It’s difficult not to think of Iceland as anything but otherworldly when visiting, as Schön! experienced earlier this fall after meeting Icelandic artist and actress Elín Hall. Despite the chill beginning to tighten its grip on the Nordic landscape, there isn’t a friendlier — or cozier — festival than Iceland Airwaves. For four days, Reykjavik becomes a living, breathing entity, with music flowing through its veins. It’s been 25 years since its start and its ethos still rings true: a celebration of music, culture, and community, particularly making space for Icelandic artists to shine.
What really sets Iceland Airwaves Festival, which is sponsored by IcelandAir, apart from others is the extent they use every venue — and makeshift venue — to give a home to artists. From the intimate, cozy settings of local bars to the grandeur of the city’s larger venues, every corner of Reykjavik echoes with the sounds of Airwaves. The artists, too, are running amok just like the festival attendees — while sitting at Mokka, a conversation was started by someone who I would later find out is part of rock band spacestation who I’d later see play later that night to a completely packed room at an off-venue event at Smekkleys.
One of the standout aspects of Iceland Airwaves is its ability to cater to a wide range of musical tastes. This year was no exception, with genres spanning from indie rock and electronic to hip-hop and folk. The bookers bring in larger names — The Vaccines, Charlotte Day Wilson, and Magdalena Bay — but it’s the lesser-known acts that find most exciting. Throughout the four days, it was easy to go through the schedule for the day and handpick a group of acts that will be as different as the next. Catching atmospheric black metal band Vampíra — now called Skurðgoð — who won the city’s Battle of the Bands this year, was a fluke but ended up being a top act to see over the entire festival, simply because: where else are you going to see an Icelandic black metal band if not in Iceland?
credit. Joana Fontinha
credit. Joana Fontinha
Credits
credit. Joana Fontinha
credit. Joana Fontinha
Credits
My most anticipated band to see was Virgin Orchestra, an avant-garde post-punk band from Reykjavík, which genre-blends everything from electronic music to dream pop against their gritty sonics. The band was formed by Starri, Stefanía, and Rún while on a school trip and during Iceland Airwaves they played at their favourite venue, Gaukurinn. Their set is dynamic and compelling, keeping the packed room’s attention with ease.
When slinking off between venues, there’s a thrill of potentially discovering something brilliant by pure chance whether it’s at one of the six official venues or the off-gigs around the city. One of those unofficial parties was an impromptu ‘sleepover‘ at the Bíóparadis cinema on the outskirts of the city with duo Amor Vincit Omnia, a gritty electro-pop pair we only caught by chance the night before at Lemmy. Like with most things in Iceland during Airwaves, their set was by word-of-mouth or social media. The entire cinema has been rented out for this sleepover with girls and boys alike dressed in silky sleepwear with pillow feathers covering every surface imaginable.
The band I saw the most over the four days was Supersport!, simply because everywhere you turned, they were there supporting their friends — whether that was at Silvurdrongur’s set, which was larger-than-life, to say the least, or outside of a venue chatting with attendees. My first impression of the quartet was earlier this autumn when they performed at a slightly janky yet incredible party in a dimly lit basement of a home in the city. The second impression was in the Icelandic countryside when they treated a group of us to a stripped-back extempore performance of a handful of their songs. Seeing them go from small, intimate rooms of 10 or so people to a large crowd in the city’s Kolaportið was jarring in the best way, clearly speaking to the progress their “DIT” — do it together — initiative has occurred throughout the city, weaving that passion and determination into Iceland’s DNA.
When Schön! spoke with Elín Hall in the fall, she spoke about learning to write in English, stating: There are so few things that haven’t already been said in English. In Icelandic, you can say many basic things, and nobody has said them before because the language is spoken by so few people. That’s an advantage. But now, I’m trying to find my own narrative voice in English. I wanted more people to be able to understand and connect with my music. That’s the aim of translating and trying a different language.” And at Iceland Airwaves, what she spoke about came to fruition after performing a handful of songs in English during her set, like the atmospheric “Wolf Boy” and her moving finale, “America.”
credit. Julie Van Den Bergh
credit. Julie Van Den Bergh
Credits
With all of the great work and progress Iceland and the music scene have done to empower homegrown talent, there’s still a glass ceiling to break. Venues are closing often, forcing new talent to find alternative ways to establish and market themselves. Like the movement Supersport! is trying to initiate by taking the reins, the bands & artists I speak to are doing what they can to keep their music dreams alive — whether that means playing at a sleepover party or learning how to sing in English to become more of an international act.
Still, not many cities or countries have a festival as special as Iceland Airwaves. As a Canadian who sees many of the domestic talents there flee the country the minute they get a record deal, it’s gratifying to see both artists and those in power do what they can to work together to support arts & culture in the city. As the final notes of the festival faded and the crowds began to disperse, there really was a palpable sense of satisfaction and anticipation for what is to come in future iterations. Even if the sun doesn’t rise until 9am and it’s brisk at times, Iceland is the most otherworldly place — likely thanks to the people, culture, and music that shapes it.
credit. Joana Fontinha
credit. Joana Fontinha
Credits
The 2025 edition of Iceland Airwaves will take place from November 6-8th in downtown Reykjavík, tickets and travel packages are available now in partnership with Icelandair.
Nestled in the vibrant heart of the city, Botanic Sanctuary Antwerp is a tranquil oasis where contemporary elegance seamlessly intertwines with centuries of history. From the moment you arrive, a sense of serenity envelops you. The striking exterior of this former medieval monastery merges effortlessly with the lush greenery of the neighboring Plantentuin botanical garden. Spanning five acres, this luxury retreat features 108 beautifully designed rooms, including the recently completed Botanic Suite—a masterpiece born from a meticulous four-year restoration. More than just a place to stay, it stands as a destination in its own right.
Whether you find yourself unwinding by the 18-meter panoramic pool housed within a floor-to-ceiling glass greenhouse, admiring the breathtaking 15th-century chapel, or relaxing in a suite crafted with natural stone, warm wood, and subtle upholstery, Botanic Sanctuary Antwerp offers an experience of unparalleled tranquility. The visionary restoration was led by Kristl Barkermans Le Bon and Gert Van Zundert of AIDarchitecten. Initially brought on to design just a portion of the hotel, their role quickly expanded into a large-scale transformation, overseeing multiple buildings with a dedicated team of 12.
Given that some of the oldest structures from the former Sint-Elisabeth Hospital date back to the 13th century, the project required a deep respect for the site’s historical significance. The challenge lay in striking the perfect balance between heritage and innovation. Former kitchens were reimagined as private dining rooms, the old pharmacy was transformed into a home for botanical spa products, and interconnected conservatories now flood the space with natural light.
In an exclusive conversation with Schön! alive, Le Bon and Van Zundert delve into the intricacies of this monumental restoration, sharing their dedication to preserving the past while shaping a timeless future for Botanic Sanctuary Antwerp.
Lobby.
floor-to-ceiling glass greenhouse
Lobby.
floor-to-ceiling glass greenhouse
Credits
What was your initial reaction to the site?
Having lived and studied in Antwerp, we were familiar with the area. It always had a certain magic but, from the street, you couldn’t see it; it was a bit of a mess and hadn’t been well cared for. The beauty you see now was hidden back then. However, we always knew there were many secret places here waiting to be uncovered.
How did you respond when you first walked the site and started thinking about it as a hotel? At the start, accepting the project was a real challenge for us because we’re a small office with just 12 people. When the opportunity came up, we had to ask ourselves, “Can we really take this on?” We visited the site with Eric [De Vocht], the owner, and he was kind enough to offer us the chance. We agreed, but at first, it was just a small part of the hotel, as Eric didn’t yet have access to all the buildings. Given the scale at that time, we thought it would be manageable for our office. Over the years, more buildings became part of the project, and suddenly, we found ourselves working on a 20,000m2 hotel. It was quite the challenge for a team our size, but we approached it with honesty. We saw the entire project as a puzzle, figuring out how all the pieces would come together.
How did you approach the history and the legacy of what started here as a hospital and served various purposes over time?
In the past, this site was clearly outside the city, and, at one point, the citizens decided they needed a hospital for the sick, but they didn’t want it within the city limits. So, in the 12th Century, they chose this land and built the hospital here. There were several buildings where the sick were housed, the nurses had their own hall and there was also a chapel where they cared for those who passed away and handled their burial and afterlife. In our project, we combined all these historic buildings to create new spaces, transforming some into suites and using the larger areas for public spaces within the hotel. During the construction, we uncovered many hidden elements. We built additional underground spaces that aren’t visible from the surface, and, in the process, we discovered old vegetable gardens.
top left + right
Two-bedroom Suite.
Indulge in the elegance of the suite, where
expansive living spaces and two serene
bathrooms create a haven of luxury and
tranquility
bottom
One-bedroom Suite.
Unwind in spacious beauty with courtyard or
garden views, a charming living room, and a
temperature-controlled wine cabinet
top left + right
Two-bedroom Suite.
Indulge in the elegance of the suite, where
expansive living spaces and two serene
bathrooms create a haven of luxury and
tranquility
bottom
One-bedroom Suite.
Unwind in spacious beauty with courtyard or
garden views, a charming living room, and a
temperature-controlled wine cabinet
Credits
There was a big archaeological element, right?
You worked with archaeologists too? Yes, the archaeologists were always nearby, carefully documenting everything with their pencils and small shovels, taking pictures and recording details. We worked with a fascinating group of people, not just the archaeologists. The project involved a whole team of stakeholders, including restorers and engineers, all contributing to the process.
How do you go about transforming a historical site like that into a contemporary building?
That’s the essence of all well-designed buildings – they’re so logical and thoughtfully constructed, with perfect proportions for both interior and exterior spaces. As an architect, you focus on these details, but it’s also crucial to listen closely and observe how the buildings were originally built. Over time, they reveal how they want to be treated.
At first, the process can feel overwhelming, and it’s hard to see how everything will connect. But as you work, the buildings guide you. You start to feel grateful for their simplicity. When you strip away everything that’s been added over the years, the building begins to breathe and come to life again, as if it’s smiling. That’s what we’re seeing now. None of this beauty was visible before – it was all hidden. The real credit, however, goes to those who originally built these structures. It’s our responsibility to use and restore them in a respectful, appropriate way.
Kristl Barkermans Le Bon and Gert Van Zundert.
AIDarchitecten
Kristl Barkermans Le Bon and Gert Van Zundert.
AIDarchitecten
Credits
Was it tricky deciding what to touch, what not to touch and what to add?
The most challenging part of the entire design process was managing the programme. It wasn’t a unified project from the start – new buildings were added bit by bit, forcing us to constantly adjust. It felt like solving a puzzle every day. As designers, that was the toughest aspect. On one hand, we were grappling with the changing programme and, on the other, we had to figure out how to connect all the different parts of the buildings. Where do you place the stairs and the lifts, and how do you design the walking patterns to integrate everything seamlessly? It was a complex task, yet also involved some simple, practical considerations.
In terms of the materials used, how did you approach selecting and utilising those?
That’s part of the beauty of the building. As we mentioned, much of what we see now was hidden before. We uncovered all this beautiful wood, but while modernising the space – adding insulation, air conditioning and ensuring structural stability – we wanted to keep the original elements visible. The building had to meet modern technical requirements, like high acoustic standards, but our goal was to preserve the authenticity of the materials. In the rooms, for example, there are very few false ceilings – you can still see the original materials everywhere. Even the new additions were made with the same authentic materials, like natural stone and wood. We approached the restoration dynamically, aiming to capture the building’s DNA and stay true to its identity. As designers, we added contemporary elements, but always with the intention of harmonising them with the existing structure. It was a real challenge. We wanted to be both authentic and honest in our design choices, which became a key objective.
We also drew inspiration from the building’s history as a hospital, where light, air and space were considered essential for health. The rooms for the patients had large windows and there were many greenhouses on the site. Even the new spa is designed as a large greenhouse, connected in a simple but elegant way with a fine steel construction. Throughout, we used the same materials and craftsmanship found in the original building, especially in details like the staircases. The goal was to create a modern design that blends seamlessly with the old, without stark contrast, and to add a new chapter to the building’s story while remaining in harmony with its past.
We don’t often think of a hotel becoming a landmark, but what you’ve created here truly feels like one. It’s almost like a gift to the city and, in a way, it literally is, since it’s on a longterm lease to the city.
It’s great that you mentioned this, as it truly operates on multiple levels. The property is a gift to the city, allowing them to maintain control while benefiting from a complete renovation without any costs. Each year, they receive financial support from this property. It’s also wonderful that the site is open and accessible; people from the city walk and cycle through, creating a vibrant atmosphere. It’s not a gated community, and that openness fosters a sense of connection. In Antwerp, there’s a large venue called the Sportpaleis that hosts many international concerts and events. Previously, artists like Madonna would perform there but then leave the city right after the show, heading to Amsterdam or Brussels. Now, they choose to stay here in Antwerp at the Botanic, which is a significant change.
Monastery kitchens.
Private Dining
Monastery kitchens.
Private Dining
Credits
clockwise.
Botanic Health Spa.
indoor swmming pool.
Steam Room.
Sauna.
opposite
One-bedroom Suite
clockwise.
Botanic Health Spa.
indoor swmming pool.
Steam Room.
Sauna.
opposite
One-bedroom Suite
Credits
Now that the project is completed and you’ve seen it come alive with guests, are there any spaces that you feel truly embody the essence of this hotel?
One standout feature for me is the spa. It’s the only new building on the site, and what’s particularly fascinating is the underground network we created. Although guests can use this underground passage to access the spa directly, many prefer to walk outside in their bathrobes and slippers, through the garden and across the road. This brings me immense joy because it feels so connected to the spirit of the place. The mix of locals from Antwerp and hotel guests evokes memories of the nuns who once worked here, which adds to my happiness. The spa was a special part of the project, allowing us to design it exactly as we envisioned. It serves as the final piece of the puzzle, overlooking the beautiful botanical garden. The way the pool, city, and garden harmonise feels perfect to me.
I’m also excited to see what the future holds. In just a few years, I anticipate even more progress. There are several small buildings on this street currently being renovated, and soon there will be a new restaurant and flower shop – wonderful additions to both the town and the hotel. Everything feels alive again, and there’s a lot of positive energy and initiatives to ensure that continues.
Botanic Sanctuary Antwerp is one of 70 stunning properties featured
in The Leading Hotels of the World group’s first coffee table book
‘Design: The Leading Hotels of the World’, published by Phaidon Monacelli and available now.
phaidon.com
Botanic Sanctuary Antwerp is one of 70 stunning properties featured
in The Leading Hotels of the World group’s first coffee table book
‘Design: The Leading Hotels of the World’, published by Phaidon Monacelli and available now.
phaidon.com
Before the ink was even dry on the contract, Emily Bett Rickards set to work on becoming Mildred Burke. Transforming her body and shifting her mindset to the ring, Rickards started her research with Queen of the Ringby Jeff Leen. Using the book as a bible and basis to guide her, the research went beyond that, digging past the surface to find a woman who, not only helped pave the way to make female wrestling a viable and profitable sport for women in the 1940s and 50s, but powered through a world who told her ‘no’ at every turn. Continuously inspired by Burke, the more she found out about her, Bett Rickards was enticed and entranced by the wrestler’s passion. Something she tapped into for inspiration. Burke’s seemingly unquenchable tenacity, determination, and fire made her such an incredible character to portray.
From the depths of Starling City to the ring, Bett Rickards traded in Felicity Smoak’s keyboard for the ring. Putting her body through a strict regime to gain muscle quickly, she recollects to us the difficulty of it but cites how Mildred’s story made the pain worthwhile. As our chat continues, there’s a passion of her own that shines through, an enthusiasm to share the importance of a story like Mildred’s. Queen of the Ring is a film that, in today’s society, deserves to be put on a pedestal, not for fear of her story being forgotten, but for showing us what the strength of resilience in the face of adversity can do.
In conversation with Schön! Magazine, Emily Bett Rickards discusses Queen of the Ring, her relationship with the source material, how she physically prepared for the role, what she hopes the audience takes away from the film, and how history should remember Mildred Burke.
Can we talk about the research aspect of Queen of the Ring? How deep did you go? What was a fact about Mildred you found particularly fascinating?
What was awesome about Mildred is that even though we’re limited to the era, she was in the 30s, 40s, and 50s. Since she liked to be in the spotlight, there’s quite a bit of information on her.So that was very helpful [laughs]. There are a lot of photos. Luckily for me, she had the persona, the dream of being a show woman in a sense. What attracted me to her was this sort of aspiration that she had against all odds, right? She had never wrestled before and hadn’t seen much wrestling as a woman. She wasn’t even allowed at the shows. So, the fact that she had gone to one wrestling match and was like, “That’s what I want to do,” is just extraordinary.
It did feel like any time someone, or society was telling her she couldn’t, she transcribed that in her body as fuel. She was very good at pivoting and making something her own.The script was based on a book called Queen of the Ring:Sex, Muscles, and Diamonds by Jeff Leen. It’s fantastic. There’s so much more about her life in there, so that became my Bible. The internet has many wrong and good things, but it is definitely a lot to dive into. There are a lot of photos of her as a wrestler. Even more importantly for me, there were photos of her with her son, which seemed to show two different sides of her. A big part of the research was also putting on this muscle because her body was different than mine.That means she walked around the world differently than me. Finding out how that muscle influenced her spine and her navigation. Those things really became a part of her personality, I found.
Talking about the muscle, I was going to touch on the physicality of the role. What was the most challenging thing about getting into the ring for you and putting on that muscle? What did that transformation process look like?
Even before contracts were signed, I called my friend, Thomas Taylor, who’s out here in Vancouver and had been a trainer of mine for a while. I said, “Listen, I have to put on muscle.I have to put on muscle fast.” [laughs] We had three months before the camera. I think that was just over two months before wrestling rehearsals.I needed to do something pretty drastic. Tom also knew that I needed to be supplemented with nutrition. He brought on board Dr. Diego Botticelli, who framed out what type of food was needed to do that.It was more food than I’d ever eaten. It was more carbs than I’d ever eaten and more protein than I’d ever eaten. It was extreme.
It taught me a lot about how food builds the body, but food for longevity moving forward. It opened up my eyes. As a woman, I discovered what we need when we’re exercising and how we can have the foundation of our bodywork within the parameters of what we’re asking it to do. I think what was challenging off the bat was making sure I was getting into that routine.
The learning process of it, became second nature, but I really was weighing all my food, and trying to get more protein in a day was pretty hard because you can supplement with powders and stuff, but I do like to eat as many whole foods as possible. I think it’s a real honor to be able to have done this. We should all strive to be healthier and eat how our bodies want us to, but please keep in mind, that I was fueled by the passion to find out who this woman was, it made the process easier. As a side effect, I got to learn a lot. I hope that empowers people. I hope that if you’re looking at changing your life you fuel it with passion as opposed to feeling like it’s a chore because I think that’s the only way we move forward.
Emily wears
coat + gloves. MARGARET
opposite
Emily wears
top. KkCo
trousers. THEO
shoes. Jeffrey Campbell
bracelet. Christine Bukkehave
Emily wears
coat + gloves. MARGARET
opposite
Emily wears
top. KkCo
trousers. THEO
shoes. Jeffrey Campbell
bracelet. Christine Bukkehave
Credits
Mildred Burke was a trailblazer for the sport, and she broke boundaries for women. Why do you think a movie like this should exist in our current political climate?
It speaks for itself. There’s something about Mildred specifically in the story we tell that really focuses on bringing people together and making us stronger.When we start picking at each other, we’re only dividing ourselves. We’re not learning anything. We’re not growing as individuals, but we’re definitely not growing as humanity. There will always be a challenge or an evil to overcome. But the point is that we have to do it together, not divided. There’s so much division in the world. There’s so much violence. There’s so much tragedy happening that when we think about coming together, it feels impossible.
Mildred was a woman of her era. There were things she wanted to challenge, right? There were norms that weren’t allowed, and she challenged that. She’s like, “Well, if I can tell myself that I can do this, I have to be able to believe that you can do it too.”That is what was so cool about her. When you believe in yourself, you have to be able to believe in someone else as well. Cause you can’t just give yourself the right, you know? Maybe there’s something in there that we can learn today.I really do think there is, and I hope everybody can metabolize it in a way that puts it into action in their lives.
How would you say that Mildred’s story changed you as a person and as an actor?
There’s definitely something in her that propels me forward. If I have self doubt, she’s the voice that comes into my head now.She says, “No, get up. Like, let’s go. You can deal with this. Not only can you deal with this, but you can also make this into fuel.” She’s made me more of an understanding person. There are all these things that we talk about; self-love and self-forgiveness and self-care. Those things are hard, but they’re more important because not only when you give them to yourself, you’re immediately giving them to other people. It’s almost infectious, you know? I’m so grateful for that lesson.
Moving a bit away from the film for just a moment, I read an article by Comic Book Resources that the Arrowverse fandom prepared you for the passionate wrestling fans.Is there a particular fan interaction that sticks out to you in recent memory, whether it’s around this film or the Arrowverse?
I’ve talked to people about it, especially the Arrowverse, and they have ideas for a certain season that has passed, I’m always like, “That’s such a genius idea!” They’re always good ideas. So, I think that when you love something, you have the right to be passionate about it.I think you have the right to have opinions on it, for sure. There’s always a vice and virtue to the same thing. Your virtue is your vice. Be careful with who you divide outside of that, because I think the best part of being passionate about something is bringing somebody else in, right? That’s what I was welcomed into with wrestling. It’s also what I was welcomed into with comic books.
With wrestling, though, this was a world I knew nothing about. Now I feel like I’m indoctrinated in a way that is a part of my cellular being.I’m so grateful for that, because I do feel like it is a world of passion. I’ll have the chance to welcome somebody else into something I’m passionate about in the future in the same way.
You’re the second person from the Arrowverse to enter the ring with Stephen Amell’s role in Heels. Did he reach out to you, or did you reach out to him for advice?
[Emily shakes her head]
No?
Such a missed opportunity.
For sure.
I hope we get to talk about it in the future, now that the movie’s out.
I think you will. Between you and I, who do you think could complete the Salmon Ladder fastest?
[laughs] I don’t know what type of shape he’s in, but I was also never able to do the Salmon Ladder, so he’s got muscular memory that I don’t have. He has the upper hand, you know?
I mean, fair, but he’s also filming or was filming Suits: LA, so I think you could take him.
I could definitely take him. I just don’t know about taking him in the Salmon Ladder.
With the film all said and done, and out in the world, what’s the first thing you did once you finished filming?
I went for a run.
Really?
I went with my partner, who’s an ultramarathon runner. I wasn’t really prepared for that. The workout I had when preparing for Mildred, the recommendation was not to do any cardio at all.
Wow.
Because we were trying to build muscle that looked bigger, and the way I was eating was really to build muscle, not to sort of shed anything, in a sense.It just would have been too stressful on the body. We were trying to keep my stress at a minimum so the muscle would build. Nutrition’s so interesting because if your cortisol gets too high, then your hormones get out of whack, and if your hormones get out of whack, then everything does. Especially with women and our cycle, you want to be a little bit more delicate.
So, I went for a run, and my legs felt like concrete. My body was just tired and done, and I was pushing it literally uphill in the middle of summer in Canada. My body was done.I think I was pushing myself to do something I wasn’t necessarily listening to my body for. But I was so excited to be home. My partner and I live somewhere where the best part of the year is summer. It’s the most beautiful place to be in the summer. It was really about spending time with family and doing something that we do together. It was just a brutal reality that what I needed to do was just sit down and take a break.Even though I was doing something that I loved, but no, I had to take it easy for a few weeks.
What do you hope the audience takes away from the film?
I hope they feel impassioned. I feel like they really learn about Mildred, but they also learn that inspiration comes from everywhere. But it also comes from each other.And, you know, you asked that beautiful question about when the world is so divided, what are we doing? It just makes you think that our human existence is really to be with each other and learn from each other. And the platform I get to walk on and that we get to walk on today is because of people like Mildred. And so, carrying that torch, in a sense, and recognizing the privilege that we have of where we live, what we do, I guess, connection with other people, but also just making sure that we’re lifting each other up.
I love that answer.
I can’t see a better way to live life. I don’t think there’s another answer. Please show me. I think that’s our best way forward, to be honest. At some point we die, but I hope I get to hold your hand while we go through life.
How do you think history should remember Mildred Burke?
You know, I was thinking about her. We just did our premiere in LA, and it was our last American premiere. She died in her 70s on Valentine’s Day, and decades later, not only her story lives on, but her message lives on. It makes you realize you have a ripple effect, right? She really had a ripple effect, and it doesn’t need to be on some global scale, but your family who you interact with, your pets, like you have a ripple. I think that carries on decades after you die. She was a woman, she was a wrestler, and she was a person with a dream.But I think she would want to be remembered as a wrestler; that’s her bones, baby.
My last question, Emily, is what’s next for you?
I’m awaiting the next character that’ll kind of wake me up again, just like Mildred did. Something is prickling right now, but we’ll see if it lands.
After years in the making, Chengdu has finally joined the selective roster of “top” global cities. I grew up visiting family in ChengDu every summer, for most of my childhood and adolescence. Through those years, I watched the city modernize into the international hub it has now become. Chinese cities have the manpower and consumer demand to support rapid growth — but Chengdu has exceeded just economic growth. As the capital of the Sichuan province (otherwise known as the Szechuan province), Chengdu has become a cultural beacon among other Chinese cities. It’s known for spicy cuisine (the famous mouth-numbing peppercorn), pandas, and as of late, nightlife and queer culture. Simply put, it is a city of contrasts.
The Temple House, in Chengdu’s JinJiang district, is no different. Surrounded by expensive and eclectic shopping centers, five-star chain hotels, and skyscrapers, the hotel property chooses to distinguish itself from its neighbours. The Temple House is inspired by heritage architecture. Its Qing Dynasty-influenced interior is reminiscent of traditional Chinese buildings with intricate tiled and carved walls and bamboo-plated roofs. The property itself is built on formal temple grounds, adding to the lore and aura surrounding the hotel.
This unique design doesn’t go unnoticed. Upon entry, tourists and influencers can be seen all throughout the property taking photos and selfies. The Temple House extends beyond a luxury hotel experience — for many in the area, it is a photo opportunity, a tourist site, and a fine dining experience. The Temple House offers several dining options. Tivano, their Italian/Mediteranean-inspired fine dining restaurant, sits nestled in their lower level, while the Mi Xun Teahouse sits on street level, offering a more traditional Chinese-inspired vegetarian dining experience — once again, reinforcing their notion of contrast.
The Temple House rooms offer one of the most exquisite stay-cation options in Chengdu. With ceiling-to-floor windows that overlook the most bustling area in Chengdu, the private suites offer a safe haven away from the noise of the city. Comfort and luxury find each other harmoniously amidst the sleek designs of their room, which are made palatable for both selfies and self-care.
It’s easy then, to bookmark The Temple House as the destination of choice for your next (or first!) trip to Chengdu. As a burgeoning city, only hours away from other cultural hubs like Shanghai and Beijin, Chengdu is sure to become the next upcoming travel hotspot — so book your stay at Temple House now before word gets out.
