从19世纪50年代到19世纪70年代，巴黎从中世纪的迷宫向第二帝国大都市的彻底转变，恰逢伦敦第一条地下铁路的建造。尽管在法国首都发生的一系列拆除和重建行动本来是安装地铁系统的理想时机，但塞纳河乔治-欧热纳·豪斯曼(Eugène Haussmann)的省长对实施这一计划没有明显的兴趣。州和地方政府争论如果建立这个系统谁来负责，而公众对他们的城市被如此工业化的东西吞没感到震惊的时候，表达了他们的强烈反对。

Paris’ radical transformation from medieval labyrinth to Second Empire metropolis between the 1850s and 1870s coincided with the construction of London’s first underground railways. Although the flurry of demolition and reconstruction taking place in the French capital would have been an ideal time to install a subway system, Prefect of the Seine Georges-Eugène Haussmann had no apparent interest in implementing such a scheme. The state and local governments argued over who would be in charge were the system built, while the public—horrified at the thought of their city being swallowed up by something so industrial—expressed their ardent disapproval.[1]

最终，1900年的世博会才使这座城市相信，它需要一个现代化的地铁运输系统。查尔斯·加尼尔(Charles Garnier)是一位以设计巴黎歌剧院而闻名的建筑师，他现在以自己的名字命名。他建议公共工程部长，为了让人们接受复古，它必须被视为不仅仅是一种工业创造-它必须是一件艺术品。[2]考虑到这一点，中央建筑公司(SociétéCentrale des Archtes)举行了一场竞赛，挑选一位建筑师来设计Métro的地上入口。虽然杜雷、拉马雷斯基尔和帕米尔公司赢得了比赛，但这次评选被巴黎市政委员会主席阿德里安·贝纳德否决；取而代之的是赫克托·吉马德，一位著名的新艺术建筑师，没有参加比赛。

Ultimately, it took the Exposition Universelle of 1900 to convince the city it needed a modern subway transportation system. Charles Garnier, the architect best known for designing the Paris opera house which now bears his name, advised the Minister of Public Works that in order for the people to accept the Métro it would have to be seen as more than an industrial creation – it would have to be a work of art.[2] With this in mind, the Société Centrale des Architectes held a contest to select an architect to design the Métro’s aboveground entrances. Although the firm Duray, Lamaresquier, and Paumier won the competition, the selection was overruled by Adrien Benard, the president of the Conseil Municipal de Paris; in their stead, he chose Hector Guimard, a noted Art Nouveau architect who had not submitted for the contest.[3]

 During the first construction phases, tracks were dug just below street level. Via National Library of France licensed under Public Domain. Image Courtesy of National Library of France

在第一个施工阶段，在街道下面挖出了铁轨。通过法国国家图书馆获得公共域名许可。法国国家图书馆的形象礼貌

作为巴黎艺术学院的毕业生，Guimard被Eugène Viollet-le-Duc的结构理性主义理论所吸引，如果不是哥特式建筑Viollet-le-Duc的话。他将这一灵感与英国工艺美术运动和维克托·奥尔塔的“新艺术”作品相结合，形成了他自己的新艺术理性主义形式-它与他的竞争对手提出的折衷的古典主义建议不同，最终赢得了阿德里安·贝纳德的兴趣和认可。

A graduate of the Paris École des Beaux-Arts, Guimard was fascinated by Eugène Viollet-le-Duc’s theories of structural rationalism, if not by the the Gothic architecture Viollet-le-Duc so admired. Blending this inspiration with the influences of the British Arts and Crafts Movement and the Art Nouveau work of Victor Horta, he developed his own form of Art Nouveau rationalism – one which stood apart from the eclectic, Classicist proposals made by his competitors and ultimately won Adrien Benard’s interest and approval.[4]

 Place du Bastille (Carte postale ancienne éditée par les Magasins Réunis). © Claude_Villetaneuse (1908) licensed under Public Domain. Image Courtesy of Claude Villetaneuse

巴士底狱广场(Carte postale ancienneéditée parles magasins Réunis)。c Claude_Villetaneuse(1908年)，公共领域许可。克劳德·维莱图斯的形象礼貌

而不是由竞赛的优胜者提出的砖石设计，相反，吉马尔提议，Métro入口是用铸铁和玻璃建造。这个决定有几个实际的好处：最重要的是，铁入口占用的空间比石头少得多，这在许多选定的梅特罗车站场址中是必要的。铁也更便宜，更容易生产和运输，而且比砖石更容易批量生产。

Rather than the masonry designs presented by the winners of the competition, Guimard instead proposed that the Métro entrances be built in cast iron and glass. The decision had several practical benefits: most significantly, iron entrances took up far less space than stone, a necessity in many of the chosen sites for Métro stations. Iron was also cheaper and easier to produce and transport, and allowed for greater ease of mass production than masonry.[5]

 Place du Bastille (Carte postale ancienne éditée par les Magasins Réunis). © Claude_Villetaneuse (1908) licensed under Public Domain. Image Courtesy of Claude Villetaneuse

巴士底狱广场(Carte postale ancienneéditée parles magasins Réunis)。c Claude_Villetaneuse(1908年)，公共领域许可。克劳德·维莱图斯的形象礼貌

除了这些后勤问题，铸铁也更适合于曲折，自然主义和细长的曲线，体现新艺术。使用一套模块化的结构元素，吉马尔创造了五种入口类型，从简单的栏杆到奢华的覆盖展馆；每个车站入口处共用相同的绿色油漆(意为铜制的帕蒂纳)和一个标牌，上面印有由吉马尔自己设计的字体中的梅托里坦(Métuitain)字样。最简单也是最常见的变体是一组栏杆，栏杆上有一对琥珀色的灯泡，形状像花蕾，它们的色光照亮了它们之间的梅托里坦标志。然而，最大的轰动是对精心设计的展馆入口处的反应，它们的扇形玻璃檐盖在下面的楼梯上加冕。

Beyond these logistical concerns, cast iron was also far better suited to the sinuous, naturalistic and slender curves that embody Art Nouveau. Using a set of modular structural elements, Guimard created five entrance types, ranging from simple railings to lavish covered pavilions; each station entrance shared the same green paint (meant to resemble bronze patina) and a sign bearing the word Métropolitain in a typeface designed by Guimard himself. The simplest and most common variant was a set of railings with a pair of amber-colored lightbulbs shaped like flower buds, their tinted light illuminating the Métropolitain sign mounted between them. The greatest sensation, however, was in response to the elaborate pavilion entrances, with their fanned glass awnings crowning the stairways beneath.[6,7]

 A typical beacon light outside the entrance to a Paris Métro station. ImageVia Pixabay licensed under CC0 1.0 (Public Domain)

巴黎梅特罗车站入口处外的一盏典型的信标灯。ImageVia Pixabay许可使用CC01.0(公共域)

尽管吉马德的Métro入口处现在被誉为巴黎城市景观的标志性元素，但最初遭到愤怒的巴黎人的蔑视，他们在标牌上宣布“非法语”和假帕蒂纳绿色上的不寻常字体为“德国”。[8]到1904年，已有141个车站使用吉玛的五种模块变体。然而，Opéra Garnier附近的车站的最新版本遭到了Conseil市的拒绝，该委员会宣布其风格与该市现有的建筑传统不符，因此不适合在Opéra旁边建造。

Although they are now celebrated as an iconic element of the Parisian cityscape, Guimard’s Métro entrances were initially met with contempt by irate Parisians, who pronounced the unusual font on the signs “un-French” and the faux-patina green to be “German.”[8] By 1904, 141 stations had been built using Guimard’s five modular variations. The latest version for a station adjacent to the Opéra Garnier, however, was rejected by the Conseil Municipal, which declared its style to be incongruous with the existing architectural traditions of the city and therefore inappropriate for construction next to the Opéra.[9]

 Replica Métro Station entrance in Chicago, USA © Wikimedia Commons user J. Crocker (2012) licensed under Public Domain. Image Courtesy of J. Crocker

复制Métro工作站入口在芝加哥，美国c维基媒体共用用户J.Crocker(2012)许可在公共领域。克罗克的形象礼貌

在最初的141个梅特罗入口处中，现在只保留了86个入口处，其中许多在新艺术被公认为值得保留的风格之前几十年就被拆除了。这些仍然存在的电台现在被视为默特罗风格的灵感源泉，它们青翠的铁制和优雅的字体与墨罗系统的整个视觉品牌密不可分。尽管“新艺术”(ArtNewveau)短暂的显赫地位和城市居民最初的厌恶，吉马德剩下的墨罗入口处-就像他们的远房表弟-铁制埃菲尔铁塔-已经成为巴黎不可分割的、甚至是至爱的象征。

Only 86 of the original 141 Métro entrances now remain, with many having been demolished in the decades before Art Nouveau was recognized as a style worthy of preservation policies. Those stations that do remain are now seen as the inspiration for the eponymous Métro style, their verdant ironwork and elegant lettering irrevocably associated with the entire visual branding of the Métro system. Despite the short-lived prominence of Art Nouveau and the initial disgust of the city’s residents, Guimard’s remaining Métro entrances have—like their distant cousin, the wrought iron Eiffel Tower—become an integral, even beloved, symbol of Paris.[10]

建筑师Hector Guimard Location Louvre-Rivoli，75001巴黎，法国建筑师Hector Guimard项目年1904年公共建筑类别

Architects Hector Guimard Location Louvre - Rivoli, 75001 Paris, France Architect Hector Guimard Project Year 1904 Category Public Architecture

[1]艾尔斯，安德鲁。巴黎建筑：建筑指南。斯图加特：2004年版。第381至382页。[2]Ayers，第382页。[3]Sennott，R.Stephen。20世纪建筑百科全书。纽约：Fitzroy Dearborne，2004年。P 840。[4]柯蒂斯，威廉·J·R·现代建筑，1900年至今。第三版。伦敦：Phaidon出版社，1996年。第58至59页。[5]Sennott，P 840-841。[6]Ayers，第382页。[7]Sennott，P 840。[8]Ayers，第382页。[9]Sennott，p 841。[10]Poulin，Richard。平面设计建筑：20世纪的历史。马萨诸塞州贝弗利：Rockport出版社，2012年。P45。

[1] Ayers, Andrew. The Architecture Of Paris: An Architectural Guide. Stuttgart: Edition Axel Menges, 2004. p381-382. [2] Ayers, p382. [3] Sennott, R. Stephen. Encyclopedia of 20th Century Architecture. New York: Fitzroy Dearborn, 2004. p840. [4] Curtis, William J. R. Modern Architecture Since 1900. 3rd ed. London: Phaidon Press, 1996. p58-59. [5] Sennott, p840-841. [6] Ayers, p382. [7] Sennott, p840. [8] Ayers, p382. [9] Sennott, p841. [10] Poulin, Richard. Graphic Design Architecture: A 20th Century History. Beverly, MA: Rockport Publishers, 2012. p45.