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The established view of the Viking-Age Northumbrian Church has never been substantiated with verifiably contemporary evidence but is an inheritance from one strand of 'historical research' produced in post-Conquest England. Originating c. 1100, the strand we have come to associate with Symeon of Durham places the relics and see of Cuthbert at Chester-le-Street from the 880s until a move to Durham in the 990s. By contrast, other guidance, including Viking-Age material, can be read to suggest that Cuthbert was at Norham on the river Tweed and did not come to Durham or even Wearside until after 1013. Further, our earliest guidance indicates that the four-see Northumbrian episcopate still lay intact until at least the time of Æthelstan (r. 924–39). The article ends by seeking to understand the origins of the diocese of Durham and its historical relationship with both Chester-le-Street and Norham in a later context than hitherto sought. [ABSTRACT FROM AUTHOR]

The article focuses on the design of largest man-made reservoir in Northern Europe, Kielder Water and Forest Park. It mentions that this reservoir at Northumberland, England, has been subjected to a series of innovative art and architectural commissions with the latest being, a shelter named as 55/02. It mentions that the reservoir was developed with an aim to fulfill the water requirements for the industries of the area, but due to the increased popularity of water-efficient and new technologies, the reservoir lost its importance. It was then developed as Kielder Water & Forest Park, a place for leisure activities.

The spectacular surroundings of Kielder Water & Forest Park, in Northumberland, England, are a confluence of opposing states: the man-made and natural; the utilitarian and recreational; the beautiful and isolated; shaped by weather converging from east and west. Kielder Castle was built in 1775 as the Duke of Northumberland's hunting lodge. In recent years the territory has gained notoriety for a series of innovative art and architectural commissions including Belvedere by Softroom Architects (1999), Kielder Skyspace by the American artist James Turrell (2000), Minotaur by architect Nick Coombe and artist Shona Kitchen (2003), and Kielder Observatory by Charles Barclay Architects (2008). This paper outlines one of Kielder's most recent additions – a shelter entitled 55/02 – the result of a collaboration between sixteen*(makers) and manufacturers Stahlbogen GmbH. The work rekindles the symbiotic relationship between design and making once central to the production of architecture. The reawakening of this tradition has been stimulated by the mainstream adaptation of CAD/CAM as an industrial and disciplinary medium which binds the protocols of drawing with those of fabrication. However, as this account of the project shows, the relevance of an increasingly digitised world extends beyond the production of 55/02 as an artefact – it forms the basis of the architecture's relationship with its locality as an industrial, historical, social, cultural and manufactured landscape [1]. [ABSTRACT FROM PUBLISHER]

The article focuses on the architectural design and its attributions of the eighteenth-century garden house built by the Duke of Northumberland at Hulne Priory, three miles west of Alnwick Castle in England. It was noted that the garden house was attributed both to Robert Adam and to Capability Brown, in which it was brought up the idea that the exterior of the garden house is by Brown and the interiors by Adam. However, the author remarks that these attributions rely on stylistic parallels or unspecific documentary evidence, and none is convincing. Built of coursed rubble stonework, the garden house is a two-storey block, with walls built in flat planes and a roof of series flat leaded slopes. Moreover, the building's design is generally in a Gothic style.