Hostname: page-component-586b7cd67f-dsjbd Total loading time: 0 Render date: 2024-11-25T17:23:44.071Z Has data issue: false hasContentIssue false
  • English
  • Français

C. R. Mackintosh: the symbolic geometry of The Hill House

Published online by Cambridge University Press:  19 August 2008

Eleanor Gregh
Eleanor Gregh
Affiliation:
History of Art DepartmentUniversity of GlasgowG12 8QQUnited Kingdom
Get access Rights & Permissions [Opens in a new window]

Abstract

The first part of this essay analyses in detail key aspects of The Hill House, in order to reveal the organising aesthetic principle that governs it. It would seem that a simple yet infinitely complex system of proportional measure binds a few natural and geometric symbols into a complex whole of profound poetic significance. The second part outlines the possible implications of this discovery for the interpretation and history of the house as an individual work of art, as well as of Mackintosh's oeuvre as a whole. These will be the subject of future research.

Type
Theory
Information
arq: Architectural Research Quarterly , Volume 1 , Issue 3 , Spring 1996 , pp. 40 - 63
Copyright
Copyright © Cambridge University Press 1996

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Arnheim, R. (1974). Art and Visual Perception: A Psychology of the Creative Eye, The New Version. University of California Press, Berkeley and Los Angeles.Google Scholar
Billcliffe, R (1989). Charles Rennie Mackintosh, The Complete Furniture, Furniture Drawings and Interior Designs. John Murray, London.Google Scholar
Crawford, A. (1995). Charles Rennie Mackintosh. Thames and Hudson, London.Google Scholar
Hambridge, J. (1967). The Elements of Dynamic Symmetry. Dover, New York.Google Scholar
Howarth, T. (1977). Charles Rennie Mackintosh and the Modem Movement. Routledge and Kegan Paul, London.Google Scholar
Lethaby, W. (1994). Architecture, Mysticism & Myth. Solos Press, London.Google Scholar
Macaulay, J. (1994). Hill House Charles Rennie Mackintosh. Phaidon, London.Google Scholar
Mackintosh, C. R. (1891). ‘Scottish Baronial Architecture’. In (ed) Robertson, P., Charles Rennie Mackintosh The Architectural Papers, pp.49–63. (1990). Wendlebury, Oxford.Google Scholar
Mackintosh, C. R. (c.1892). Untitled paper on architecture. In (ed) Robertson, P., Charles Rennie Mackintosh The Architectural Papers, pp.180–200. (1990). Wendlebury, Oxford.Google Scholar
Mackintosh, C. R. (1893). ‘Architecture’. In (ed) Robertson, P., Charles Rennie Mackintosh The Architectural Papers, pp.201–11. (1990). Wendlebury, Oxford.Google Scholar
Mackintosh, C. R. (1902). ‘Seemliness’. In (ed) Robertson, P., Charles Rennie Mackintosh The Architectural Papers, pp.213–25. (1990). Wendlebury, Oxford.Google Scholar
Robertson, P. (1995). Charles Rennie Mackintosh: Art is the Flower. Pavilion, London.Google Scholar
Walker, D. (1990). ‘Mackintosh on Architecture’. In (ed) Robertson, P., Charles Rennie Mackintosh The Architectural Papers, pp.153–79. (1990). Wendlebury, Oxford.Google Scholar
Walker, F. (1990). ‘Scottish Baronial Architecture’. In (ed) Robertson, P., Charles Rennie Mackintosh The Architectural Papers, pp.29–48. (1990). Wendlebury, Oxford.Google Scholar