One of the most striking and admired structures throughout the history of the City of London is its medieval inhabited stone bridge. Bridges with houses were relatively common in medieval Europe; examples include Bath’s Pulteney Bridge, which is still open for business. However, the old London Bridge, aka the Bridge, as it was commonly known, was the most populous of them all. It is calculated that its 140 houses housed 800 people in the fourteenth century, and the Bridge’s population averaged 500.

One of London’s iconic buildings, the Battersea Power Station has gone from being an engineering marvel to a symbol of industrial dilapidation and is now home to one of the capital’s most prestigious redevelopment schemes. Gossip news may reveal a stream of high profile celebrities moving in but chief amongst its tenants will be Apple, which will use six floors of the station’s former Boiler House, as its main London HQ.

Spitalfields, Shoreditch, and Penge have established themselves as London’s hottest spots when it comes to street art, where you will find uncensored, clandestine, and sometimes sanctioned works adorning any spare wall or surface in reach of stealthy street artists.

Opposite the church of St Mary The Virgin, Mortlake a path called Tapestry Court leads to the River Thames. Here you will find a plaque memorialising the seventeenth century Lower Dutch House, one of the former buildings of the Mortlake Tapestry Works.

The indelible mark left by the Huguenot community and their development of the silk weaving industry is the stuff of legend. Their skills and entrepreneurial drive led them to settle across the south of England and in America. In the aftermath of the revocation of the Edict of Nantes in 1685, the small trickle arriving in Britain turned into a steady flow and, by the beginning of the eighteenth century, Huguenots made up five per cent of London’s population. Some of these refugee families headed to a small village, now a suburb of South London called Wandsworth.

Few people are as passionate about the Battersea area of London than muralist Brian Barnes MBE, who for the last forty-five years has been leaving his artistic touch on derelict industrial carcasses and council housing estates, some in plain sight and others in the most inconspicuous of locations. He first gained recognition in 1976 with his 267 foot long mural: Battersea: The Good, the Bad and the Ugly, on Battersea Bridge Road, which depicted a brush sweeping away the industrial dilapidation along Battersea’s riverfront, and replacing it with a colourful utopian vision of social prosperity for the local community.