Rennie Mackintosh

On my trip to Glasgow (mentioned yesterday), we had a sliver of time free before needing to head to the airport on Sunday morning. We got brunch, and then made our way to the University, with the intention of going to the Mackintosh house. The trams weren’t running due to maintenance, so it took us a little longer to get there (although did mean that we only paid a pound each for the journey – winning), and by the time we made it, probably not via the most efficient route, and slightly weighed down by our luggage, it didn’t seem worth the entrance fee (£5 per person at time of writing) to get twenty minutes looking around. We ended up at the Hunterian Museum instead – free and varied, but more on that another day.

The Mackintosh house is definitely still on my “to-visit” list, whenever I’m next back in the city. Why? Well, because Charles Rennie Mackintosh and Margaret Macdonald Mackintosh produced so much iconic work that is such a big influence on my taste in interiors and architecture – I mentioned the Everard’s Printing Works in my post about Broad Street, Bristol, but didn’t see fit to mention the butterflies it gives me every time I lay eyes on it. It’s not hard to see the Art Nouveau influence on the work (and not just in the lettering).



Growing up, a house that I lived in for four years had a cast-iron fireplace that featured decorative panels very similar to these ones designed by Margaret. I also had the version of  Grimms’ Fairy Tales illustrated by Kay Nielsen (featuring this astonishingly beautiful piece, Twelve Dancing Princesses). The way real-world elements of the designs (e.g. humans, trees) are forced into geometric shapes has always fascinated me.


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