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Origin and history

The Guimard edicle of the Cité station, designed in 1900 by architect Hector Guimard, embodies the climax of Art Nouveau in the Parisian urban landscape. Commanded in emergency to equip the first metro stations before the 1900 Universal Exhibition, this type B model is distinguished by its inverted V-roof, green enamelled lava panels and candelabras in the shape of "strands of muguet". Guimard, although not a winner of the initial competition, was chosen for his modular and aesthetic approach, combining iron, cast iron and glass in a lightweight and standardizable structure.

The construction of these buildings is part of a rapid modernization of Paris, where the metro had to compete with the underground networks of London or Vienna. Guimard collaborated with exceptional artisans, such as the Fonderie du Val d'Osne for fontes or Eugene Gillet for enamelled panels, while suffering budgetary constraints and aesthetic criticism. Despite its gradual removal by the Compagnie du Métropolitain (CMP) in 1904, its style became inseparable from the visual identity of Paris, before being massively dismantled in the inter-war period in favor of Art Deco designs.

The church of the Cité station, which has been protected since 1978 under the Historic Monuments, is one of the few survivors of the 167 original accesses. Its restoration at the turn of the 2000s enabled its original colours (green enamelled and orange) and its blown glass verrines, characteristic of the first years of the metro. Today, it symbolizes both the creative audacity of the Belle Époque and the challenges of preserving industrial heritage, while inspiring reproductions around the world, such as in Montreal and Las Vegas.

The conflicts between Guimard and the CMP, particularly on costs and intellectual property, led to the abandonment of the edicles after 1913. The model of the Cité station, originally planned to be the majority station, was replaced by simplified, less expensive entourages. Yet its revolutionary design — marked by organic curves and an integration of industrial materials — had a lasting impact on public architecture, far beyond French borders. The initial polemics (called "noil style" by his detractors) gave way to a late recognition, making these entrances an emblem of modern Paris.

The heritage protection of the Guimard edicles, initiated in the 1960s, coincided with a renewed interest in Art Nouveau. In 1998, RATP launched an identical restoration program, revealing forgotten technical details, such as vermiculated glass windows or enamelled plate signs. The edicle of the City, with its rounded marquise and its open-air badges, illustrates this desire to preserve a threatened heritage. Its status as a historical monument makes it today a privileged witness to the aesthetic and technical innovations of the early twentieth century, while stressing the tensions between artistic creation and urban imperatives.

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