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Parisians did not necessarily like the entrances. In fact they called the font which Guimard himself designed “un-French.” Parisians also called the green on the entrance “german.” [2] Despite the bad reception from Parisians, the entrances were kept up rather than being taken down because of popular opinion. All of the entrances were ...
The Museum of Modern Art in New York City, United States has the archway consisting of the light stalks and "Métropolitain" sign from the Guimard entrance to Raspail station. [15] [20] [35] The Dali Theater Museum in Figueres (Girona, Spain) has a pair of the light stalks from a Guimard Métro entrance, which are exhibited on the patio. [36]
The station has two accesses, all of which consist of fixed stairs: access 1 - cnr. 65 Boulevard Richard-Lenoir / Rue Gaby-Sylvia, entrance designed by Hector Guimard is a registered as a historical monument since May 29, 1978; [2]
The Hector Guimard-designed édicule Abbesses Metro Station Line 12 platform barriers at Abbesses. The station's entrance, designed by Hector Guimard (1867–1942), is one of only two remaining glass-covered "dragonfly" entrances, known as édicules (the other is located at Porte Dauphine, while a replica exists at Châtelet).
Hector Guimard's original Art Nouveau entrance of the Paris Métro at Porte Dauphine station The typical station comprises two central tracks flanked by two four-metre wide platforms. About 50 stations, generally current or former termini, are exceptions; most have three tracks and two platforms ( Porte d'Orléans ), or two tracks and a central ...
The entrance of the metro station at Porte Dauphine, Paris, designed by Hector Guimard Main article: Paris Métro entrances by Hector Guimard In 1899, the Compagnie du chemin de fer métropolitain de Paris (the Paris Metropolitan Railway Company, CMP ) launched a competition for the street architecture of the soon-to-be-opened Métro.
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Exits 2 and 3 are adorned with Guimard entrances, which are listed as historical monuments by the decree of 29 May 1978. [4] In an access corridor, another work of art, La Pensée et l'Âme Huicholes was the subject of an exchange intended to celebrate the thirty years of cooperation between the metro companies of Mexico City and Paris. [5]