In the context of An Entrance to the Paris Métropolitain, analyze the Selection of Guimard of the History.
After several designs were refused by the citizens of Paris a compromise was made to make the metro's above ground components a work of art rather than an industrial eyesore. The entrances were said to be sleek and modern, but none of the proposed designs in the past had achieved either of these descriptions. Most of the previous designs had been made to look classical and were too bulky for Paris sidewalks. A contest was held to see who would design the above-ground entrances and stations. The winner, an architecture firm by the name of: Duray, Lemaresquier, and Paumier; however, was not the one who designed the entrances. The decision was overruled by  Adrien Benard, the chairman of the Conseil Municipal de Paris. Instead Hector Guimard, an art nouveau artist who had not entered the contest, won the honor of designing the entrances. He was chosen because of his own take on the “Art Nouveau” style and because his metal designs were cheaper and easier to make than other designs involving masonry and stone. Other than the practical reasons, Guimard's designs, which centered around sleek lines that come from natural curves of plants, were better made with steel. Guimard made different designs of above-ground entrances ranging from grand steel and glass pavilions to the most common type of entrance, a small railing, two lamps, and a sign saying Metropolitain. By 1904, 141 stations were completed, most of which were the most famous type of entrance.
Hector Guimard entrances Art Nouveau