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    Maison Robert Revealed

    Exclusive details revealed for anticipated boutique hotel coming to The Heights

    Eric Sandler
    Jan 15, 2019 | 12:17 pm

    The Heights’ emergence as one of Houston’s premier neighborhoods for shopping and dining has been well documented, but the area remains mostly residential. It lacks certain amenities, such as a hotel, that could be a boon both to families who are entertaining guests and visitors who might be enticed by the prospect of being close to all of those shops and restaurants.

    Ben Ackerley would like to change that. The Memorial High School grad became enticed by the world of hospitality while studying abroad. He spent 10 years learning the hotel and restaurant business — including earning a MBA in Hospitality Management from Switzerland’s Ecole Hoteliere de Lausanne — in pursuit of achieving his dream of opening a boutique hotel. With support from his family, he’s planning to open Maison Robert (read in the French-style “row-bear”) at 347 W. 20th St.

    News about Ackerley’s plans has been trickling out thanks to variance requests and neighborhood message boards, but he hasn’t spoken about them publicly until now.

    The 37-room property aims to offer something a little different than the larger hotels found in downtown, the Medical Center, and near the Galleria; it’s will have a more personal feel, with a greater emphasis on aesthetics and design than might be typically found at a corporate hotel.

    “I think it’s a difference in the service approach,” Ackerley tells CultureMap. “Whereas a Marriott may have 800 rooms and turn over 250 of them every night, does anyone really remember your name? If you’re staying at a place with 10 rooms, the guy at the front desk knows everyone in house. The staff knows what people’s needs are and already have a feel on how the stay went before they check out.”

    Maison Robert will feature a pool and a bar, but it won’t have a restaurant. The area is surrounded by good choices from casual options like Torchy’s Tacos and the Rice Box to more upscale options like Alice Blue and La Lucha. Ackerley sees the neighborhood’s walkability as a huge part of what will make the hotel appealing to future guests.

    “I hope to envision a property where you wouldn’t need to get into a car,” he says. “Wake up, go for a run down 20th, get some work done by the pool in the afternoon, walk to a restaurant for dinner, and see a show at Heights Theater. It’s a different way to see Houston.”

    Of course, the path to opening the hotel hasn’t been smooth. Before construction can begin, the property needs to receive two variances from the City of Houston Planning Commission: a hotel-motel location variance and a setback variance.

    As Ackerley explains, the city restricts the construction of small hotels in residential neighborhoods to prevent the creation of cheap motels that could become hives for drug activity and prostitution. Maison Robert will be a considerably more upscale proposition (rooms are expected to cost about $250-300 per night) that should hopefully be immune from those problems.

    Similarly, the setback variance is necessary to allow for certain features to be constructed closer to the street than 25 feet. If approved, the hotel will hide most of it parking away from 20th Street, which permits the bar to look out onto the street and for a first floor retail shop.

    As for that retail space, the search for parking led the hotel to purchase the nearby property that’s currently home to the Heights Floral Shop. Shortly before the hotel opens, the floral shop will relocate to the hotel and then be torn down to make way for more enough parking to address city requirements. It’s a win-win for both businesses.

    “A flower shop and a hotel and complementary businesses,” Ackerley says. “We need flowers for the lobby and the bar. People will buy flowers when they’re taking a spouse or a date to the hotel. Their customers will still be able to find the shop.”

    Finally, some area residents have expressed dismay that Ackerley removed a historic home from the property. He notes the house’s condition required its removal, but that the building materials won’t go to waste. he insists it had to be done.

    “There was trash and belongings on the floor in every room,” he says. “What we elected to do is donate the house to the Houston Salvage Warehouse. They hired a trash company to clean it out, then they salvaged everything they could to be used for future projects.”

    Still, in order to ensure the January17 appearance before the planning commission goes as smoothly as possible, Ackerley is meeting with his future neighbors on January 15 at Harold’s starting at 6:30 pm. He hopes to answer questions and assuage any lingering fears.

    “The planning company wrote me an email that this is suicide, but I’m a pretty open book about it,” Ackerley says. “I have the city’s best interests at heart. At the end of the day, I think it will be a wonderful addition to the neighborhood. I intend to own and run it for a very long time.”

    A rendering of Maison Robert.

    Maison Robert Heights hotel rendering
    Courtesy of Maison Robert
    A rendering of Maison Robert.
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    artist to entrepreneur

    Houston artist rolls out new Hawaii-inspired wallpaper collection

    Emily Cotton
    Sep 11, 2026 | 12:30 pm
    Kristen Leigh Studio Island Collection wallpaper
    Courtesy of Kristen Leigh Studio
    The Island Collection introduces Mili, Lana, Meadow Check, and Kiko to the Kristen Leigh Studio line of textiles and wallpapers.

    Houston watercolor artist Kristen Steen, founder and artist at Kristen Leigh Studio in West University Place, is set to make a colorful splash next month with her latest textile and wallpaper collection. Inspired by a family vacation to Hawaii, The Island Collection features four new patterns in shades like soft seafoam, muted blue, terracotta coral, and crisp white.

    The collection unfolds across four patterns, each offered in a range of colorways. Mili anchors the group and is the only pattern to come through in both fabric and wallpaper, moving through chambray, lakeside, terracotta, olive, and shades of blue and green. Lana follows in a similar range of chambray, lakeside, blue and green, and terracotta, while Meadow Check and Kiko round out the offering with the addition of forest and, for Meadow Check, olive green. Fabric is woven on French linen and linen cotton canvas, with wallpaper finished in a premium matte.

    The Island Collection brings the Kristen Leigh Studio line to approximately 85 fabrics and 30 wallpapers — quite an accomplishment for a studio that, like many, was created during the early days of the Covid-19 pandemic. Relying on what Steen refers to as “the power of Instagram,” Connecticut-based Cailini Coastal tapped Steen to design her first wallpaper, a delicate herringbone pattern named Parker that is available to this day.

    Kristen Leigh Studio Island Collection wallpaper

    Courtesy of Kristen Leigh Studio

    The Island Collection introduces Mili, Lana, Meadow Check, and Kiko to the Kristen Leigh Studio line of textiles and wallpapers.


    View this post on Instagram
    A post shared by Kristen Leigh (@kristenleighstudio)


    The success of her first wallpaper commission inspired Steen to design collections of her own, which have become designer favorites for providing classically-relaxed, nonchalant refinement elevated through their quality craftsmanship and sophisticated finishes. Fabrics are woven in either French linen or a linen cotton canvas, while wallpapers are premium matte, paper weave, or premium grasscloth. As with anything, trial and error ensued, but Steen quickly found a community that she credits with offering continuous support throughout the evolution of Kristen Leigh Studio.

    “I just jumped in and learned everything I could about manufacturing wallpaper. I tried out a few here and there; it’s just a lot of research,” explains Steen. “Now that I am in it and have friends who are wallpaper and textile designers, we talk and get together. For being such a singular and solo industry, it’s so valuable to have other designers to bounce ideas off of: what’s working, what isn’t, and what swings in the industry.”

    A family health scare kept Steen from creating anything new for a couple of seasons, until a wayward family vacation forced her hand. What was meant to be a week on the beaches of Hawaii ended up being a week indoors during a tropical storm.

    “You just kind of had to make the most of it. We couldn’t just sit there and complain — that doesn’t do any good,” says Steen. “There was a lot of sketch time — a lot of just doodling — then afterwards I was playing with color and thought ‘this could be fun.’”

    As a studio that mainly markets to designers and showrooms, the pressure to create a new collection each season can grind the gears of the creative process to a halt. After an 18-month hiatus, Steen credits the lack of pressure she felt while just passing time on vacation, while admiring the local flora and fauna, for the inspiration she needed to accumulate enough sketches for a complete collection.

    “It sounds really cliché, but just being able to draw and sketch without any end game in mind, being able to not really care about it, is where this collection came from,” explains Steen. “I’m biased, because it’s one of my favorites now, because that’s how it was created.”

    Lush botanicals, winding vines, and the easy, unhurried rhythm of island life came into focus, not as literal tropical motifs but filtered through a quieter, more classic point of view. As a watercolor artist, Steen’s work often maintains a traditional, serene dialect. However, her occasional use of bold, saturated color can feel electric and dramatic — something entirely foreign to those who speak in watercolor.

    “I do love how the watercolor will have variations in the tones and the shades. You can’t mimic that, you can’t fake it,” says Steen. “There are some patterns — like the Kate, or even the new Mili — that all started with just sketches and brushstrokes, but it just didn’t translate as well to pack that color punch that I wanted. So, when I was editing, I ended up really pushing the saturation to where it almost felt like a solid. But everything is done by hand, for sure.”

    More consumers than ever before are seeking out niche studios like Steen’s. Kristen Leigh Studio is not exclusively to-the-trade, a distinction that once made products nearly irresistible. Steen’s collections are available through her Houston studio, website, numerous trade studios throughout the country, through interior designers, and even through select pop-ups. So, with that being said, who is a Kristen Leigh Studio client?

    “Someone who wants to have something that feels warm and joyful. Something that feels special and authentic, but not necessarily fussy,” says Steen. “They want to feel proud of it, ‘This is a designer fabric. This is a designer wallpaper. This is something special that I don’t see in my neighbor’s house all the time.’ They want to feel like this is something special, but I’m also a mom of three kids. I realize that the fabrics have to be durable. They have to be something you can touch and live in and it’s not like a museum. Something that’s approachable and sophisticated. Just approachable design—something that’s everyday, but still special.”

    Kristen Leigh Studio’s The Island Collection will be available beginning October 1.

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