Architecture
There are many Roman archaeological sites throughout the central area of the city. The baths themselves are about 6 metres (20 ft) below the present city street level. Around the hot springs, Roman foundations, pillar bases, and baths can still be seen; however, all the stonework above the level of the baths is from more recent periods.
Bath Abbey was a Norman church built on earlier foundations. The present building dates from the early 16th century and shows a late Perpendicular style with flying buttresses and crocketed pinnacles decorating a crenellated and pierced parapet. The choir and transepts have a fan vault by Robert and William Vertue. A matching vault was added to the nave in the 19th century. The building is lit by 52 windows.
Most buildings in Bath are made from the local, golden-coloured Bath stone, and many date from the 18th and 19th century. The dominant style of architecture in Central Bath is Georgian; this style evolved from the Palladian revival style that became popular in the early 18th century. Many of the prominent architects of the day were employed in the development of the city. The original purpose of much of Bath's architecture is concealed by the honey-coloured classical façades; in an era before the advent of the luxury hotel, these apparently elegant residences were frequently purpose-built lodging houses, where visitors could hire a room, a floor, or (according to their means) an entire house for the duration of their visit, and be waited on by the house's communal servants. The masons Reeves of Bath were prominent in the city from the 1770s to 1860s.
The Circus consists of three long, curved terraces designed by the elder John Wood to form a circular space or theatre intended for civic functions and games. The games give a clue to the design, the inspiration behind which was the Colosseum in Rome. Like the Colosseum, the three façades have a different order of architecture on each floor: Doric on the ground level, then Ionic on the piano nobile, and finishing with Corinthian on the upper floor, the style of the building thus becoming progressively more ornate as it rises. Wood never lived to see his unique example of town planning completed as he died five days after personally laying the foundation stone on 18 May 1754.
The most spectacular of Bath's terraces is the Royal Crescent, built between 1767 and 1774 and designed by the younger John Wood. Wood designed the great curved façade of what appears to be about 30 houses with Ionic columns on a rusticated ground floor, but that was the extent of his input: each purchaser bought a certain length of the façade, and then employed their own architect to build a house to their own specifications behind it; hence what appears to be two houses is in some cases just one. This system of town planning is betrayed at the rear of the crescent: while the front is completely uniform and symmetrical, the rear is a mixture of differing roof heights, juxtapositions and fenestration. The "Queen Anne fronts and Mary-Anne backs" architecture occurs repeatedly in Bath and was designed to keep hired women at the back of the house. Other fine terraces elsewhere in the city include Lansdown Crescent and Somerset Place on the northern hill.
Around 1770 the neoclassical architect Robert Adam designed Pulteney Bridge, using as the prototype for the three-arched bridge spanning the Avon an original, but unused, design by Andrea Palladio for the Rialto Bridge in Venice. Thus, Pulteney Bridge became not just a means of crossing the river, but also a shopping arcade. Along with the Rialto Bridge and the Ponte Vecchio in Florence, which it resembles, it is one of the very few surviving bridges in Europe to serve this dual purpose. It has been substantially altered since it was built. The bridge was named after Frances and William Pulteney, the owners of the Bathwick estate for which the bridge provided a link to the rest of Bath. The Georgian streets in the vicinity of the river tended to be built high above the original ground level to avoid flooding, with the carriageways supported on vaults extending in front of the houses. This can be seen in the multi-storey cellars around Laura Place south of Pulteney Bridge, in the colonnades below Grand Parade, and in the grated coal holes in the pavement of North Parade. In some parts of the city, such as George Street, and London Road near Cleveland Bridge, the developers of the opposite side of the road did not match this pattern, leaving raised pavements with the ends of the vaults exposed to a lower street below.
The heart of the Georgian city was the Pump Room, which, together with its associated Lower Assembly Rooms, was designed by Thomas Baldwin, a local builder responsible for many other buildings in the city, including the terraces in Argyle Street and the Guildhall. Baldwin rose rapidly, becoming a leader in Bath's architectural history.
In 1776, he was made the chief City Surveyor, and Bath City Architect. Great Pulteney Street, where he eventually lived, is another of his works: this wide boulevard, constructed around 1789 and over 1,000 feet (305 m) long and 100 feet (30 m) wide, is lined on both sides by Georgian terraces.
In the 1960s and early 1970s some parts of Bath were unsympathetically redeveloped, resulting in the loss of some 18th- and 19th-century buildings. This process was largely halted by a popular campaign which drew strength from the publication of Adam Fergusson's The Sack of Bath. Controversy has revived periodically, most recently with the demolition of the 1930s Churchill House, a neo-Georgian municipal building originally housing the Electricity Board, to make way for a new bus station. This is part of the Southgate redevelopment in which an ill-favoured 1960s shopping precinct, bus station and multi-storey car park were demolished and replaced by a new area of neo-Georgian shopping streets.
As a result of this and other changes, notably plans for abandoned industrial land along the Avon, the city's status as a World Heritage Site was reviewed by UNESCO in 2009. The decision was made to let Bath keep its status, but UNESCO asked to be consulted on future phases of the Riverside development, saying that the density and volume of buildings in the second and third phases of the development need to be reconsidered. It also demanded Bath do more to attract world-class architecture in new developments.
In 2021, Bath received its second UNESCO World Heritage inscription, becoming part of a group of 11 spa towns across 7 countries that were listed by UNESCO as the "Great Spas of Europe".
