One of Bristol's most prominent buildings, Bush House sits at the S end of Prince Street between the two arms of the Floating Harbour. It is better known as the 'Arnolfini' - the arts centre conversion of 1975, now an important part of Bristol's cultural life.
Nikolaus Pevsner described it in 1958 as "a big Bristolian warehouse in the RundbogenstilGlossary Term built remarkably early. It is shown on a drawing dated 1847." The authorship of local architect Richard Shackleton Pope was first suggested by his work at the similar Wool Hall (1828), and confirmed by his obituary in 'The Builder' for 1884.
The building's dating was unclear, but it is now certain that its two phases were built in 1831 and 1835-6 for the iron-founding firm of D., E. & A. Acraman. It was undoubtedly the most architecturally ambitious warehouse in Bristol, with the then huge rateable value of £540 a year. The antiquarian G.W. Braikenridge (not normally given to mentioning new buildings) referred to it in his journal of 1831 as "a most superb warehouse".
Pope's composition is deceptively simple; a rock-facedGlossary Term plinthGlossary Term, three storeys of simple rectangular windows recessed within tall roundGlossary Term arches, and a shallow atticGlossary Term. Rugged Pennant sandstone contrasts with Bath stone dressings. The interiors had timber floors and beams supported on cast ironGlossary Term DoricGlossary Term columns. Many elements recur in the 'Bristol Byzantine' style developed from the 1850s, explaining why Pevsner felt that 1847 was remarkably early.
Architecturally the Bush warehouse is notable for its stately proportions, its scale and the almost Grecian purity of the detailing. Its dignified bearing transcends its industrial origins and sits happily with its present use.
Small top storey within a roof. Also the storey above the main entablature of a classical fa
Hard and brittle iron, cast in a mould to the required shape rather than forged. Compare wrought iron.
The simplest and plainest of the three main classical orders, featuring a frieze with triglyphs and metopes. A Roman Doric column has a simple round capital with a narrow neck band and a plain or fluted shaft. A Greek Doric column has a thin spreading convex capital and no base to the column.
Projecting courses at the foot of a wall or column, generally cut back (chamfered) or moulded at the top.
Masonry cleft to produce a natural, rugged appearance.
(Scots): A rounded bartizan or turret, usually roofless. An angle round is set at a corner.
(German, lit. round-arched style): A simplified style developed in early 19th-century Germany, drawing on Early Christian, Byzantine, Romanesque and early Renaissance precedents; sometimes echoed in British 19th-century buildings.