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Origin and history

The metro entrance to Bastille station, designed by Hector Guimard in 1900, is one of 167 accesses ordered by the Compagnie du chemin de fer métropolitain de Paris (CMP) for the first metro line. This pavilion, of the "edicule B" type with its V-shaped roof and enamelled lava panels, embodied the ideal Art Nouveau: fusion between industrial structure and organic decor. Originally installed on rue de Lyon (12th arrondissement), it was dismantled in 1985 during the work of the Opéra Bastille, and then returned to its current location, boulevard Beaumarchais (11th arrondissement).

Hector Guimard, a controversial architect, obtained this contract out of competition thanks to municipal support, despite the failure of a formal competition in 1899. His creations, criticized for their "nut" style or greyish green evoking German uniform, were gradually abandoned after 1913. The church of Bastille, one of the three most imposing "flags" (with Star and Nation), survived until 1962 before being partially reconstituted. Today protected under the title of Historic Monuments (since 2016), it symbolizes the rehabilitation of Art Nouveau in the Parisian landscape.

The innovative materials — cast iron, green and orange enamelled lava, blown glass — were produced by specialized artisans such as the Fonderie du Val d'Osne or Eugene Gillet. The candelabras in "strands of muguet", the openworked badges and the "Metropolitan" signs with sinuous lettering reflected Guimard's obsession with modular standardization and visual harmony. Despite conflicts with the CMP over costs and intellectual property, its entries became icons, reproduced as far as Las Vegas or Montreal. Their restoration since the 1990s, like that of the door dauphine, restored their original radiance to colours and verrines.

Bastille station, a key point of line 1 inaugurated in 1900, hosted the largest of the three Guimard pavilions (90 m2), combining windows, waiting room and glass marques. Its demolition in 1962, like that of the Champs Elysées or the Star, illustrated the rejection of Art Nouveau for the benefit of Art Deco. Yet, as early as the 1960s, voices like that of the Old Paris Commission pleaded for their preservation. Today's entourage, although inappropriate, remains a rare testimony of this heritage, alongside the 86 other Guimard works still protected in Paris.

Beyond their utilitarian role, these entries inspired artists and filmmakers, from Louis Malle (Zazie in the metro) to Jacques Tardi, Salvador Dalí who saw disturbing organic forms. Their style, halfway between abstraction and plant reference (bellulas, muguettes, insect shells), foreshadowed the 20th century design. Today, the "Metropolitan" plaque of Bastille, sold €10,200 in 2021, attests to their status as cult objects, between industrial heritage and total art.

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