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Origin and history

The metro entrance to Temple station, located in Paris in the 3rd arrondissement, was designed in 1900 by architect Hector Guimard for the Paris Metropolitan Railway Company (CMP). This project is part of the urgency to open the first Parisian metro line before the Universal Exhibition of 1900. Guimard, although not participating in the initial competition, was chosen for his Art Nouveau style, marking a break with the proposals deemed too conventional. Her creations combine iron, cast iron, glass and enamelled lava, offering an aesthetic that is both elegant and functional.

The Guimard metro entrances are distinguished by their covered edicles or their simple entourages, composed of balustrades and carved cast iron porticoes. The candelabras, nicknamed "strands de muguet", and the "Metropolitan" signs in stylized letters become symbols of the Parisian landscape. Despite initial criticisms and conflicts with the CMP, including on costs and artistic property, Guimard's works are gradually recognized as masterpieces of Art Nouveau. Their production ceased after 1913, but their influence persisted, making them a cultural emblem.

The Temple Station, inaugurated in 1904 on Line 3, is one of the 167 accesses designed by Guimard, a majority of which has been destroyed over the decades. The remaining entrances, such as the Temple Station, have been protected as historical monuments since 1978. Their restoration, especially as the centenary of the metro approached in 2000, preserved their authenticity. Today, these works embody both the architectural heritage of the Belle Époque and an urban heritage inseparable from the Parisian identity.

Surrounding the Temple Station, located at the corner of Temple Street and Turbigo Street, was inscribed in historical monuments by order of 12 February 2016. This model, typical of the escutcheon entourages with portico, illustrates the standardization and modularity dear to Guimard. The materials used, such as cast iron and enamelled lava, reflect a desire to combine aesthetics and industrial rationality. The original colours, combining green and orange, contributed to a visual harmony now partially restored.

The Guimard metro entrances transcended their utility function to become cultural icons. They appear in artistic works, such as the paintings by Eugène Galien-Laloue or the comics of Jacques Tardi, and symbolize the fusion between art and industry. Their influence extends even abroad, with reproductions or donations to museums, such as the Museum of Modern Art in New York. Despite the initial controversies and massive destructions, these entries remain a unique testimony to Guimard's creative audacity and the innovative spirit of Paris at the turn of the 20th century.

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