The 25-story SkyHouse River Oaks apartment tower, completed at the end of 2015 on a portion of the site of the former Westcreek Apartments just west of the San Felipe Target, has actual streetfront retail on its ground floor. And as of last week, it’s all full and open. That’s when Inferno Pizza began serving in the 2,400-sq.-ft. space at 2031 Westcreek Ln. Suite N1. The neighboring space has been a Glow Spa and Nails since last year.
There’s designated parking for spa- and pizza-goers in the first floor of the building’s garage. Pizza Inferno’s interior is organized like most fast-casual you-tell-us-how-to-assemble-it restaurants, though the buildout also added a 600-sq.-ft. mezzanine dining area and some patio seating (tables are coming in a few weeks) in front:
“Navigation seems to be becoming the East End’s version of the Washington chug-and-chow strip. Good spot for that as it’s close to the bayou and the hike and bike scene being developed and has lots of old industrial on some minor bluffs waiting to become something different.” [
“No one likes it when a fun edgy neighborhood like Montrose gentrifies. Seeing original funky local haunts replaced by chains and high end destinations is like losing an old friend. But this process of gentrification is actually good in the long run because each generation gets a new chance at building a home for the local counterculture. Without that cycle of displacement and rebirth, the counterculture becomes entrenched and turns into an establishment culture within the counterculture. Rising rents in Montrose pushed out lots of artists. But it also created demand for studio space that gave birth to the 1st Ward arts district and great new developments like the Silos. And the same dynamic is playing out for bars and clubs popping up all over the east side. The counterculture lives on and thrives when each generation has a chance to find their own voice by converting a forgotten part of the city into the next counterculture hub. In the end, the kids are alright. They just need a push out into the wilderness every few decades to keep things fresh.” [
“. . . One of the reasons that Houston manages to buck trends affecting other central cities is that Houston is orders of magnitude larger than many central cities. Within its incorporated city limits, Houston could contain all of Manhattan, Chicago, San Francisco, Washington DC, Boston, and then have room enough left over for Santa Barbara. That means that Houston contains its first-ring suburbs, most of its second-ring, and even some some third-ring; and then it also does this funky “limited-purpose annexation†scheme in the northwest suburbs and has a special non-annexation deal with The Woodlands to keep those areas as an unincorporated buffer zone from which they are still somewhat able to tap commercial property tax revenues from those areas. And as demographic pressures push and pull people across different regions, Houston has to adapt to all of those trends simultaneously, but it also has a diversified-enough tax base to be able to do so — you know, presuming that its elected officials never do anything especially stupid like capping revenues and also underfunding pensions for decades.” [
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Nostalgia for Montrose’s good old days as a counterculture hub has a history almost as long and involved as the neighborhood itself, curator of Houston lore John Nova Lomax points out in a new essay for Texas Monthly. “I’ve heard generations of these death-by-gentrification declarations. Hippies might tell you it died around the time Space City! went under in 1972,” he writes (Lomax himself was “conceived in Montrose by hippie parents, in a house on the corner of Dunlavy and West Alabama.”) “There have almost always been laments about rising rents: In 1973, Montrose was featured in Texas Monthly’s third-ever issue, with folk singer Don Sanders fretting about a mass exodus of creative types brought on when area leases topped a whopping $100.” Since then, however, the losses have only mounted: “
