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Origin and history

The Chamber of Commerce of Lille found its origins in a decision of the Council of State of 1701, but its effective creation dates from 1 April 1715, after Flanders's attachment to France by the peace of Utrecht (1713). Abolished during the Revolution in 1791, it was restored in 1802 and finally settled in 1803, initially covering a vast territory gradually reduced to eight cantons in Lille in 1887. Its role in supporting local industry is affirmed, especially after the destruction of the First World War.

At the beginning of the 20th century, the need for a seat worthy of its ambitions prompted the House to order a new building to architect Louis Marie Cordonnier. Inaugurated between 1910 and 1921, the neo-Flamand building incorporates a 76-metre belfry, symbol of the economic power of Lille. Its style is inspired by the town halls of the old Netherlands, with typical 17th century local vegetal motifs and volutes. The hall of honour, with a dome of 17 meters, and richly decorated rooms (frescoes, woodwork) make it an architectural masterpiece.

During the Second World War, the building was requisitioned by the Oberfeldkommandantur 670, becoming the seat of the German military administration for Nord-Pas-de-Calais. Several officers, including Karl Niehoff, were there, while tragic events took place, such as the assassination of NCO Friedrich Günther in 1940. After the Liberation, the House resumed its activities and the building was enlarged in 1950 by Jean Delrue, who added a wing housing the Port Gallery and a winter garden decorated with frescoes by Émile Flamant.

Ranked a historic monument in 2016, the building also benefits from the 20th century heritage label. His carillon, installed in 1984 thanks to a public subscription, plays alternatively the Ode à la Joye and the P In 2017, a major restructuring transformed the ground floor into commercial spaces and offices, while preserving its role as headquarters for the CCI Grand Lille.

Architecturally, the building is distinguished by its belfry with a clock with four dials, dominating Lille opera. Inside, the Descamps Hall (300-seat auditorium), the Sitting Room, and the Kuhlmann Office illustrate the fascist of the economic institutions of the time. The frescoes and galleries lined with columns of the hall of honour highlight the aesthetic and symbolic ambition of the project, mixing Flemish heritage and modernity of the early twentieth century.

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