Wandering between Anafiotika’s white-washed dwellings is like exploring a Cycladic village. Indeed, this old quarter was founded by workmen from the island of Anafi. The attraction was double: familiar pitched terrain and unclaimed land. Anafiotika’s boundaries are loosely marked by two churches from the 17th-century: Agios Georgios tou Vrahou (St George of the Rock) on the east and Agios Simeon on the west.

Cats seem to perch everywhere, lace-trimmed curtains ripple in the breeze, the smell of fresh laundry fills the air, and pocket-sized yards are crowded with clay and tin planters brimming with flowers and herbs. Follow the road as it narrows into a path; you’ll see a makeshift sign directing you towards the Acropolis via Theorias street, a stone-paved walk around the Acropolis. Double back towards Agios Georgios for a view extending towards Lycabettus Hill that brings the city’s landmarks to almost eye level.

At the corner of Prytaniou Street and the steps of Epiharmou, this small 11th century domed church creates an interesting juxtaposition with the Acropolis rising behind. Originally, the church belonged to the Ragavas household, a great Byzantine family, as was noted in an inscription found on a column during maintenance work in the 1970s.

A small bell that hangs inside the temple was the only available to ring in 1833 at the end of nearly 400 years of Ottoman occupation. The use of bells was prohibited by decree and all were confiscated except the bell at Agios Nikolaos Ragavas that was kept in a secret crypt. The same bell was again the first to ring on October 12, 1944 after the withdrawal of German troops.

The Monument of Lysicrates sits amid an excavated square on the edge of Plaka, almost perpendicular to Hadrian’s Arch and directly below the Acropolis. The square’s shaded cafés are a popular meeting point and offer just enough quiet for some inspired journalling, much like Lord Byron who penned part of Childe Harolde’s Pilgrimage while living in the Capuchin Monastery that was once attached to the monument.

The monument has been one of the most influential architectural designs in modern history, its elements copied on countless neoclassical buildings and tombs since the late 18th century. In ancient times, this street around the corner from the Theatre of Dionysus was packed with many similar monuments erected by the wealthy sponsors of the drama festivals. Plaka natives still refer to the monument as the ‘lantern of Dimosthenes’, as during medieval times people thought it was a base for some lantern.

From 1954 to 1958, the inspired artist and architect Dimitris Pikionis undertook a project to reshape the area around the Acropolis and the Philopappos Hill, creating paved walking paths and viewing points.

The materials came from the demolition of neoclassical buildings and houses, but also from ancient ceramic, marble or stone finds that had no archaeological value. He also added some modern materials to help the visitor to experience the interaction of myths and modern history with the natural landscape. Pikionis made sure to follow the ancient paths and the natural formations of the landscape, respecting the use of the space over centuries.

It is worth noticing places where the architect has deliberately left the work unfinished so that the walker can imagine their own version of how the design could be completed, while also allowing nature to invade and transform it. Notice the special seats at the ends of the path that are made of materials found in ancient tombs as well as the rock of the Acropolis itself.

The house of the Benizelos family was built in the 18th century. It is the last surviving konaki (formal residence) in Athens and one of the few examples of such mansions that have been preserved in southern Greece. It is built on two older stone buildings of the 16th century that were integrated into its ground floor.

Tour the ground floor and wooden superstructure with its many small windows and skylights. The courtyard, the hayiati (the semi-outdoor space with an open passage to the rooms) and the ondas (the inside rooms) are all characteristic of the architectural design of the late Turkish rule.

The display also includes large jars for storing grain, oil and wine, a winepress and vats for grape must, as well as part of the late Roman wall and a medieval cistern that have been preserved on site.

What a difference a decade makes. The arrival of the landmark Acropolis Museum and the pedestrian walkway linking the city’s ancient monuments has seen this historic neighbourhood emerge as one of Athens’ most fashionable postcodes.

The Parthenon stands as a monument to cultural achievement, but the structures located around it mostly memorialise personal myths. The emperor Hadrian created a sanctuary dedicated to Zeus, the Olympieion, and the Athenians erected an arch to honour him. Herodes Atticus built an open-air theatre in memory of his wife and second century Athenians dedicated a marble mausoleum to honour the city’s benefactor, Julius Antiochos Philopappos.

For decades, these sights had languished in the shadow of the Acropolis. But Bernard Tschumi’s bold and beautiful Acropolis Museum, which opened in 2009, transformed the ugly duckling district of Koukaki into a swan. This renewal extends to the National Museum of Contemporary Art taking in tree-lined pedestrianised zones with a lively café and bar culture.

A traffic ban in 2003 transformed this from one of the city’s noisiest and busiest streets to its most charming promenade. Linking Hadrian’s Arch to Philopappou Hill, Dionysiou Areopagitou is popularly described as an ‘open air’ museum but ‘living monument’ is more apt for its lively, spontaneous street life.

Here you can literally stroll between ancient and modern Athens: Dionysiou Areopagitou is lined on one side by ancient monuments like the Theater of Dionysus and Odeon of Herodes Atticus and on the other by outstanding modern architecture, from the gorgeous art deco apartment building at No. 17 to the neoclassical Meropio Foundation and church of Agia Sofia.

The best view of the Acropolis, as well as the city, is from a rock formation about 300 metres to its west. The climb isn’t particularly steep, but it can be precarious, not least because millions of people have climbed the rock and have worn its steps smooth (tip: wear sneakers).

The hill is known as Areopagus, which translates loosely to ‘the rock of Ares’. In mythology, this is where the god of war was tried before the other gods for killing one of Poseidon’s sons. Athenians located their highest court here, known as the Areios Pagos, and it’s also where the Apostle Paul chose to preach in Athens. If you’re an early riser, avoid the crowds at sunset and enjoy a spectacular sunrise.

Philopappou, or the Hill of the Muses, is one of three forested peaks facing the Acropolis that each played an important role in Ancient Athens. The second hill, the Pnyx, is where the Athenian Assembly met. The third, the Hill of the Nymphs, was known for a sanctuary dedicated to the Nymphs.

Some of the most delightful scenery is along a stone-laid path winding through the shallow canyon between these hills. Excavations here have uncovered the Koile Road, the primary route for transporting merchandise between Athens and the harbour of Piraeus in antiquity. Look closely and you’ll see the tracks left by carts on the rock surface. The wonderful harmony between history and nature is thanks to the ingenious technique of paving created by Greek architect Dimitris Pikionis in the 1950s.

The perfect museum for those who prefer their history lessons to sparkle. In a handsome building that once served as the workshop of Ilias Lalaounis, Greek jeweller to the stars, this museum tells the story of adornment through the ages.

The glittering collections are based on motifs and artefacts from the Stone Age, the Minoan civilization and Byzantium, all the way to the 20th century. The most eye-catching items are the massive gold pieces, almost like armour, displayed on life-sized mannequins: huge circular plates dripping with gold discs, and a thick serpent twined from neck to breast.

But it’s in the foyer that you’ll find this museum’s rarest showing: a fully functioning artists’ studio, where resident gold and silversmiths follow traditional techniques, including Lalaounis’ trademark practices of hand-hammering, hand-weaving, filigree ‘embroidery’ and granulation.

The expansion of the Athens public transport system has created a metro and tram hub at Syngrou-Fix station, transforming a humdrum collection of cafes along pedestrianised Drakou Street into one of the liveliest bar scenes in Athens.

Students from the nearby Panteion University bolster the youthful vibe, while the arrival of several cooperative cafes has injected an edginess into this once-staid, working-class district. On weekends especially, after-hours traffic jams up the area as clubbers cruise past 24-hour eateries for a bite to eat before heading home.