is
easy for insignificant buildings to become virtually invisible and fail in their role as a link in
the chain. Overly dominant buildings can also be problematic.
5.11.5 Development should achieve unity in appearance along the length of the riverfront.
Heights may differ (to an extent) but extremes will not be acceptable. Overall, new
development should make a positive contribution to the townscape, and there should be a
good visual relationship between building heights, plan alignment and mix of materials.
5.11.6 Development should support pedestrian activity along the riverside walk. Active
frontages, particularly in the evening and at weekends would add vitality to this area.
5.11.7 Ground floor car parking along the riverside walk or routes leading to it will
not normally be acceptable, due to its detrimental impact on the visual amenity of the
Conservation Area and its setting.
5.12 Quality of architecture within the setting
5.12.1 The Historic City Conservation Area is highly visible from the wider city and its
character and appearance can easily suffer at the hands of poor quality architecture beyond
its boundary. All new development within the setting must meet the policies contained
within PPS6, address the guidance contained in this document and aim to achieve high
design quality.
5.12.2 This Guide encourages the evolution of a more ordered edge to river front
development within the urban context. This should have sufficient scale to define and
enclose the river without blocking views of and across the river looking east out of, and
west into the Conservation Area. River front developments should have a clear building line.
Projections and or setbacks such as balconies, bays or foyer entrances may be used as part
of the architectural vocabulary.
5.13 Height in the Conservation Area and its setting
5.13.1 Several historic buildings in the city have elements that are somewhat taller than
the rest of the building – church spires, towers, turrets, cupolas and pinnacles. They share
two things – elegance and refinement. The city’s historic areas have great charm and
intimacy. They are relatively small scale with the dominant historic building height along the
river, four to five storeys and three to four storeys high within the streets. These heights suit
the overall scale of the city and help ensure that good views east and west are maintained.
Where they exist, these patterns and views should be maintained and where lost, they
should be reinstated.
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5.13.2 Some of the city’s most architecturally impressive riverfront and inner city historic
buildings, such as Rock Mills, the former Star Factory, Hogg and Mitchell or Rosemount shirt
factories or the former Tillie and Henderson Factory, offer good guidance on appropriate
building heights, particularly along the river front.
5.13.3 Taller elements that form part of new buildings may be successful, but only when
they have a real purpose, and a positive and refined presence in shape, scale, massing,
proportion and detail. They should be carefully designed to form good views and add
positively to both roofscape and townscape.
Do not use architecturally poor buildings as a precedent
5.13.4 Some of the larger recent riverfront buildings do not represent the best of local
architecture. They should not be used as a precedent to make a case for general heights,
massing, scale or materials that are inappropriate in new development. New proposals
should respect the overall character, appearance and townscape of the area in which they
will be located, rather than particular buildings.
Effect of modern space standards on scale
5.13.5 Modern floor heights are often lower than historic ones – resulting in a different
scale. As such, and where appropriate, it is important that new buildings reflect the
dimensional height of historic buildings rather than the precise number of storeys.
5.14 Sustainability
5.14.1 A successful conservation area will be environmentally, socially and economically
sustainable.
Environmental sustainability
5.14.2 Environmental sustainability is concerned with protecting and conserving both
biodiversity and the environment by reducing waste, preventing pollution and using natural
resources as efficiently as possible to reduce energy usage and CO2 emissions. Old buildings
already contain a lot of natural raw materials in built form – walls, windows, doors, natural
slate, etc. Reusing these old buildings means there is less need to consume new materials,
or dispose of waste materials from demolition. This helps reduce the consumption of fossil
fuels.
Social sustainability
5.14.3 The Conservation Area has significant relatively stable communities of residents
and workers, many of whom identify strongly with their historic roots. New development
should balance, support and enhance these existing communities.
Economic sustainability
5.14.4 Economic sustainability in the Conservation Area may require all those who have
an interest in it to work proactively, to ensure it is vibrant and thriving. This involves careful
management, such as being proactive in finding new uses for vacant buildings/buildings at
risk, and/or carrying out emergency repairs to arrest decay and dereliction in buildings at
risk.
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Increasing the energy efficiency of old buildings should not be at the
expense of their character or condition
5.14.5 Improvements in energy efficiency should not prejudice the character or appearance
of historic buildings or increase the risk of their deterioration. Given the hilly topography of
this historic city, the size and reflective surfaces of the metal frames and glass tubes that
make up solar collectors are likely to be highly visible, even from a distance. This would
undoubtedly change the character or appearance of the roofscape and, potentially, the
Conservation Area as a whole.
5.14.6 Planning permission may be required for renewable energy development within the
curtilage of domestic dwellings within the Conservation Area. The local area planning office
should be contacted prior to undertaking any works, to discuss the relevant permissions
required.
54. Pump Street leading to St. Columbs Cathedral
5.14.7 Listed buildings within the Conservation Area may be exempt from the full gamut
of the Building Regulations (NI) as they apply to improving energy efficiency. For further
information refer to the “Building Regulations and Energy Efficiency” Technical Note at
www.ni-environment.gov.uk.
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6Successful streets, roads and squares
6.1 Streets and Squares
6.1.1 Successful and safe cities have great richness and vitality in their street life. Every
city needs a recognisable hierarchy of roads, streets and squares within which buildings
and activities (both internal and external) can take place.
6.1.2 Streets and squares function as outside rooms where people can walk, talk and
play safely. Buildings should present their public face to the street and give it life. They
should form a regular building line. The main points of pedestrian access into buildings
should be directly from the street and be formed at regular intervals along its length. This
is particularly critical in shopping centre design to ensure that active street frontages are
created and/or maintained, adding vitality to these areas.
6.2 Roads
6.2.1 Roads facilitate traffic movement. Roads and car parks are an essential element of
economic activity within the Historic City Conservation Area, the Commercial Core. Ample
accessible parking and free flowing traffic movements are crucial.
The Riverside
6.2.2 The dual carriageway along the riverside is an important distributor road and is
essential to traffic movements both within and through the city. Any proposal to remove/
reduce the capacity of the dual carriageway would only be possible if realistic alternative
proposals, tested and modelled were in place.
6.2.4 Any proposal to provide riverfront development must fully address the issue of the
nature of the dual carriageway, the volume of traffic it carries, and the parking and servicing
associated with any proposed development.
6.2.5 It is essential that adequate parking and servicing is provided in association with
any development to ensure that traffic movement is not prejudiced. Given the fact that the
River Foyle runs close to the commercial core, any proposal to provide sub-basement car
parking below river level will require extensive forethought.
Lecky Road Flyover
6.2.6 As with the riverside dual carriageway, the Lecky Road Flyover is an important part
of the wider road infrastructure within the city. Any proposal to remove it would necessitate
detailed modelling and the provision of acceptable alternative arrangements.
6.3 Traffic and parking
6.3.1 Reliance on cars will continue until public transport becomes a more attractive and
economic alternative. The concerns of retail, commercial and leisure outlets in this regard
are acknowledged. However, surface parking requirements should be accommodated
without altering the established building line along a street or being visually detrimental
to the area and should avoid compromising views to and from historic buildings. Parking
to the front of a building, within the curtilage of a property, often leads to an undesirable
setback at the building line and breaks a vital relationship between the building and the
street, detracting from townscape quality. This will not normally be acceptable within the
Conservation Area.
6.2.3 Increasing access to the riverside is entirely dependent on removing extraneous
through-traffic. Work is currently underway to upgrade the public realm at Queens Quay.
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The Diamond
6.3.2 It is unlikely that there would be public support for the removal of on-street parking
from the Diamond area, given the concerns of traders and current economic circumstances.
Residential Parking Schemes
6.3.3 It is important to maintain community stability, social vibrancy and a mix of
residents within the Conservation Area. The high demand for parking spaces in the city
centre generates amenity problems for the local resident population, particularly in the
Fountain and Bogside areas.
6.3.4 However, it must be noted that any proposal to introduce a residents parking permit
system must meet criteria set down by DRD Roads Service, be subject to public consultation
and meet the approval of a significant majority of local residents.
6.4 Materials
6.4.1 Careful consideration should be given to the use of new surface materials within
the Conservation Area. Whilst they may be visually acceptable, stone setts or cobbles do
increase cost, create noise and vibration issues, and can also cause problems for people
with restricted mobility. Their use on carriageways will require the highest standards of
detailed design, workmanship and ongoing maintenance. This is vitally important when the
maintenance or installation of additional underground services involves lifting and relaying
of setts.
6.4.2 When considering new proposals, careful consideration should also be given to
the tones and hues of local materials. Reference could also be given to the use of historic
patterns, kerb lines, footprints of previous structures etc, in the design of future public
realm schemes. A contemporary approach, based upon historic patterns, may help to retain
a unique identity.
6.5 Ramps
6.5.1 Where ramps and dropped kerbs are necessary, they should be given as much
attention in design terms as any other aspect of the historic environment. The provision of
new ramps may not always be possible (due to footway width requirements etc). Where
adequate footway width is not available, it is expected that ramps or disabled access will
be facilitated within the building’s curtilage. However, in meeting these requirements, the
historic character or appearance of buildings or their surrounding public spaces should not
be adversely affected.
6.6 Lighting
6.6.1 Lighting has a major effect on the character and appearance of an area, day and
night. At night, cleverly designed, well-lit urban environments can look highly attractive and
feel safer. Dimly lit streets can be off putting to both visitors and residents.
Well designed lights should exhibit:
•
•
•
•
robustness in material and finish
elegance and refinement
a scale that is appropriate for the pedestrian; and
should meet the relevant standards with regard to light levels.
6.6.2 Light fittings (which clutter and detract from the overall streetscape in terms of
their number and position) will not be acceptable. Several smaller scaled lamp standards,
86
Colour rendering
6.6.3 The energy efficiency and colour rendering of lamps should be carefully considered
when specifying and the energy consumed by the lighting design kept to a minimum.
Lamps generate colour that affects the surfaces illuminated by their light. Lamps should
be selected carefully to ensure their colour rendering enhances the illuminated surfaces.
As a rule, cool white lamps enhance materials such as grey stone, zinc and stainless steel.
Warm white lamps work well with materials whose colours have a warmer hue, such as red
brick, sandstone and Portland Stone.
55. Effective lighting of the fountains in Guildhall Square
carefully arranged, can bring order to the overall appearance of a public square or walkway.
Light fittings should be discreet. Excessively large or tall lamp standards should be avoided
(unless it is agreed that the specified location can accommodate them, both spatially and
visually).
6.6.4 Existing historic street lamps should be retained where possible. Exact replicas
of historic lamps have been successfully installed in this Conservation Area. A previously
damaged column with an intact base was re-cast at a foundry in Scotland and the template
is available for future use. The replica bases were cast in ductile steel for added strength
and to avoid the risk of ‘shattering’. This is however a very costly exercise.
6.6.5 As the choice of lantern and light source is a very important aspect of street lighting
refurbishment, consultation with the local area planning office and other interested parties
will be necessary. Lighting level is also a fundamental aspect of any lighting design and
minimum criteria would have to be demonstrated in the selected lanterns.
56. Effective lighting of the public realm in Guildhall Square
Street Lighting
87
Floodlighting
6.7 Street Furniture
6.6.6 Only those features, important buildings and structures that are most worthy of
illumination within the historic environment should be selected and the lighting should
maximise their impact. No floodlighting is preferable to a poor quality scheme.
6.7.1 All street furniture should be designed to:
6.6.7 Correctly specified floodlighting, set at the right level with appropriate beam
angles, can utilise lower wattages and still be remarkably effective, especially when the
surrounding ambient light levels are relatively low.
•
•
•
•
withstand vandalism
function well
look good
reinforce local character and distinctiveness
6.7.2 Bespoke, well designed elements of street furniture, commissioned specifically for
a conservation area, make a major contribution to reinforcing local distinctiveness.
57. Street furniture at Guildhall Street
6.7.3 Design quality is critical. Where more than one piece of street furniture sits within
the same space, they should be designed to be visually pleasing both as individual pieces
and as a group.
6.7.4 Where vandalism presents insurmountable problems, consideration should be
given to designing mobile seating that is robust enough for its intended use and capable of
removal when the need arises.
6.7.5 “Off the peg” reproduction street furniture is a pale imitation of the historic original
(much of which is long gone) and only serves to dilute the Conservation Area’s original
authentic character or appearance. Its use misses an opportunity to introduce new, well
designed modern elements.
6.7.6 Materials should blend with, complement and/or reflect the traditional materials
palette. The number of materials should be kept to a minimum as this presents a simpler
aesthetic and avoids designs that are overly fussy.
88
6.7.7 Colours should be carefully chosen to avoid being visually disruptive to the area,
particularly where they are located near historic or listed buildings.
6.7.8 Furniture should be positioned in areas where it benefits from maximum sunlight,
with care to avoid disrupting views of historic buildings, obstructing visibility splays or
pedestrian movement.
Trees
Public Art
6.7.12 Great skill and judgement is required to discern the difference between attractive
public art and the mediocre. It is important to engage these key skills in any briefing,
interviewing or selection process when commissioning public art to ensure that the highest
quality art is selected for installation within the Conservation Area. Artwork should be
positioned with care to avoid compromising views and to ensure that it does not obstruct
visibility splays or pedestrian movement.
6.7.9 Trees already help to define some attractive areas within the Conservation Area
and scope exists for their greater use and for the introduction of some interesting species.
6.7.10 Species should be selected according to the space available, their ecological
requirements in terms of soil, moisture availability, light, exposure, root spread, height and
girth at maturity. The obstruction of the operational capacity of CCTV, damage to services,
blocked drains, and maintenance and public liability problems should also be considered.
CCTV
6.7.11 Positions for CCTV cameras should be considered as an integral part of the overall
services design. Where possible, these should be discreetly positioned on buildings or
integrated into contemporary lamp standards. Interference with views or cluttering of the
streetscape, particularly with badly positioned support poles, will not be acceptable.
89
7A Place to Live, Work and Visit
Balancing need
7.1.1 A balance needs to be struck between the competing needs of local residents,
workers, visitors and investors.
A place to live
7.1.2 People gravitate towards cities because of what they offer. The character or
appearance of an area matters enormously to them. New development and the spaces
around it should support a wide range of community activity.
A place to work
A place to visit
7.1.4 Tourism is one of the fastest growing sectors of Northern Ireland’s economy.
Enhancement of the city’s conservation areas (particularly the Historic City) is fully compatible
with the NITB strategy for tourist development. However, many UK, European and world
destinations of comparable size have built, cultural and natural heritage assets that are
exceptionally well managed. As such, this city operates within an extremely competitive
market for the attraction of visitors.
58. Visitors and locals enjoying the historic City Walls
7.1.3 An attractive environment within and beyond the confines of the workplace provides
a positive experience for workers. The more variety that exists within a particular area, the
better that area will become at servicing its workers’ day-to-day practical and social needs.
90
City of Culture 2013
7.1.5 In July 2010, the city was successful in its bid to become the inaugural UK City
of Culture in 2013. The momentous win heralds a year-long celebration of culture in the
city, opening its doors to visitors from across the world. Heritage, and the creative efforts to
utilise it, formed a vital component of the successful bid.
7.1.6 The Historic City Conservation Area will be at the core of these celebrations. The
Walls, in particular, are an open stage and, together with all the nearby historic buildings, will
form an important backdrop to many planned events. Their use, with varied interpretation,
will also be an important draw.
Environmental Improvements - all aimed at enhancing the tourism offering of this historic
city.
7.1.10 The “Built Heritage Programme” recognises the importance of the city’s built
heritage. It indicated that some key historic buildings were at risk due to lack of funds
needed to undertake works. Six important historic buildings were identified for financial
support under the programme, all of which are located within the Historic City Conservation
Area, namely: Apprentice Boys Memorial Hall, First Derry Presbyterian Church, St Columb’s
Cathedral, Aras Colmcille (the “Wee Nuns”), the Playhouse and the Guildhall.
7.1.7 The Walled City of Derry was one of five signature projects identified by the
Northern Ireland Tourist Board in 2004. This was not confined to the historic Walled City
but encompasses the entire city and surrounding area. “Built”, “Cultural” and “Natural”
are the core elements of the visitor offer. All three contribute significantly the city’s unique
attributes.
7.1.8 A “Public Realm Plan14” has also been commissioned, the aim of which is the
enhancement of the quality of the Walled City as a place to live, work, visit and invest.
7.1.9 To date, work has been scheduled in two phases. Phase 1 (completed) included
a number of elements such as conservation, visitor signage and orientation and the
regeneration of tourism attractions. Phase 2 is currently on-going and includes a Built
Heritage Programme; Lighting Strategy; Business and Cultural Animation Programme; and
59. New public realm at New Market Street
Signature Tourism Project
14
Through Derry City Council’s Economic Development Programme, and through the Department for Social Development’s Town Centre
Reinvigoration Programme, with assistance from the E.U. Peace and Reconciliation Programme.
91
7.1.11 One of the key components of this programme is the implementation of a world
class “Lighting Strategy” to illuminate the City Walls, Craigavon Bridge and key historic
buildings around the city as tourist attractions. The lighting scheme will also assist the
evening economy by making the city more attractive, pedestrian friendly and safer.
7.1.15 The Department acknowledges the support of and contribution to the publication
of this document by ILEX.
City Walls Conservation Plan
7.1.16 A clear objective of the Design Guide is the encouragement of a variety of
compatible and appropriate uses both within the area and within buildings to create a
vibrant and dynamic environment. The more diverse and compatible the mix, the better the
area will be at providing for workers’ day-to-day practical and social needs and helping
them to become integrated into the residential community.
7.1.12 In 2007, following extensive stakeholder engagement, a Conservation Plan (nonstatutory) was published for the City Walls, a Monument in State Care, by NIEA, Derry City
Council and the Northern Ireland Tourist Board. This document explains the history and
importance of the monument in detail and sets out an agreed vision for its future.
ILEX Regeneration Plan
7.1.13 The Regeneration Plan “One Plan” was prepared following an unprecedented
process of engagement and analysis that involved over 1,000 participants, organised
into 12 Sectoral Working Groups and the Citiscope Citizens Survey, and supplemented by
the collation and analysis of NISRA statistical data, research with Section 75 groups and
national research.
A place to invest
7.1.17 Relocating companies are looking for more than just floor space. They want to know
what the quality of life will be like for their employees. However, different organisations have
different spatial requirements. Some of the historic buildings within the Conservation Area
may be very well suited to these. Others may require alteration or extension. Pro-active
identification of historic buildings (particularly those at risk), in meeting these needs and in
finding appropriate uses, is an important aspect of the need to make this a sustainable and
vibrant environment.
7.1.14The data analysis clearly showed that there were a range of inequalities and
challenges facing the city as well as opportunities that could be built upon. The Plan
highlighted eleven catalyst programmes with the potential to deliver transformational
change in the City. A general theme was the need to create high quality spaces, places and
neighbourhoods across the City. Particular reference was made to the Walled City and the
potential to secure World Heritage status. Given this, the importance of maintaining high
architectural design standards within the Historic City Conservation Area is clear.
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8Regulations and Planning
8.1 Regulations and Planning
Listed buildings
8.1.1 Listed status applies to the entire building inside and out and to everything
contained within the curtilage. Before demolishing or making changes or alterations to a
listed building, Listed Building Consent (LBC) is required. This applies to all development,
including minor works and extensions. You may also be required to apply for planning
permission. Emergency repairs can be undertaken, provided these are carried out using
‘like for like’ materials and any replacement kept to a minimum. In such circumstances
you should liaise directly with the local area planning office and the Northern Ireland
Environment Agency – Historic Buildings Unit.
Unlisted buildings
8.1.2 Works to an unlisted building within the Conservation Area may require planning
permission. Permission may also be required for renewable energy development within
the curtilage of domestic dwellings. The local area planning office can provide appropriate
advice/guidance prior to the commencement of any works.
8.1.3 The demolition of all or a substantial part of an unlisted building or structure will
normally require an application for Consent to Demolish under Article 51 of the Planning
(NI) Order 1991.
8.1.4 The Department’s policy on demolition in a conservation area is set out in PPS 6
Planning, Archaeology and the Built Heritage, Policy BH14. There is a presumption against
demolition of any building or part thereof within a conservation area and in favour of
retaining any building that makes a material contribution to the character or appearance
of the area. In cases where demolition maybe considered appropriate i.e. where a building
does not make a material contribution to a conservation area and consent for demolition is
granted, conditions will normally be imposed. These are listed in Policy BH14, paragraph
7.19. A structural report may also be required
8.1.5 Where demolition is granted, this is an opportunity for the replacement building to
consolidate the already high quality historic townscape of the Conservation Area. New build
proposals are expected to attain the highest standards of design. It does not mean that
new proposals must look like the surrounding historic buildings but that their design quality
is comparably high. Such proposals should demonstrate that they meet policy contained
within PPS6, the local Area Plan and adhere to all the guidance contained within this Design
Guide.
Trees
8.1.6 The presence of mature trees contributes to and often enhances the character or
appearance of conservation areas. Trees in conservation areas that are already protected
by a Tree Preservation Order [TPO] are subject to normal TPO controls but Article 66A of
the Planning (NI) Order 1991 Order also makes special provision for trees in conservation
areas which are not the subject of a TPO.
8.1.7 Anyone wishing to carry out works to trees within the Conservation Area should
contact the local area planning office (prior to commencement) for advice/guidance.
Guidance on required supporting documentation
8.1.8 The Department may, at any time, seek a written Design Concept Statement for
proposals within the Conservation Area.
93
When requested, this should describe and explain the following:
•
•
•
•
•
•
the site
the immediate surrounding context (and wider context where relevant)
the genesis and evolution of the design concept
how this meets the brief and resolves any constraints (where relevant)
the final proposal
how it integrates into the site and its setting
8.1.9 In some circumstances, applicants may be required to submit computer generated
models and/or a 3D physical model showing the proposal in its surrounding context (to
supplement the usual drawings required as part of a planning application). The extent of
the model will depend on the nature of the proposal.
8.1.11 All existing and proposed exterior materials (and their colour) should be clearly
shown and keyed into their location on all the building façades. This information should
be easy to read and be identified on the drawings and should be separated out of more
detailed technical specifications.
Further Advice
8.1.12 For relevant and up-to-date-advice, the local area planning office should be
consulted prior to undertaking any works within the Conservation Area. A full schedule
of up-to-date Planning Policy Statements, Development Control Advice Notes and further
guidance is also available to view at www.planningni.gov.uk.
8.1.10 Drawings submitted in support of applications should fully describe the new build
and/or extensions or alterations and their context. Heights of proposed development and
relevant existing context should be clearly and accurately shown. Appropriate scales should
be used to allow materials and details to be fully described (this is particularly important for
shop fronts and signage).
94
87. Magee College
60. The Guildhall
Appendix 1
95
95
Appendix 2
Map 1
Conservation Area Boundary
Conservation Area Boundary
(as re-designated on 6th June
2006)
Listed Buildings
96
Map 2
Contours map
m
c
hc
hc
Historic City Conservation
Area
m
Magee Conservation Area
c
Clarendon Street Conservation
Area
97
Map 3
Townscape Analysis
Boundary
Low Quality Boundary
Enclosure good but aesthetic quality weak
Definition good but building and boundary
unsupportive of pedestrian vibrancy
Poor quality definition and enclosure
High quality street definition and enclosure
High quality boundary in poor condition
Poor scale
High quality boundary
Grassed areas
High quality hard landscaping, street furniture
etc
Poor quality public realm
High quality planting or garden
Lack of enclosure below trees
Roads
98
98
Excellent panoramic views to
Waterside including
St. Columb’s Park and
Ebrington
Map 4
Views and Vistas
From River, Railway line and
Waterside
Good axial view from
St. Columb’s Park
Good view along Whittaker
Street to River
Excellent views
Poor views
Poor views to Pilots
Row Community Centre
High quality vista down
Shipquay Street past Guildhall
to River and Waterside
Roof plant too high
Poor view to Sheltered
Housing
Good view to St.
Columb’s Park
and Hall
Good long distance view down
Francis Street to Long Tower
Church and Lumen Christi
School beyond
Good view to
Distillery Brae
Good view to
Victoria Park
Excellent views to Waterside as
far as Old Railway Station
Poor foreground
views
Excellent views to Carlisle
Road Methodist Church and
Welch Margetson
Good long distance views
to River and Waterside
From River and Waterside
Great view to
Craigavon Bridge
Poor views to Waterside
from Craigavon Bridge to
Old Railway Station
Excellent panoramic to
Victoria Park
99
99
Map 5
Long distance Views and Vistas
* Larger scale maps are available from the local Planning Office
Legend
Panoramic vista
Long distance view
One way axial view
Two way axial view
Significant landmark building
forms critical element in view
Derry - Long Distance Views and Vistas
100
Appendix 3
Acknowledgements
The Planning Team
The Citizen’s Charter for Northern Ireland seeks to ensure
that the public is aware of the officials who are involved in
the preparation of Plans and Policies. The Steering Group
chiefly involved in the production of the Historic
City Conservation Area Design Guidance included the
following:
•
•
•
•
•
Jim Thompson
DOE - HQ, Belfast
Andrew A Meenagh
DOE - Northern Area Planning Office
Heather McSparran,
DOE - Northern Area Planning Office
Sharon Mulhern
DOE - Northern Area Planning Office
Nichola Carr
DOE - Northern Area Planning Office
Consultant Team
•
•
•
•
•
•
•
•
Mary Kerrigan
Paul McTernan
Peter Harper
Richard Griffin
Ciara Moynes
Guy Bartley
Aoife Curran
Annesley Malley
Printing and Publication
•
Annette Deehan, Graphic Design unit, DRD
Key Stakeholders
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Derry City Council
North West Development Office
Walled City Partnership
City Centre Initiative
Foyle Civic Trust
ILEX
DRD Roads Service
Northern Ireland Environment Agency
Historic Buildings Council
Ulster Architectural Heritage Society
Derry Visitor and Convention Bureau
Northern Ireland Tourist Board
Strand Road Area Group
Joe Tracey
The Department also acknowledge contribution to the
printing and publication of this document from ILEX.
Photographs/Credits
Thanks are due to all those who kindly provided images
and/or gave permission to have their buildings and images
included in this Guide.
101
Conservation Area Workshop
•
•
We would also like to acknowledge the following individuals
who took the time to attend the Conservation Area
Workshop on February 21st 2008.
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Pat Andrews, Chartered Surveyor
George Brennan, Architect
Nick Brown, Walled City Partnership
Ken Bustard, DOE – Northern Area Planning Office
Michael Carr, Hegarty Carr Architects
Nichola Carr, DOE – Northern Area Planning Office
Colm Cavanagh, McCormick Properties
Father Roland Colhoun, Long Tower Church
Barbara Curran, Clarence Avenue Residents
Manus Deery, Northern Ireland Environment
Agency
Joan Doherty, Resident
Paddy Doherty, Inner City Trust
Giovanni Doran, Samaritans
Aine Downey, Resident
Peter Harper, Colin Buchanan
Jim Kelley, Aberfoyle Residents
Mary Kerrigan, Architect
Frank Liddle, University of Ulster
Bridghin Lyttle, de Burgh Terrace resident
Cllr Gerry Maclochlainn, Derry City Council
Mary Maguire, de Burgh Terrace resident
Annesley Malley, Historian
•
•
•
•
•
•
•
•
•
Jo Mitchell, Caroline Dickson Architects
Andrew McClelland, Ulster Architectural Heritage
Society
Isobel McDonagh, DOE – Northern Area Planning
Office
Evy McDonald, Resident
Paul McGarvey, Foyle City Trust
Roisín McGrogan, St. Joseph’s Secondary
Intermediate School
Mary McLaughlin, Walled City Partnership
Paul McTernan, Colin Buchanan
Eddie Nicell, Property Developer
Jo Noble, de Burgh Terrace resident
Cllr Helen Quigley
102
Appendix 4
Schedule of Listed Buildings
Buildings are added to the statutory lists normally as a result of systematic resurvey or through a building being at risk. The Second Survey of Northern Ireland’s
Historic buildings is currently underway to re-assess current listings and to identify additional buildings and features worthy of protection. The following list is
correct as at the time of going to print.
HB01/18/001
School
Former St Columb’s Convent
Long Tower Street
B2
HB01/18/002
School
St Columb’s Girls School
Long Tower Street
B2
HB01/18/003
Church
Long Tower Church
Long Tower Street
B+
HB01/18/002
School
St Columb’s Boys School
Long Tower Street
B2
HB01/19/001
Cathedral
St Columb’s Cathedral
St Columb’s Court
A
HB01/19/002
Court House
Bishop Street
B
HB01/19/007b
House – Terrace
2 St Columb’s Court
B1
HB01/19/003
Office
Bishop Street
B2
HB01/19/007c
House – Terrace
3 St Columb’s Court
B1
HB01/19/004
Deanery
30 Bishop Street
A
HB01/19/007d
House – Terrace
4 St Columb’s Court
B1
HB01/19/005
Office
St Columb’s Court
B1
HB01/19/007e
House – Terrace
5 St Columb’s Court
B1
HB01/19/006
Hall
Masonic Hall
Bishop Street
B1
HB01/19/007f
House – Terrace
6 St Columb’s Court
B1
HB01/19/007a
House – Terrace
1 St Columb’s Court
B1
HB01/19/008
Recreational Club
Northern Counties Club
24 Bishop Street
B1
HB01/19/009
Offices
Former McCandless Factory
23 Bishop Street
B1
HB01/19/010
Office
Probate Office
13 Bishop Street
B2
HB01/19/011
Hall
Apprentice Boys Memorial Hall
13 Society Street
B1
HB01/19/012
Church
St Augustine’s Church
Palace Street
B
HB01/19/015a
Church
First Derry Presbyterian Church
Upper Magazine Street
B+
103
HB01/19/015b
Hall
Lecture hall at Derry First
Presbyterian Church
Upper Magazine Street
B1
HB01/19/016
Shop
2 Butcher Street/18 The Diamond
B
HB01/19/019
Shop
Austin’s of The Diamond
B1
HB01/19/021
Memorial
War Memorial
The Diamond
B1
HB01/19/022a
Office
15 The Diamond
B
HB01/19/022b
Office
16 The Diamond
B
HB01/19/024a
House
6 Shipquay Street
B1
HB01/19/024b
House
8 Shipquay Street
B1
HB01/19/032
Shop
28 Shipquay Street
B1
HB01/19/037a
House/Terrace
18 Lower Magazine Street
B
HB01/19/026a
Bank
9 Shipquay Street
B1
HB01/19/033
Shop
Beethoven House
28 Shipquay Street
B2
HB01/19/037b
House/Terrace
19 Lower Magazine Street
B
HB01/19/026b
Bank
11 Shipquay Street
B
HB01/19/026c
Shop
13 Shipquay Street
B
HB1/19/027
Ban
15-17 Shipquay Street
B1
HB01/19/029
Office
2 Castle Street and 14 Shipquay Street
B2
HB01/19/030
Shop
20 Shipquay Street
B1
HB01/19/034
Public House
31-33 Shipquay Street
B1
HB01/19/035
Shop
35-37 Shipquay Street
B1
HB01/19/035b
Public House
3-4 Bank Place
B1
HB01/19/037c
House/Terrace
20 Lower Magazine Street
B
HB01/19/037d
House/Terrace
14 Lower Magazine Street
B1
HB01/19/038
Town Hall
Guildhall, Shipquay Place
A
HB01/19/036
Bank
39 Shipquay Street
B1
HB01/19/039
Bank
Northern Bank
6 Shipquay Place
B+
HB01/19/036b
Bank
2 Bank Place
B1
HB01/19/040a
Bar
New Monico Lounge
B1
104
HB01/19/040b
Shop
1-3 Guildhall Street
B1
HB01/19/044c
Shop
17 Foyle Street
B1
HB01/19/058
Factory
1 Abercorn Road
B1
HB01/19/041
Office
8 Custom House Street/5 Guildhall Street
B1
HB01/19/044d
Shop
19-21 Foyle Street
B1
HB01/19/042
Harbour Commissioner’s Office
B
HB01/19/044e
Shop
23 Foyle Street
B1
HB01/19/059/A
Church
Presbyterian Church
Carlisle Road
B
HB01/19/043a
Shop
1 Shipquay Place
B2
HB01/19/043b
Bank
2, 3 & 4 Shipquay Place
B2
HB01/19/043c
Public House
5 Shipquay Place
B2
HB01/19/044a
Shop
3 Foyle Street
B1
HB01/19/044b
Shop
5-15 Foyle Street
B1
HB01/19/044f
Shop
25 Foyle Street
B1
HB01/19/044g
Shop
27 Foyle Street
B1
HB01/19/044g
Public House
29 Foyle Street
B1
HB01/19/050
Hall
St Columb’s Hall
Newmarket Street
B1
HB01/19/059b
School
Presbyterian Church
B
HB01/19/061
Hall
Good Templars Hall
Horace Street/Hawking Street
B1
HB01/19/062
Factory
20a Carlisle Road
B1
HB01/19/063
Church
Methodist Church
Carlisle Road
B+
HB01/19/064
The Playhouse
Former St Joseph’s and St Mary’s
Primary School
5-7 Artillery Street
B1
HB01/19/065
Hall
Synod Hall
London Street
B1
HB01/19/066
School
Derry Cathedral Primary School
London Street
B1
HB01/19/067
Former Convent of Mercy
10-18 Pump Street
B
HB01/19/068a
Office
2-4 Pump Street
B2
HB01/19/068b
Office
6-8 Pump Street
B2
HB01/19/068c
Shop
20 Pump Street
B2
105
HB01/19/068d
House
22 Pump Street
B2
B1 (Second Survey)
HB01/19/068e
House - Terrace
24 Pump Street
B2
HB01/19/068f
House – Terrace
26 Pump Street
B2
HB01/19/068g
House – Terrace
28 Pump Street
B2
HB01/19/072e
House
16 Orchard Street
B2
HB01/21/016
Shops/Offices
Former Hotel
Northern Counties
22 Waterloo Place
B1
HB01/21/017a
Post Office
Custom House Street
B1
HB01/21/017b
Custom House
Custom House Street
B1
HB01/21/019
House
15 Chamberlain Street
B
HB01/19/079
Verbal Arts Centre
First Derry Primary School
B1
HB01/19/080
Office
Former Fire Station
1a Hawkin Street
B1
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Appendix 5
Sources of Advice
Additional Information
Further information and advice is available from a number of sources, the key ones are
listed below.
Additional information on technical aspects of repairing historic fabric and buildings can be
obtained from a number of organisations including the following:
Department of the Environment
The Conservation Area Officer (CAO) for the Historic City Conservation Area can be contacted
at;
Ulster Architectutal Heritage Society (UAHS)
66 Donegall Pass
Belfast, BT7 1BU
Tel: 028 9055 0213
Website: www.uahs.org.uk
Northern Area Planning Office
Orchard House, 40 Foyle Street
Londonderry,
BT48 6AT
Tel: 028 7131 9900
E-mail: [email protected]
Website: www.planningni.gov.uk
Northern Ireland Environment Agency (NIEA)
NIEA’s website is a good source of advice, offering technical notes which are available
to download, free of charge, or which can be issued in hard copy upon application. You
can also learn about buildings currently considered at risk in the Built Heritage at Risk in
Northern Ireland (BHARNI) Register. Contact details are as follows;
Society for the Protection of Ancient Buildings (SPAB)
37 Spital Square
Spitalfields
London, E1 6DY
Tel: 020 7377 1644
Email: [email protected]
Website: www.spab.org.uk
Historic Scotland
Publications Department
Tel: 0131 668 8638
Website: www.historic-scotland.gov.uk/shop
NIEA
Waterman House
5-33 Hill Street
Belfast, BT1 2LA
Tel: 028 9054 3095
Website: www.ni-environment.gov.uk
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English Heritage
Publications Department
Tel: 0870 333 1181
www.english-heritage.org.uk
Other Contacts
(It should be noted that this is not an exhaustive list)
Heritage Lottery Fund
www.hlf.org.uk
Institute of Historic Buildings Conservation
www.ihbc.org.uk
UK Association of Preservation Trusts
www.ukapt.org.uk
Walled City Partnership
The Craft Village
13 Magazine Street
Londonderry
BT48 6HH
Tel: 028 7137 1037
Funding
Under the Planning (NI) order 1991, the Department of the Environment may grant aid
expenditure relating to works (to either listed or non-listed buildings) that promote the
preservation or enhancement of the character or appearance of the Conservation Area.
Further details may be obtained from either the local area planning office or from NIEA, at
the addresses specified above.
The Walled City Townscape Heritage Initiative (THI) Scheme is a grant aid programme for the
restoration and regeneration of the historic built environment. The THI is primarily funded
by the Heritage Lottery Fund (HLF) and administered by The Walled City Partnership, a “not
for profit” organisation set up by Derry City Council and the Foyle Civic Trust. The fund area
covers part of the Historic City Conservation Area and at the time of writing Phase two of
the scheme had commenced, with Partnership or match funding sourced from some or all
of the following bodies;
DOE - Conservation Area Grant
DSD North West Development Office - Urban Development Grant
NIEA Historic Buildings - Listed Building Grant
NIHE - Living Over the Shop / City Centre Living Initiative
Derry City Council - Funding of Core Costs
For further information on this scheme contact The Walled City Partnership at the address
specified above.
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