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Origin and history

The metro entrance to the Daumesnil station, designed by architect Hector Guimard in 1900, is part of the project to embellish the network of the Metropolitan of Paris. Ordered urgently for the Universal Exhibition of 1900, it embodies the Art Nouveau style by its use of cast iron, glass and enamelled lava. Guimard, although not a winner of the initial competition, was chosen for his modular and aesthetic approach, marking a turning point in Parisian urban furniture.

The Guimard entrances, including Daumesnil's entrance, are distinguished by their candelabras in the shape of "strands of muguet" and their signs with characteristic lettering. Initially criticized for their audacity, they became icons of the Parisian landscape. Daumesnil station, located on line 6 (initiated in 1909), has maintained a protected environment since 2016, demonstrating the late rehabilitation of these works after decades of neglect.

The realization of these entries was marked by tensions between Guimard and the Compagnie du Métropolitain (CMP), particularly on costs and intellectual property. In 1903 an agreement ended their collaboration, but the CMP continued to install Guimard entourages until 1913. The Daumesnil station, like others, benefited from restorations since the 1970s, giving these structures their original brilliance.

The carefully selected materials included cast iron moulded by the Fonderie du Val d'Osne, the Eugène Gillet enamel lava, and blown glass verrines. The colours, combining grey green and orange, created a visual harmony typical of Art Nouveau. Despite their partial dismantling in the 20th century, these entries remain symbols of the Belle Époque and technical innovation.

The entrance to Daumesnil, listed as a Historic Monument in 2016, illustrates the seed of Guimard. Its design, both functional and artistic, influenced other urban achievements. Today, these once controversial edicles are celebrated as jewels of Parisian heritage, attracting the attention of historians and tourists.

The context of their creation also reflects the challenges of modernising Paris at the turn of the century. The metro, symbol of progress, had to combine utility and beauty, a challenge faced by Guimard despite the resistance. The Daumesnil station, by its conservation, perpetuates this dual technical and aesthetic heritage.

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