UB Kitchens

Flat slab white oak cabinetry - clean horizontal runs flanking the arched window, handles keeping the lines uninterrupted, and a continuous wood story that lets the cobalt tile and marble island add color without ever competing with the cabinetry itself.
The cabinets set the rules. The room follows.

Really happy with this kitchen we just wrapped up in Tarrytown! Two tones, one stone, and a slab doing the work of three design decisions at once.
Chambray frameless uppers with glass fronts running the top half, Scottish moor lowers grounding the base — and a single dramatic slab bridging both with veining that contains every color in the room.
The glass-front uppers are the underrated move here. They keep the white from feeling heavy, let the eye travel further than the wall would otherwise allow, and turn everyday glassware into part of the composition.
Restraint in the cabinetry. Drama in the stone. Exactly the right balance.

Really excited about the kitchen we just wrapped up in Buda! Natural hickory cabinetry against soapstone counters — the contrast does the talking.
The natural finish is what makes this kitchen feel timeless rather than trendy. Hickory at its full character, soapstone in its honest state, black hardware as the connector. Three materials, zero pretense.
This is what happens when wood is allowed to be wood and stone is allowed to be stone.

Really happy with this job we just finished in Buda! A built-in hickory banquette wrapping the corner — and the craftsmanship is the whole story.
The same millwork carries through the doorway into the pantry beyond: same wood, same hardware, same discipline. Two rooms, one continuous build.
Hickory is the reason it lasts. Harder than oak, more dramatic in grain, and built to absorb decades of use without ever losing its character.

This is what cabinetry looks like when it’s treated as architecture.

remodel

Three cabinet finishes in one room — and the discipline to know exactly where each one belongs.
Cotton perimeter cabinetry running the working walls, a stained cherry island anchoring the center, and a tall black glass-front cabinet on the right pulling the whole composition into balance. Most kitchens couldn’t carry three finishes without the room collapsing. This one separates them by zone — perimeter, island, freestanding piece — and lets each finish do exactly one job.

That black tower deserves its own mention. Reeded glass fronts, full-height presence, sitting on its own architectural island in the floor plan. It’s the piece that turns the kitchen from a layout into a room.

Three material conversations happening simultaneously, and not one of them is interrupting another.
A stained cherry island anchoring the center of the room with brass cup pulls and open shelving worked into the ends — reading as furniture, not millwork. Then cotton painted perimeter cabinetry running the walls, lifting the entire space and keeping the architecture luminous. And tucked to the left, a display hutch with hand-painted blue and white tile that brings a third register into the room without ever feeling out of place.
This is what a kitchen looks like when every decision was made in conversation with the next one.

Really excited about this kitchen we recently finished in the Westminster Glen neighborhood! Two cabinet stains, one continuous design idea — and the contrast is doing exactly what it’s supposed to.
Autumn stained cherry uppers with glass-front display cabinets running the bay above, cotton painted drawer bank below with brass pulls grounding the workspace. The dark wood owns the eye-level architecture while the white base keeps the room from ever feeling top-heavy. That balance is the entire design.

A built-in oak banquette wrapping the dining nook — and the millwork is doing the work most kitchens hire furniture to do. Custom oak cabinetry running floor to ceiling on the entry wall in vertical slats, then continuing into the banquette itself with the exact same grain direction and tone. The room reads as one continuous wood envelope wrapping the diners. Nothing introduced. Nothing imported. Nothing accidental.

Design:

When the cabinetry is the room, the room becomes the design.

We are so happy with this kitchen we just finished in Tarrytown. A two-tone palette done with this much restraint is harder than it looks.
Chambray painted uppers, paired with Scottish Moore painted lower cabinets pick up the veining in that quartzite slab without ever calling attention to itself. The match isn’t accidental — it’s the entire point. The stone sets the palette, and the cabinetry follows.
This is what happens when the materials are allowed to lead and the cabinetry has the discipline to support them.