Together they moved to Brecht's Berliner Ensemble where Hill created an iconic stage for Mutter Courage and took hundreds of scene photographs now archived at the Akademie der Künste.

In 1966 he became director of scenery (Ausstattunggsleiter) at Opernhaus Dortmund, and there he created the stage for the world premiere of Eli by Walter Steffens, which was followed by 45 other productions.

[2]: 21–25 After World War II, Hill worked as scenic designer at the Städtische Bühnen Gera and then at the Schauspiel Leipzig [de], where he met Bertolt Brecht in 1950.

He followed him to Berlin, working until 1953 as scenic designer and assistant director, with Brecht, Therese Giehse, Benno Besson and Egon Monk.

[4][2]: 42–51  He created designs for Elektra by Richard Strauss, Gluck's Orpheus und Eurydike, Borodin's Fürst Igor, Egk's Der Revisor, Jean Kurt Forest's Tai Yang erwacht and Mussorgski's Chowanschtschina.

He designed the set for the first scenic presentation of Bach's St Matthew Passion in Europe at the Teatro Massimo in Palermo, conducted by Hermann Scherchen[2]: 51–52 The building of the Berlin Wall in 1961 caused a break in his career.

In 1963, he designed stage and costumes for Wagner's Lohengrin at the Royal Opera House in London, conducted by Otto Klemperer, with Sandor Konya in the title role and Régine Crespin as Elsa.

[2]: 54–61 [8] His last major project was a collaboration with Harry Buckwitz in 1977 at the Schauspielhaus Zürich Schweyk im Zweiten Weltkrieg, with Helmut Lohner and Christiane Hörbiger in the leading roles.