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Line 14 opened in 1998 as the network’s first fully automatic line. Its stations are a futuristic encounter between travelers and machines.
Metro interiors in 1900 reflected the industrial context of the time. In 2000, architecture on the entirely automatized Line 14 was all about high technology.
More spacious than those of other lines, Line 14 stations aim to provide a sense of ease and fluid movement in keeping with architectural plans drawn up by the Atelier Bernard Kohn, which focuses on the space people occupy in their environment.
Volume and transparency are two key concepts behind the station’s design. Platforms are visible from the upper concourse, and the inverse, which, in a primarily underground space, improves the commuter experience. Vaulted ceilings have been kept and beautifully finished in a style reminiscent of the monumental architecture of temples, churches and official buildings.
Distinctive materials like stone, stainless steel and glass add to the sense of modernity and craftsmanship found in the station. Floors are in light-colored tiles rather than the dark tarmac of other stations. Light takes on a new role here: Pyramides station is staged in a blend of natural and artificial lighting. A root-like pipeline suspended from the ceiling snakes through the entire station, guiding travelers along with simply-presented lighting and information.
The underground city theme is expressed in particularly poetic terms in Line 14 stations, which are peppered with art work and installations reflecting the best of 21st century art. From the concourse in Pyramides station – named after the battle led by Napoleon in 1798 – look down upon the metro of the 21st century! For the best pyramid though, continue on to Palais-Royal Musée du Louvre for architect I.M. Pei’s glass masterpiece, built in 1989.