You might think the Tate Britain is the less interesting of the two London outposts: full of crusty oil paintings and pensioners on day-trips, but you’d be wrong. Not only is the building a delicious warren of interconnecting rooms, each more beautiful than the last, but it also houses a collection of pre-Raphelite works that has me in tears of awe every time I swing by.

A beautiful selection of products curated by Momosan's owner Momoko Mizutani whose interest is to link different cultures in practical, resourceful and imaginative ways.

One of those rarely found shops that inspires one to craft and creativity. A huge selection of high quality papers to print and draw on, to cut, fold, glue or just wrap presents with.

I’ve always been very fond of the ICA and its maverick spirit, less so in the latter part of this decade. These days the place is magnetic. To feel this incredible and unique place for arts and expression, breathing, breathing invigoratively, is rewarding to a London dweller or/and visitor. Its incredible transformation, revived from near death by Stefan Kalmár, is felt as soon as you enter the space, it feels open and alive, with vibrant and human energy in staff and visitors; risky, independent, engaging, resounding, and topical to our times programming, which is focused on breaking barriers in imagination an intellect rather than visitor record numbers. It is a breath of fresh air and an example what London art institutions are capable of if they open themselves to welcoming in an outsider and their passionate vision. And they have the best membership in town!   

I worked at the Barbican for several years and during that time became very fond of its architecture. One of my favourite spaces within the centre is the conservatory, a giant tropical garden in the middle of a concrete city.