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Heritage classified

Key figures

Origin and history

The metro entrances to Saint-Michel station, designed in 1900 by architect Hector Guimard, are part of the ambitious plan to modernize Paris at the dawn of the 20th century. Ordered by the Compagnie du chemin de fer métropolitain de Paris (CMP), these accesses in iron, cast iron, glass and enamelled lava embody the Art Nouveau aesthetic, a controversial artistic movement that is now emblematic of the capital. Their modular design, combining standardization and creativity, aimed to harmonize functionality and elegance in urban space.

Hector Guimard, although not a winner of the initial competition organized by the CMP in 1899, was chosen in obscure circumstances, perhaps thanks to the support of President Adrien Bénard or municipal supporters. His project, chosen for its lightness and originality, broke with the proposals deemed too conventional by his competitors. The first edicles were installed urgently to coincide with the Universal Exhibition of 1900, symbolizing the entrance of Paris into the industrial and modern era.

The Guimard entrances, initially 167, were gradually abandoned after 1913, victims of taste changes and maintenance costs. Art Nouveau, a fashion past, gave way to more sober designs, such as those of Adolphe Dervaux in the 1920s. Despite their decline, these works became cultural icons, associated with Parisian identity. From the 1960s onwards, a heritage awareness led to their protection and restoration, with 86 entries still existing listed in the Historic Monuments in 1978.

The Saint-Michel station, located in the 5th arrondissement, preserves two of its original entourages, protected since 2016. These structures, characterized by their candelabras in the form of 'brins de muguet' and their enamelled lava signs, illustrate Guimard's genius to marry art and industry. Their organic style, inspired by nature, and their colour palette (green, orange) reflect a desire for harmonious integration into the urban landscape, while marking a break with academicism.

The materials used — cast iron, coloured glass, enamelled lava — were chosen for their modernity and strength, although their maintenance proved to be complex. Orange verrines, openwork badges and matt glass roofs, designed in collaboration with artisans such as Eugene Gillet or the Fonderie du Val d'Osne, demonstrate an innovative approach. These elements, often compared to plant or animal forms, aroused as much admiration as mockery, some seeing 'berlingots' or 'sheep bones'.

Today, the Guimard entrances, including those of Saint-Michel, are celebrated as jewels of Parisian heritage. Their restoration, such as the one carried out in 1999 for the church of Porte Dauphine, aims to preserve their authenticity, including in details such as fonts or colour nuances. Their influence extends beyond France, with replicas exhibited in Montreal, New York or Las Vegas, and a recurring presence in popular culture, from Clouzot's cinema to Tardi's comics.

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