Hill House, Helensburgh

The house is an example of the Modern Style (British Art Nouveau style). It was designed and built for the publisher Walter Blackie in 1902–1904.

The Hill House

Established	1902
Location	Helensburgh, Scotland, United Kingdom
Architect	Charles Rennie Mackintosh, Margaret MacDonald Mackintosh
Owner	Walter Blackie
Website	https://www.nts.org.uk/visit/places/the-hill-house

Mackintosh also designed the house interior, including furniture and fittings. In 1982, the house was donated to the National Trust for Scotland (NTS), which maintains and opens the house to visitors.

Helensburgh, located west of Glasgow, saw settlement by wealthy business people from the industrialised city. In 1902, Walter Blackie, a publisher from Blackie and Son, purchased a plot of land to build his new home. Talwin Morris suggested Charles Rennie Mackintosh as the architect for Hill House, and Blackie, despite Mackintosh's youthfulness, was convinced after seeing other houses designed by him.

Blackie had specific requirements for the construction, seeking grey rough-cast walls and a slate roof instead of traditional materials like bricks and wood beams with red-tiled roofs commonly used in the west of Scotland. He also emphasized architectural effects through the massing of the parts rather than ornamentation, granting Mackintosh creative freedom in his design ideas.

Mackintosh carefully observed the everyday life of the Blackie family before creating any drawings, aiming to tailor the house to the needs of its occupants by addressing functional aspects before developing the design.

There have been reports of the house being haunted by the ghost of Walter Blackie, with sightings of a tall, slender figure dressed in black with a long black cape. Upon entering the bedroom the figure vanished. Witnesses have also reported smelling cigar smoke in the house without any discernible source.

 

The Hill House was designed and constructed by Mackintosh and his wife Margaret MacDonald for a fee of £5,000. The exterior of the house is asymmetrical, which shows Mackintosh’s appreciation for A. W. N. Pugin’s picturesque utility, where the exterior contour evolves from the interior planning.

The exterior qualities of the building are nearly the opposite of the warm, exotic, carefully decorated, and smooth interior. Again, Mackintosh relates to Pugin’s theory by minimizing exterior decoration to emphasize the interior design: the transition from the outside world into a more inviting interior space. Paint analysis of the harling on the exterior shows that it might have been left as an unpainted pale grey initially.

Mackintosh selected Portland cement harling, then a newly introduced product, for the surface finish. This harling was found to be less durable than traditional lime harling, and by 2017, it was discovered to be in a precarious condition, putting the integrity of the whole building at risk. As a temporary solution, NTS has enclosed the Hill House in a transparent porous "box," allowing some movement of air, so that the structure dries out gradually.

 

The mansion combined the Edwardian period’s traditional conception of the "femininity" of an intimate interior space with the "masculinity" of the exterior public world. To Mackintosh, bringing the "masculine" aspects to the inside would break away from the ornately decorated and "feminine" conventional interiors. This allowed him to convey different feelings and experiences depending on the purpose of each space. Mackintosh used different materials, colours, and lighting to perform a full experiential transition from one point to another.