Design of the column 1900 (≈ 1900)
Created by Hector Guimard for the metro.
2 octobre 1900
Opening of the station
Opening of the station 2 octobre 1900 (≈ 1900)
Inauguration on line 1.
12 février 2016
Historical monument classification
Historical monument classification 12 février 2016 (≈ 2016)
Protection of the avenue Kléber.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Key figures
Hector Guimard - Architect
Designer of the school in 1900.
Origin and history
The Guimard church of the Boissière station is an access to the Paris metro, designed in 1900 by the architect Hector Guimard for the Compagnie du Métropolitain. This Art Nouveau model, characteristic of network entrances at the beginning of the 20th century, marks the visual identity of Parisian stations. The church of Boissière, located Kléber Avenue, was listed as historic monuments by order of 12 February 2016 for its heritage importance.
The Boissière station, opened on 2 October 1900 on line 1 (later line 6), is part of the history of Parisian transport. Initially integrated into line 2 South in 1903, then to line 5 in 1907, she finally joined line 6 in 1942. Its name comes from Boissière Street, itself linked to the former Boissière Cross, a local historical landmark decorated with boxwoods during religious holidays.
The church, the only access to the station, is distinguished by its architectural style typical of Guimard, combining wrought iron and glass. Although the station underwent renovations (as in 2003 as part of the Renewed Metro), it has retained its authenticity. He now embodies a rare testimony of Guimard's achievements for the metro, many of which have disappeared or been modified.
The 2016 protection specifically covers the area around the access located Kléber Avenue, facing numbers 55-57. This edicle is part of a broader set of Guimard's creations for the network, recognized for their artistic and historical value. The station, served by bus lines 22, 30 and 82, remains a landmark in the 16th arrondissement, close to square Thomas-Jefferson.
Beyond its functional role, the editor has also marked popular culture, appearing, for example, in Supreme NTM's Whats My People (1998). This detail illustrates its anchoring in the Parisian imagination, between industrial heritage and urban symbol.