Charles Rennie Mackintosh (1868 – 1928)

For more information, visit www.nts.org.uk/Learn The National Trust for Scotland for Places of Historic Interest or Natural Beauty is a charity registered in Scotland, Charity Number SC 007410 and depends for its support on the subscriptions of its members, donations and legacies. Copyright © 2010 the National Trust for Scotland.

1

Charles Rennie Mackintoshis perhaps the most famous

Scottish architect and designer.

Although he is tremendously populartoday he never really enjoyed popularsuccess in Scotland or Britain during hislife time.

However he did not work in a vacuum, andwas part of a group of architects anddesigners, including his wife Margaret,working in what has become known as“The Glasgow Style”.

1868 - 1928 His individual contribution to thedevelopment of architecture and design wasrecognised by the avant-garde in Europe.

He is well known for designing everyaspect of an architectural project from lightand window fittings to clocks and cutlery.Compared to other major architects he didnot produce a large body of work,fortunately most of what he did produce maystill be seen today.

In order to escape from the overbearinginfluence of the classical past, he drew on awide variety of sources: geometry, thenatural world, Scottish Baronial architecture,Celtic and Japanese artforms. In his time therecycling of traditional forms was in linewith current trends: it is still very familiartoday and probably accounts for hispopulist appeal. Reproducing Mackintoshartworks has become a huge industry.

The visual impact of his work is veryobvious. The effects of light and shade, theuse of “male and female” shapes and subtlecolour variations all help to create stunningvisual effects. This may be seen inproperties such as Scotland Street School,The Hill House, Cranston’s Tea Rooms andhis masterpiece, Glasgow School of Art.

His furniture was always designed for aspecific location. Individual pieces mayappear somewhat unusual on their own butwhen viewed in the correct context theyare always at one with their surroundings.Mackintosh eventually gave up the struggleto be a successful architect and moved tothe south of France in order to attempt todevelop a new career as a water colourartist.

The Hill House in Helensburghwas built between 1902 and1904 and was Mackintosh’s

most important domestic work.

It was built for the publisher WalterBlackie and has commanding views overthe River Clyde.

The use of traditional grey slate for theroof and harling on the walls gives theoutside of the building a definite Scottish“feel”. On the other hand the interior withits Japanese influences provides a variedand rich contrast and Mackintosh’smasterly use of colour, texture and lightcombine to create a dwelling which isunique.

Many of his favourite themes andmotifs are to be found in the Hill House.

Although the exterior of the buildinghints at a Scottish origin the entrance hallwith its strong verticals and horizontalsintegrates many of the current stylisticmovements with those of the past.

Arts and Crafts jostles with Art Nouveau,Japanese rhythms add life to the oldbaronial hall, everything controlled andheld together by the designer’soverwhelming obedience to purearchitectural geometries.

All the rooms are designed with functionin mind but retain this mixture of oldand new. Upstairs in the main bedroommodern elegance in furniture and fittingscombines with traditional Scottishexpectations. A vaulted ceiling embracesand enfolds a large white bed carved torepresent forms abstracted from nature.The contrast of curves, cool whites andwarm pinks with the angularity of thedarkest brown ladder back chairs ispronounced. Integration is paramount tosuccess: stencilled wall pattern echo therose motif used elsewhere in the house.

It may be hard to imagine living in a housewhere every space, shape and item offurniture has been carefully consideredbut Mackintosh firmly believed that theHill House was for living in.

“Here is a house. It is not an Italian Villa,an English Mansion House, a SwissChalet, or a Scotch Castle.. . It is a Dwelling House” C. R. Mackintosh

Charles Rennie Mackintoshis perhaps the most famous

Scottish architect and designer.

Although he is tremendously populartoday he never really enjoyed popularsuccess in Scotland or Britain during hislife time.

However he did not work in a vacuum, andwas part of a group of architects anddesigners, including his wife Margaret,working in what has become known as“The Glasgow Style”.

1868 - 1928 His individual contribution to thedevelopment of architecture and design wasrecognised by the avant-garde in Europe.

He is well known for designing everyaspect of an architectural project from lightand window fittings to clocks and cutlery.Compared to other major architects he didnot produce a large body of work,fortunately most of what he did produce maystill be seen today.

In order to escape from the overbearinginfluence of the classical past, he drew on awide variety of sources: geometry, thenatural world, Scottish Baronial architecture,Celtic and Japanese artforms. In his time therecycling of traditional forms was in linewith current trends: it is still very familiartoday and probably accounts for hispopulist appeal. Reproducing Mackintoshartworks has become a huge industry.

The visual impact of his work is veryobvious. The effects of light and shade, theuse of “male and female” shapes and subtlecolour variations all help to create stunningvisual effects. This may be seen inproperties such as Scotland Street School,The Hill House, Cranston’s Tea Rooms andhis masterpiece, Glasgow School of Art.

His furniture was always designed for aspecific location. Individual pieces mayappear somewhat unusual on their own butwhen viewed in the correct context theyare always at one with their surroundings.Mackintosh eventually gave up the struggleto be a successful architect and moved tothe south of France in order to attempt todevelop a new career as a water colourartist.

The Hill House in Helensburghwas built between 1902 and1904 and was Mackintosh’s

most important domestic work.

It was built for the publisher WalterBlackie and has commanding views overthe River Clyde.

The use of traditional grey slate for theroof and harling on the walls gives theoutside of the building a definite Scottish“feel”. On the other hand the interior withits Japanese influences provides a variedand rich contrast and Mackintosh’smasterly use of colour, texture and lightcombine to create a dwelling which isunique.

Many of his favourite themes andmotifs are to be found in the Hill House.

Although the exterior of the buildinghints at a Scottish origin the entrance hallwith its strong verticals and horizontalsintegrates many of the current stylisticmovements with those of the past.

Arts and Crafts jostles with Art Nouveau,Japanese rhythms add life to the oldbaronial hall, everything controlled andheld together by the designer’soverwhelming obedience to purearchitectural geometries.

All the rooms are designed with functionin mind but retain this mixture of oldand new. Upstairs in the main bedroommodern elegance in furniture and fittingscombines with traditional Scottishexpectations. A vaulted ceiling embracesand enfolds a large white bed carved torepresent forms abstracted from nature.The contrast of curves, cool whites andwarm pinks with the angularity of thedarkest brown ladder back chairs ispronounced. Integration is paramount tosuccess: stencilled wall pattern echo therose motif used elsewhere in the house.

It may be hard to imagine living in a housewhere every space, shape and item offurniture has been carefully consideredbut Mackintosh firmly believed that theHill House was for living in.

“Here is a house. It is not an Italian Villa,an English Mansion House, a SwissChalet, or a Scotch Castle.. . It is a Dwelling House” C. R. Mackintosh