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The Silo – is this Cape Town’s best hotel room?

The Silo – is this Cape Town’s best hotel room?

 

There are five-star hotel rooms and then there are five-star hotel rooms… Steve Madgwick finds that Cape Town’s The Silo is the latter, a design hotel that is actually fully functional too.

 

Infuriatingly, I cannot review The Silo hotel on Cape Town’s shiny V&A Waterfront.

The rule here, at both International Traveller and Australian Traveller magazines, is that we have to pay our own way and visit in secret if we plan to write a hotel review.

Our opinion is not for sale. And, inevitably, when hotels know that someone from a travel magazine is staying the night, they really turn it on, give us the out-of-the-ordinary royal treatment, which clearly could bias a review (the crux is: what does a ‘regular’ customer experience?).

My two nights at Cape Town’s brand-spanking-new five-star hotel were paid for by South African Tourism (yes, as I travel writer you are occasionally privileged to stay in some fine rooms for ‘free’ although you quickly learn that nothing comes for free).

This is why this is not a hotel review.

I was in South Africa to cover a heap of other stories, including one in Cape Town, and was booked in for a couple of nights.

Being only two months old, inevitably, there are some small points that aren’t yet perfect at The Silo.

Even though the staff knew I was coming, the service rated only a four-and-a-half of five stars. It was suitably doting, but just felt a little uncoordinated, in need of that final touch of finesse; about where many a hotel is after only eight weeks.

But there was one thing that snatched and held my attention so overwhelmingly that I could not just let this pass: my ninth-floor abode; one of four ‘luxury rooms’ of the hotel’s 28.

Not only was this the best of the six South African five-star establishments I stayed in over the two weeks, but it’s one of the best rooms I have ever stayed in. Period.

For three reasons.

First: The aesthetic. The ‘individually designed and decorated by the stylish wand of Liz Biden’ room is lively, uplifting, homely, despite its sky-high ceilings, and just plain fun.

The contrasting artworks, faces with eyes displaying different moods, are personal and add personality. This is a room for curious humans; not those seeking uniform commodified luxury.

Not everything was to my taste, such as the oversized crystal chandeliers, but there’s always one more interesting element to draw your eye.

Bold limes on the hand-picked chaise lounge and beds, stand defiantly next to funky three-step side-tables painted in this shade of green’s natural enemy: powder blue.

Reason two: a great view exploited to perfection.

Naturally, a ninth-floor room (the hotel sits in an old grain silo elevator, the tallest building in Sub-Saharan Africa in the 1920s) and central Cape Town location like this – Table Mountain to the left, and the World Cup stadium and the Atlantic Ocean to the right – should offer an incredible outlook.

But it’s the use of the view, and how it is presented, that are the key here.

The Thomas Heatherwick-designed ‘pillowed’ floor-to-ceiling window bays drink in the vista and light greedily. The panelled windows curve out a metre-and-a-half from their frames, just like a giant fly’s eye.

A free-standing bath, located next to the double storey windows in the super-roomy bathroom, is the place to watch Africa go by.

Even the stark, gritty (working) dry dock below becomes interesting when you’re having a soak in this rarefied space. I found myself endlessly people (or, from this height, ant) watching.

Third: unlike many art and/or design hotels, which make you feel like you’re staying either in an art gallery or a junk shop, this room ‘does’ beauty and function. Everything is just so user-friendly, even if at first glance it doesn’t seem so.

One swipe at the conveniently placed automatic blind switch will black out the room in seconds; you don’t need a diploma to work out the light switches; the Quercus soaps and toiletries are placed everywhere you need them; the bath fills quickly and to your desired temperature, then drains quickly and silently with one press.

Little touches, such as fresh ginger and lemon in the mini bar and, at the other end, the Moments of Mindfulness: African Wisdom book placed in the loo for your constitutional consumption, weave a charm matrix.

The rest of the hotel is packed with goodies, like a stunning rooftop pool, a modern light-filled restaurant and, naturally, a spa. Externally, the design is a good reiteration of post-industrial space; the geometrical design, love it or leave it, certainly a talking point.

All of which I barely had time to see anyway, thanks to the aforementioned busy schedule (cue the violin).

But, as I said, this is not a review, merely a compliment to a room that I was very happy to return to, time and again. And would again.

 

MORE… The Silo, Cape Town, South Africa

 

  • The Silo is part of the Royal Portfolio group, which has five five-star properties in South Africa.
  • The Zeitz Museum of Contemporary Art Africa (MOCAA) is due to open in September 2017. The gallery is tabled to display “the largest private collection of African art" anywhere in the world.

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At the foot of the pyramids, Egypt finally tells its own story

    Ancient Egyptian history has been scattered across the globe for decades, admired, preserved, and studied, but it’s rarely seen where it actually belongs. The newly opened Grand Egyptian Museum (GEM) brings it home.

    From a viewing platform inside the Grand Egyptian Museum, the Great Pyramids of Giza rise from the desert, and for a moment, it feels like modern Egypt and ancient Egypt are shaking hands. The museum, grand in name and reality, has been a long time coming—since 1992, to be exact. Towering pharaohs, relics, and entire chapters of civilisation are on display here, all in full view of the pyramids. And because the GEM is the largest archaeological museum in the world dedicated to a single civilisation, it gets to tell Egypt’s story through its own voice, something many overseas institutions, understandably, haven’t quite managed.

    Reshaping Giza

    GEM entrance and gardens
    The GEM holds its own commanding position. (Image: Natasha Bazika)

    You might expect any building beside the Great Pyramids of Giza to fade into the background, but the GEM doesn’t bow to its famous neighbours. Perfectly aligned on the same axis and vast enough to span 70 football fields, the museum is less of an addition to Giza and more of a marker of the shift from a gateway to a cultural district.

    Inside, hieroglyphs carved from alabaster sweep across the walls and triangles appear everywhere, yet it’s a 3,200-year-old, 11-metre-tall, statue of Ramesses II who commands the room. His scale dictated the soaring atrium ceilings, which pour in natural light, unusual in museums but safe for the stone artefacts displayed.

    Hieroglyphs line the walls of the main entrance of the GEM
    Hieroglyphs line the walls of the main entrance. (Image: Natasha Bazika)

    Unlike many museums, the GEM has really considered how visitors move through it. The six-storey grand staircase leads you chronologically through Egypt’s history, from the Predynastic era to the Coptic period, flanked by statues that grow in scale and complexity as you climb. Elevators and lifts run alongside, keeping the journey accessible to everyone.

    At the top, a viewing wall frames the pyramids before you enter the main gallery to see artefacts rarely seen outside tombs, including the complete contents of Tutankhamun’s tomb, a highlight for many visitors.

    Pharaohs, artefacts and everything in between

    The GEM's showpiece Ramesses II
    The GEM’s showpiece Ramesses II. (Image: Natasha Bazika)

    The GEM holds around 100,000 artefacts across seven millennia, but the experience is entirely modern. Digital panels, QR navigation and clear bilingual signage make self-guided wandering easy, while short, glare-free labels in English, Arabic and braille are colour-coded to move you from broad themes to object-level detail.

    That said, a guide adds context you don’t get from a panel. I was lucky to have Essam Al Ebd Aziz, an Egyptologist, on board a 12-day Uniworld Nile cruise, walk me through some of the museum’s standout pieces.

    Top of the list is, of course, the Tutankhamun exhibit. Almost everything from his tomb, much of it never shown outside the Valley of the Kings, is here, from his golden funerary mask to delicate jewellery and ceremonial objects. But the GEM isn’t just about one boy king.

    GEM entrance is guarded by an 11-metre-tall Ramesses II statue.
    An 11-metre-tall Ramesses II statue guards the entrance. (Image: Natasha Bazika)

    Essam points out the canopic chest of Hetepheres, mother of Khufu, where her organs were stored in alabaster. I loved the forty little marching soldier figurines from the tomb of Mesehti, all lined up and hanging on a wall. And then there’s the statue of Metri, a scribe, with piercing blue eyes carved from lapis lazuli. All these pieces, and thousands more, now sit under one roof. And for the first time, people can see Egypt’s history in one place, told in its own voice, without leaving the shadow of the pyramids. That alone changes everything.

    The Silo – is this Cape Town’s best hotel room? | International Traveller