Museum of Immigration and Diversity

Brick Lane Jamme Masjid (Bengali: ব্রিক লেন জামে মসজিদ, Arabic: جامع مسجد بريك لين "Brick Lane Congregational Mosque"), formerly known as the London Jamme Masjid (লন্ডন জামে মসজিদ, جامع مسجد لندن "London Congregational Mosque"), is a Muslim place of worship in Central London and is in the East End of London. The building at 59 Brick Lane, on the corner of Fournier Street, has been home to a succession of Christian, Jewish, and Muslim communities since its construction in the mid-eighteenth century, reflecting the waves of immigration in the neighbourhood of Spitalfields. The former Great Synagogue is a Grade II* listed building; the adjacent former school buildings (now used as an ancillary building to the mosque) is listed Grade II.

Fournier Street, formerly Church Street, is a street of 18th-century houses in Spitalfields in the East End of London. It is in the London Borough of Tower Hamlets and runs between Commercial Street and Brick Lane. The street is named after a man of Huguenot extraction, George Fournier.

Tower Hamlets Summer University (THSU) is a British charity in the Tower Hamlets area of London which offers independent learning programs for people from 11 to 25 years of age. It rebranded to the name Futureversity in 2010.

Freedom for Humanity was a temporary mural by the American artist Mear One (Kalen Ockerman), painted on a wall in Hanbury Street in the London Borough of Tower Hamlets in mid-September 2012. It depicted men wearing business suits seated aside bent-over naked figures who formed a table while playing a Monopoly-like board game that rested on the naked figures' backs. Overseeing the scene is an Eye of Providence surrounded by images of industry and protest. The mural was criticized for using anti-semitic tropes and imagery including stereotypical depictions of Jews, references to finance and the monetary and Masonic associations of the Eye of Providence. The artist himself, Mear One, has said that "My mural is about class and privilege. The banker group is made up of Jewish and white Anglos,".

The British School of Fashion (BSoF) is a university that teaches marketing and fashion management.

The Black Eagle Brewery is the former brewing plant of Truman's Brewery located around Brick Lane in the Spitalfields area, in the London Borough of Tower Hamlets. Truman's subsequently became Truman, Hanbury and Buxton. By 1853, the Black Eagle Brewery was the largest in the world, with an annual production of 400,000 barrels.The former buildings, warehouses and yards were redeveloped by The Zeloof Partnership as the "Old Truman Brewery" and now house over 250 businesses, ranging from cultural venues to art galleries, restaurants, and retail shops. The Director's House and former Brew House are listed buildings.

The Pride of Spitalfields (formerly The Romford Arms) is a public house at 3 Heneage Street in Spitalfields in the East End of London, just off Brick Lane. It was associated with a Jack the Ripper suspect.

The Golden Heart is a Grade II listed public house in Spitalfields in the London Borough of Tower Hamlets, at 110 Commercial Street, London E1 6LZ. It was built in 1936 for Truman's Brewery, and designed by their in-house architect A. E. Sewell. In 2015, Historic England gave it a Grade II listing, saying that "its largely unaltered interior is one of the best surviving examples of Truman’s in-house style of the 1930s, illustrating many facets of an ‘improved’ pub".

Christ Church Spitalfields is an Anglican church built between 1714 and 1729 to a design by Nicholas Hawksmoor. On Commercial Street in the East End and in today's Central London it is in the London Borough of Tower Hamlets, on its western border facing the City of London, it was one of the first (and arguably one of the finest) of the so-called "Commissioners' Churches" built for the Commission for Building Fifty New Churches, which had been established by an Act of Parliament in 1711. The purpose of the Commission was to acquire sites and build fifty new churches to serve London's new settlements. This parish was carved out of the circa 1 square mile (2.6 km2) medieval Stepney parish for an area then dominated by Huguenots (French Protestants and other 'dissenters' who owed no allegiance to the Church of England and thus to the King) as a show of Anglican authority. Some Huguenots used it for baptisms, marriages and burials but not for everyday worship, preferring their own chapels (their chapels were severely plain compared with the bombastic English Baroque style of Christ Church) though increasingly they assimilated into English life and Anglican worship – which was in the eighteenth century relatively plain. The Commissioners for the new churches including Christopher Wren, Thomas Archer and John Vanbrugh appointed two surveyors, one of whom was Nicholas Hawksmoor. Only twelve of the planned fifty churches were built, of which six were designed by Hawksmoor.

The Ten Bells is a public house at the corner of Commercial Street and Fournier Street in Spitalfields in the East End of London. It is sometimes noted for its supposed association with two victims of Jack the Ripper: Annie Chapman and Mary Jane Kelly.

Flower and Dean Street was a road at the heart of the Spitalfields rookery in the East End of London. It was one of the most notorious slums of the Victorian era, being described in 1883 as "perhaps the foulest and most dangerous street in the whole metropolis", and was closely associated with the victims of Jack the Ripper. Land was acquired by the Fossan brothers in the mid 17th century. At that time it consisted of the southern part of Lolesworth Field, a tenterground to its south and a spinning and twisting ground with gardens to the south of that. The brothers built a street through the field which was named after them, which became Fashion Street. They split the tenterground into two long parcels and employed two bricklayers, John Flower and Gowan Dean, to build houses along its length. By the nineteenth century the back gardens of the original tenements had been built on for narrow courts and alleys and the area had become a slum. The poverty and deprivation of the area was reflected by the greatest concentration of common lodging-houses in London. In 1871 there were 31 such places in the street. They provided accommodation for the desperate and the destitute and were a focus for the activities of local thieves and prostitutes. Already in 1865 the street was referred to by the artist Ford Madox Brown as the epitome of social degradation in his description of his painting Work. Brown describes a vagabond depicted in the picture as living in Flower and Dean Street, "haunt of vice", "where the policemen walk two and two, and the worst cut-throats surround him".Slum clearance began 1881–83. In 1888, the sanguinary activities of the serial killer known as Jack the Ripper, also known as the Whitechapel murders, prompted further redevelopment. Two of those women murdered, Elizabeth Stride and Catherine Eddowes, resided in two common lodging-houses on the street. A study using geographical profiling suggested that the killer probably lived on the street. The scandal of the killings prompted 'respectable' landlords to divest themselves of property here and all traces of the street were virtually eradicated between 1891 and 1894 in a major slum clearance programme. There is now a housing block where the street used to be. A 2008 Scotland Yard geographical profile of Jack the Ripper concluded that he most probably lived in the street where two of his victims lived.The Flower and Dean Walk housing estate is directly across Commercial Street from the historic site of the street.

Commercial Street is an arterial road in Tower Hamlets, east London that runs north to south from Shoreditch High Street to Whitechapel High Street through the East End district of Spitalfields. The road is a section of the A1202 London Inner Ring Road and as such forms part of the boundary of the London congestion charge zone. As the name implies, Commercial Street has historically been dominated by industrial and commercial activity, which it maintains to this day. It is on the City fringes, and much industry that was seen as too noisome for the City was once exiled to such areas as this. However, since the early 1990s the street has grown increasingly fashionable, while maintaining its busy commercial feel.