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Origin and history

The metro entrance of the Boissière station, located avenue Kléber in the 16th arrondissement of Paris, was designed in 1900 by the architect Hector Guimard as part of the development of the Parisian metropolitan network. This monument is part of the 167 accesses ordered by the Compagnie du chemin de fer métropolitain de Paris (CMP) to equip the first lines of the metro, inaugurated on the occasion of the Universal Exhibition of 1900. Guimard, although not participating in the initial competition, was chosen for his Art Nouveau style, then in vogue, and for his ability to offer light and modular structures adapted to urban constraints.

The Guimard metro entrances are distinguished by their innovative use of modern materials such as cast iron, iron, glass and enamelled lava. The structure of the Boissière station, like the other models designed by Guimard, is characterized by curved and organic lines, inspired by the plant, and standardized elements allowing for mass production. The candelabras in the form of "strands of muguet", the openworked badges and the enamelled lava signs bearing the word "Metropolitan" in stylized letters have become emblems of the Parisian landscape. These creations, initially criticized for their aesthetic audacity, eventually marked the history of architecture and urban design.

Guimard's realization of the metro entrances was marked by tensions with the CMP, particularly on financial and intellectual property issues. In 1903 an agreement ended their collaboration, but the Company continued to install Guimard entourages until 1913. Despite their initial popularity, many entries were destroyed or replaced from the 1920s, due to the decline of Art Nouveau and the emergence of Art Deco. However, from the 1960s onwards, an awareness of heritage led to the protection and restoration of the remaining works, including that of the Boissière station, which was listed at the Historic Monuments in 2016.

The entrance to the Boissière station, located on line 6 of the Paris metro, is a rare and preserved testimony of Guimard's work. It embodies the alliance between urban functionality and artistic expression, while reflecting the technical and aesthetic challenges of its time. Today, these edicles are considered to be icons of the Parisian heritage, symbolizing both the innovation of the early twentieth century and the rediscovery of Art Nouveau as a major artistic movement.

Guimard's choice to design metro entrances is explained by his expertise in Art Nouveau architecture, illustrated by earlier achievements such as the Castel Béranger, awarded in 1898. Its modular approach, combining standardization and creativity, allowed to meet the requirements of the CMP while imposing a recognizable style. The materials, such as the enamelled lava supplied by Eugène Gillet or the fonts produced by the Fonderie d'art du Val d'Osne, were selected for their durability and aesthetics, contributing to the sustainability of these works.

Over time, Guimard entries have transcended their utility function to become cultural symbols, inspiring artists, filmmakers and writers. Their presence in cinematographic works, such as The Wage of Fear of Henri-Georges Clouzot, or their representation in comics, attests to their anchoring in the collective imagination. Today, the entrance to Boissière station, protected and restored, continues to fascinate with its avant-garde design and its role in the history of Parisian urban transport.

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