Did you know that what you see before you is more than just a Metro entrance? It is an Edicule Guimard. It is a symbol of Parisian Art Nouveau. It is a gateway to the city’s underground arteries.
Hector Guimard designed these iconic entrances at the beginning of the 20th century. He was a master of Art Nouveau architecture. His designs aimed to revolutionize urban landscapes.
These Edicule Guimard entrances mix iron, cast iron, glass, and enameled lava. Some are simple surrounds. These have balustrades and sculpted cast iron porticos. High candelabras frame a sign that reads “Métropolitain”.
Guimard asserted his unique style through these designs. He faced critics head-on. The construction of these entrances began in the spring of 1900. After 1913, the Compagnie du chemin de fer métropolitain de Paris abandoned them. This company was the ancestor of the RATP. Of the 167 entrances built, most kiosks and half the surrounds were destroyed. This happened in the decades after World War I. Art Nouveau had fallen out of fashion.
These works contributed to Hector Guimard’s legacy. They also helped the rediscovery of Art Nouveau. In the 1960s, the remaining installations were protected. They were listed as historical monuments. Some pieces even went abroad.
The Edicule Guimard entrances seem inseparable from Paris. They are part of the landscape. They define the character of the French capital. They are emblems of Art Nouveau.
Guimard created the most famous entrances to the Parisian Metro. He installed them until World War I. He had not participated in the design competition. He soon conflicted with the Compagnie du chemin de fer métropolitain de Paris.
In early 1900, Hector Guimard was a prized architect. He was known for his villas and buildings. He was entrusted with designing Metro access points in somewhat obscure circumstances.
The company held an architecture contest. The program was published in a specialized journal. The goal was to design an open surround with a marker post. Also two types of kiosks. These would have glass roofs protecting from rain. These constructions had to be elegant and lightweight. Iron, glass, and ceramics were preferred.
None of the twenty-one entries were selected. Not even those from Paul Friesé and Jean Formigé. The competitors created variations of picturesque chalets. They neglected the lightness required.
It is hard to know how Hector Guimard got the contract. He was not part of the competition.
The Edicule Guimard entrances remain. They stand as testaments to a bygone era. They remind us of the power of art. Art shapes our everyday experiences. The fluid lines and organic forms invite us. They invite us to pause. We must appreciate the beauty. Beauty is woven into the fabric of this city. As you descend into the Metro, remember Hector Guimard. He is the visionary. He transformed a functional space into a work of art.