![]() Subsequent masts have kept these rings, now framing a simple interior-lit yellow "M". In the 1960s, the blue ring was replaced by two stainless steel rings. The 1950s style features the familiar "MÉTRO" against a blue ring and a large red "M". ![]() The simpler Dervaux lampposts (named after their architect) became common in the 1930s, following the contemporary trend away from decorative embellishment.Īfter World War II, new Métro totems lost their lamps and became progressively more simple. The Val d'Osne variant (named after an iron foundry, and visible at Saint Paul) consists of a globe-shaped lamp atop a "MÉTRO" sign surrounded by an ornate cast-iron frieze. In the early years, two styles arrived in succession. Signposts Entrance to Trocadéro station showing totem in interwar styleĪlso known as masts or totems, distinctive Métro signposts were a 1920s innovation of the Nord-Sud company. Conversely, a number of entrances ( Riquet, Pernety) are built into the ground floor of existing buildings. These are generally concrete constructions, and recall the architectural styles of the 1920s and 1930s. Many of the entrances that were built by the Nord-Sud company on the present-day lines 12 and 13 retain elegant art nouveau style motifs on the tiling surrounding the walls of the stairwell.Ī few entrances, for example at Pelleport and Volontaires, are housed in independent buildings. These typically feature cast-iron balustrades in an elegant but sober style. : 73 These can be found near certain important monuments, including the Opéra, the Madeleine and on the Champs-Elysées.Īfter the end of the Belle Époque, new entrances were entrusted to various architects. Roosevelt station in classical Greek-Roman styleįrom 1904, the CMP employed the architect Joseph Cassien-Bernard to design a number of new station entrances in austere neo-classical stonework. : 73 Later styles Entrance to Franklin D. These are designed strikingly in the form of plant stems, in which the orange lamp is enclosed by a leaf (resembling a brin de muguet, or sprig of lily of the valley). The simpler open type of entrance, known as an entourage (enclosure), is framed by a "Métropolitain" sign held between two ornate, sinuously curved lampposts. A third, replica édicule was erected at Châtelet in 2000. Today only two édicules survive, at Porte Dauphine and Abbesses (the latter having been moved from Hôtel de Ville in 1974). Both of these were torn down in the 1960s. The most imposing of these were built at Étoile and Bastille, on opposite sections of the inaugural line 1. ![]() Many examples also featured an enclosure of opaque panelling decorated in floral motifs (those at Gare de Lyon, now destroyed, and at Hôtel de Ville, now located at Abbesses, did not have panelling). The roofed variety, known as an édicule (kiosk), features a fan-shaped glass awning. ![]() Guimard's Cité Entrance, Paris Métropolitain, Smarthistory 141 entrances were constructed between 19, of which 86 still exist. Built in cast iron, they make heavy reference to the symbolism of plants and are now considered classic examples of French art nouveau architecture. Guimard designed two types of entrances to metro stations, with and without glass roofs. Later he proposed the art nouveau architect Hector Guimard, which was agreed to by the municipality. : 186 The CMP's president, Adrien Bénard, nonetheless favored the municipality architect Jean-Camille Formigé. The winner of the competition was Henri Duray. ![]()
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