Rhea McCarthy is a multi-hyphanate creative who is skilled as an interior designer, architect, illustrator and mural artist. She has recently completed work on a beautiful residential project set in the heart of North London. With The Blue Hue House, Rhea has created classic and colourful interiors, balancing practical requirements with thoughtful and characterful design across multiple floors.
Here, Rhea discusses her work on the project, from where the conversation started with the client to standout interior details and the glorious use of the colour blue.
How did this project come about, and what was the client’s original brief for the space?
I met the clients at a co-work years ago, and it was always a conversation that when their dream house comes up, they wanted to collaborate with me, and the time came! In my briefing process I always ask details regarding the clients 1 year, 5 year, and 10 year plans in relation to the bricks and mortar. This is very personal of course, but allows me to design for current and future occasions. I can define the purpose of the building, and it helps me coordinate how we can make it work for the clients’ needs.
The design brief focused on preserving the home’s original features while introducing a playful, colourful, and artistic approach. This was balanced with a sense of softness and subtle references to classical British design, creating a harmonious blend of elegance and creativity.
The overall palette of the home is centred around shades of blue, turquoise, and green, each used in varying tones and depths to create richness and visual interest throughout the space.
Each room was approached with a distinct atmosphere in mind. For example, the bedroom was designed to evoke the feeling of being in a calm, dreamy cloud, while the lounge was intended to feel intimate, warm, and cosy.
What were the key priorities or lifestyle considerations that shaped your approach to the design?
I start with functionality and longevity, because there’s no point in a space that looks good but doesn’t work. A kitchen should flow naturally, not fight against you, and materials need to stand up to real life, not stain or wear too easily.
Designing purely for aesthetics can be tempting for that end of project money shot, but it doesn’t serve the client. For me, it’s about creating spaces that work effortlessly and still feel just as good years later.
How did the architecture or existing character of the property influence your design decisions?
I always take a soft approach of working with what we have, taking careful consideration into modifying, tweaking and shuffling rather than a bulldozing approach. Saving extra work and cost where possible and constantly doing inventories on my design concepts and decisions before presenting them to my client.
Were there any standout pieces of furniture, lighting, or particular brands or makers that played an important role in the scheme?
The Sophie Conran sofa is a dream! And all matching Burlington sanitaryware products across the bathrooms – bliss.
Did the project include any bespoke elements or custom-designed pieces?
There’s bespoke paneling, which I designed to perfectly frame the electrical work and furniture, symmetrically – an enjoyable task for a perfectionist! Then, integrated wardrobes, and all the shelving and storage in the living area.
The kitchen is custom by Holte Studio – Fi [Ginnett, Co-Founder of Holte] was so enjoyable to work with on this.
What challenges arose during the project, and how did you overcome them?
There are always challenges that arise when you start to uncover, strip back, and move walls in an existing building that is hundreds of years old. It’s like cutting into an ancient tree – it looks pretty solid from the outside but once you start cutting you uncover knots, a bit of rot, and layers of materials added by all the previous occupiers. There was some making good to do, but from explaining that these potential unforeseen changes is often a cost of purchasing an older home – this kept the client fairly calm when we ran into areas that required extra TLC. It is the extra work in exchange for the historic character which is always worth while.
Looking back at the finished space, what aspect of the design are you most proud of?
I’m so proud to see the client settling into the space, nesting, and enjoying it. It’s incredibly rewarding to see, and feel, the atmosphere we set out in the brief brought to life throughout the home. I’m also very proud of the collaboration between my contractor, the client, and myself. It was a very harmonious project, enjoyable from start to finish, and a true example of teamwork. The project wouldn’t be what it is without that strong, cooperative relationship.
