5 ‘Dream Kitchen’ Upgrades That Homeowners Tend to Regret

A YEAR AGO I found myself teetering demi-pointe on the soapstone counter of my newly renovated kitchen wondering why I had asked for cupboards up so high.

Why had I fallen prey to the Instagram Reels and TikTok videos that malign the gap between cabinets and ceiling? My top cupboards, which hiked the cost of my cabinets about 35%, finished the millwork handsomely, but they were basically unusable.

Before you, too, succumb to custom-kitchen lust, here are five “must-haves” that design pros, and some reality-checked clients, say you almost certainly don’t need.

1. Continent-Sized Kitchen Islands

When rapper Cardi B revealed her new New Jersey kitchen island on Twitter, now X, she strutted across its surface—and got quite a ways without even nearing the edge of what appears to be a six-slab marble behemoth. In marginally less flamboyant kitchens across America, islands of 15 to 18 feet, roughly the size of SUVs, roost.

Debbie Travis, a veteran host of home-design TV, wanted one for a villa in Tuscany where she welcomes guests for retreats. Her self-described vision: a 16-foot counter surrounded by “a dozen women making pasta, drinking prosecco and laughing.” With the dishwasher and sink on one side and the stove on the other, she says she’s “constantly pushing the cutting board across the island and running left or right to the other side.”

Said Atlanta-based kitchen designer Matthew Quinn of these expansive surfaces, “You literally have to use a Swiffer to clean the middle.”

2. Pot Fillers

“A wall-mounted faucet near a range in theory is great because you can fill a big pot with water and not have to carry it from the sink,” says Christopher Peacock, owner of an eponymous luxury cabinet company in New York. “But it’s ridiculous,” he pointed out. After you’re done, say, boiling several pounds of pasta, you have to carry the pot to the sink to drain the water. “For $5,000, this one’s often a complete waste of time.”

If you don’t use the tap frequently enough, Quinn warns, “you have to open the valve, drain it into a vessel and dump out that water, which will be full of sediment.”

3. Over-Glowing Pantries

“LED-lit shelves and drawers are huge,” said Jaqui Seerman. The interior designer says her Los Angeles studio creates pantries in which everything is decanted and then lit like a boutique. “A surge of people are asking themselves, ‘If I’m creating a Reel of myself cooking, how does the olive oil look and how does its background look too,’ ” she said, “but it’s vanity, not utility.”

4. Workstation Sinks

Brands from Delta to the Galley, a high-end purveyor, offer workstation sinks—trough-size basins up to 7 feet long with myriad inset components, including cutting boards, colanders, dish racks and entertaining kits rife with metal ramekins. Moving the parts looks cool on video.

The drawbacks? De-gunking the slim horizontal ledges and tight corners that support the layers of add-ons, not to mention storing these accoutrements. And those cutting boards? Architect-builder Robert M. Berger, in Westport, Conn., says they’ll often discolour, stain and warp. He advises sanding and treating them with mineral oil pre-use.

Quinn objects to the ergonomics. “We designers create work zones and task areas for comfort and efficiency,” he said, “and now everyone’s jammed into the sink trying to cut and prep and wash.”

5. Library Ladders

They may evoke sweetly analog book stores and reading rooms, but in a kitchen, library ladders “are 98% charm, 2% utility,” said Peacock.

Colleen Silverthorn had designer Meredith Heron install a single ladder that hooks onto rails in the kitchen, laundry and family room in her Regina, Saskatchewan, home. “You need two hands to bring down anything, but you have to hang on while you’re up there, so you only have one,” she admits. “It’s absolutely beautiful [but] doesn’t work at all in the kitchen.” In the other rooms she uses it to retrieve wrapping paper or books, “anything you can toss down onto the floor.”

Sophie Donelson is the author of “Uncommon Kitchens: A Revolutionary Approach to the Most Popular Room in the House” (Abrams).

For Jack Freeman, a compelling interior should not look as though it was completed in a single shopping trip.

The founder and designer behind FREEMAN & CO prefers rooms that develop through art, travel, commissioned furniture and objects collected over time. It is an approach that treats the home less as a decorative project and more as an evolving portrait of its owner.

“I am a true believer in collecting versus decorating,” Freeman says.

That distinction underpins the international practice he has built across private residences, hotels, property developments, yachts and private aviation. Its projects stretch from Point Piper, Vaucluse, Circular Quay and Toorak to Mayfair, Bel Air and the Caribbean.

Although the locations and architecture vary considerably, the work is connected by a restrained design language. Natural stone, warm timbers and sculptural furniture establish the foundation, while art, bespoke lighting and individual objects give each interior its identity.

The objective is not to overwhelm a room with obvious symbols of expense. It is to create an environment that feels calm, layered and particular to the people living within it.

“The greatest luxury isn’t about excess,” Freeman says. “It’s about creating an oasis where you come home and feel immediately grounded — effortlessly chic and deeply personal.”

Collecting instead of decorating

Decorating can imply the completion of a room: selecting the required furniture, filling the available walls and producing a coherent finished image.

Collecting is less conclusive.

A collected interior has room to change as its owners travel, discover artists, inherit pieces or reassess how they use their home. Its character comes from the relationship between objects rather than adherence to a single brand or season.

That does not mean placing unrelated pieces together without discipline. The designer must understand scale, proportion, material and provenance well enough to create a dialogue between them.

A contemporary artwork might sit beside a historic piece of furniture. A precisely detailed new interior may be interrupted by an irregular object made by hand. Smooth stone can be balanced by timber, textiles or a patinated metal surface that becomes richer with age.

The tension between those elements is part of the appeal.

For Freeman, art is not an accessory to be added once the furniture plan is complete. It forms part of the architecture and atmosphere of the room from the beginning.

Lighting is considered in the same way. Beyond its practical purpose, a bespoke fitting can operate as a suspended sculpture, changing both the room’s composition and the way its materials are experienced after dark.

A design perspective shaped by travel

International travel plays a significant role in Freeman’s creative process.

Design fairs such as PAD Paris and Salone del Mobile in Milan provide opportunities to encounter emerging designers, established galleries, new materials and collectible furniture away from the filter of social media.

More spontaneous discoveries can prove equally important.

“Sometimes it’s the simple things,” Freeman says. “That piece found on a shopping trip with a client in Paris, stumbling across an artisan’s workshop, or a special memory that forms the narrative of the story.”

Objects selected during travel bring more than visual interest into a home. They carry an association with a place, maker or experience, giving the client a connection that cannot be reproduced by ordering an entire interior from a catalogue.

Freeman’s influences are international, but his projects are not conceived as replicas of Parisian, Milanese or Californian style. Each commission responds to its architecture, setting, natural light and the daily lives of its occupants.

A waterfront Sydney residence demands a different treatment from a Mayfair townhouse. A Caribbean estate shaped by brutalist architecture and reflecting pools calls for another response again.

The designer’s role is to absorb those references without allowing them to overwhelm the individual qualities of the property.

Designing the complete experience

FREEMAN & CO extends beyond conventional interior decoration.

The practice’s stated services include interior design and architecture, project management, property acquisition, development advice, concept design, documentation, furniture and lighting design, procurement and art curation.

That breadth allows the team to become involved before a room’s dimensions and finishes are fixed.

Early participation can be important at the top end of the residential market, where architecture, landscape, interiors, technology and art must operate as one environment. Decisions about ceiling heights, wall dimensions, sightlines and lighting can directly affect where art is installed or how custom furniture is proportioned.

The practice can then carry those decisions through to procurement and final installation, maintaining the design narrative as a project moves between architects, builders, specialist craftspeople, dealers and suppliers.

Its residential portfolio includes a South Coast retreat conceived as an escape from urban life, a Caribbean estate with reflecting pools, an East Coast-inspired Palm Beach residence and a Mayfair townhouse organised around an expressive drawing room.

The studio also says it has worked on highly tailored Sydney residences with values exceeding $100 million, although the private nature of such commissions means individual addresses and clients are not always disclosed.

A home that can keep changing

The risk in creating a perfectly resolved interior is that it can become too static — a composition that looks exceptional in photographs but leaves little room for life.

Freeman sees the home as something that should evolve with its owners.

“I love the evolution of design,” he says. “We are talking about people’s lives, and as they evolve, so too should their private sanctuaries.”

That evolution might involve adding art, reupholstering a significant piece, adapting rooms as a family changes or making space for objects gathered through future travels.

The original design needs to be strong enough to accommodate those layers.

This may be the clearest expression of Freeman’s approach to luxury. It is not simply access to rare stone, collectible furniture or commissioned craftsmanship. It is the creation of a personal environment whose meaning deepens rather than diminishes with time.

Fact box

Designer: Jack Freeman

Role: Founder and managing director

Practice: FREEMAN & CO

Base: Australia, with international projects

Project locations named by the practice: Point Piper, Vaucluse, Circular Quay, Toorak, Palm Beach, the NSW South Coast, Mayfair, Bel Air and the Caribbean

Sectors: Private residences, hotels, residential developments, private aviation and superyachts

Services: Interior design and architecture, property development, project management, property acquisition, documentation, furniture and lighting design, FF&E procurement, interior dressing and art curation

Design philosophy: Collected, personal interiors shaped by art, craftsmanship, travel and enduring materials

Website: free-man.co