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Origin and history

The house located in Place Gambetta (former Dauphine Square) in Bordeaux is part of a major architectural complex of the 18th century, designed as part of the major urban development work carried out under the management of Tourny. Around 1745, the latter ordered the development of a square on land west of the Dauphine and Dijeaux gates, in a desire to clean up and embellish the city. This project was based on a logic of urban harmonization, with buildings with uniform facades, characterized by a ground floor with arcades, a noble floor, an attic and an attic.

In 1750, the Jurats of Bordeaux contracted a loan to finance the construction of the facades, originally planned with forebodies and balustrades. However, in 1762, a new architect proposed a simplified plan, removing these elements to replace them with a sober entanglement and a climax. The square was only completed between 1770 and 1780, although its style remained representative of the first half of the 18th century. The facades of cut stone, the windows decorated with mascarons and the wrought iron balconies illustrate the classical elegance of the era.

Gambetta Square, rectangular in shape, became a strategic crossroads where the main roads converged. The buildings, protected since 1927 for their facades and roofs, today bear witness to the Bordeaux architectural heritage of the Enlightenment. Their rigorous prescription, with bossed arcades and large opening floors, reflects the influence of Parisian models adapted to the local context.

The precise address, 14ter place Gambetta, corresponds to one of these iconic buildings, classified as Historic Monuments. Although the GPS location is approximate, this site remains a notable example of Bordeaux urban planning, mixing functionality and classic aesthetics. The square, originally conceived as a place of prestige, also symbolizes the social and economic transformations of Bordeaux in the 18th century, then in full commercial expansion thanks to its port and its role in Atlantic trade.

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