The current site No. 57 on Volodymyrska Street originally formed part of the large estate of the First Men’s Gymnasium. The Pedagogical Museum building was constructed in 1910–1912 to the design and under the supervision of the prominent Ukrainian architect Pavlo F. Alyoshyn.

The three-storey structure features a central semi-cylindrical section in plan, covered by a glazed segmental dome, flanked by two lateral risalits. The museum building was among the first in Kyiv to make extensive use of reinforced concrete, employed in the cornice’s load-bearing structure, the amphitheatre and balconies, the floor slabs, and the spherical wall of the main hall, which endowed the interiors with a sense of lightness and spaciousness.

One of the building’s principal adornments is its multi-figure sculptural frieze, depicting the development of enlightenment and education through allegories of classical mythology, executed from designs by L. A. Dietrich and V. V. Kozlov. In 1937–1938, rear extensions were added according to a project also by Alyoshyn. The architect conceived the museum as a monumental public building in the style of Neo-Classicism (or Modern Classicism).

The building holds exceptional historical significance: in 1917–1918, it housed the Ukrainian Central Rada (UCR) — the supreme representative body of Ukraine, led by Mykhailo Hrushevskyi, which pursued the policy of national and territorial autonomy of Ukraine.

The building was constructed in several stages, gradually acquiring its present complex plan configuration. Despite the different construction periods, the building presents a cohesive architectural appearance, as all stages were executed under the direction of the same architect, who adhered to a consistent Classical stylistic approach. It was originally designed to house the Women’s Ministerial Gymnasium (Olha Gymnasium), which since 1894 had been located at 4 Tereshchenkivska Street.

The architect was Pavlo Alyoshyn. Construction proceeded in multiple phases and was completed in 1927–1928, when the building was transferred to the All-Ukrainian Academy of Sciences (later the Academy of Sciences of the Ukrainian SSR). In 1936, a fourth storey was added above part of the volume along Bohdan Khmelnytskyi Street.

Due to the slope of the terrain, the building is three to four storeys high. It has a complex plan layout with an internal corridor system. The base (plinth) is faced with reddish-brown granite, and the walls are brick, plastered. The compositional structure is asymmetrical, enriched with a monumental corner volume at the intersection of Volodymyrska and Bohdan Khmelnytskyi Streets, a risalit with a tower along Bohdan Khmelnytskyi Street, and a cour d’honneur with a central arched passage on the Tereshchenkivska Street side.

From 1929 to 1951, the building housed the office of Academician Mykola Mykolaiovych Krylov, a prominent mathematician and mechanic, making it not only an architectural landmark but also a memorial site of Ukraine’s scientific history.

In the 1850s, architect Oleksandr Beretti, commissioned by the Kyiv Governor-General, constructed a two-storey building for the Countess Yelyzaveta Levashova’s Institute for Noble Maidens on a vacant lot formerly occupied by provision warehouses. In 1891–1892, a third floor was added by architect K. Tarasov.

The building stands directly along the street’s red line. It is brick-built, three storeys high over a basement, with a rectangular plan slightly elongated along the street, and small side risalits facing the courtyard. An annex adjoins the right risalit, connecting the building with the new wings of the Presidium of the National Academy of Sciences of Ukraine (NASU), located within the courtyard.

The interior layout features central ceremonial staircases leading to the second and third floors, arranged within a double-corridor system. The façades are designed in the Classical style, characterized by balanced proportions and restrained ornamentation.

The ironwork motifs of the fence, gate, and wicket were later used by architect Pavlo Alyoshyn in the fence design of the Pedagogical Museum, demonstrating continuity in Kyiv’s 19th- and early 20th-century architectural detailing.

The four-storey brick building with a basement is two-sectioned and features a complex U-shaped configuration with chamfered corners. In its functional and spatial layout, it represents a typical income (revenue) house design executed in the Neo-Renaissance style with Baroque-inspired elements.

The ground floor is articulated by large shop windows, while the second floor is decorated with rustication. The two upper floors are unified by paired Corinthian columns and Doric pilasters. The façades are enriched with stucco ornamental details — in the spandrels, column bases, and window surrounds.

The balconies, both semi-circular and rectangular, feature ornate wrought-iron railings. The building is crowned by a cornice with paired acanthus-leaf brackets and a meander-pattern frieze, giving the composition a refined Renaissance-Baroque character typical of Kyiv’s late 19th-century urban architecture.

The section of the building facing Prorizna Street is six storeys high (originally five), while the volume along Volodymyrska Street is five storeys (originally four). The structure is three-sectioned, L-shaped in plan, and includes an attic floor. It is designed in the Historicist style with elements of Neo-Renaissance architecture.

The main façades are composed with symmetrical axial balance. Their central axes and flanks are emphasized by elaborate crowning elements — ornamental attics and roof turrets, which add to the building’s distinctive silhouette.

The house was built by the architectural firm of Shyman and Hilevych for Hryhorovych-Barskyi.

In the 1900s–1910s, the building was home to O. V. Khymychenko (1856–1947) — a musician and flutist, a notable representative of Kyiv’s musical life in the early 20th century.

The building forms part of the unique architectural ensemble at the beginning of Volodymyrska Street and Sofiyska Square. The rusticated façades are vertically articulated by projecting risalits, each crowned with small towers. These risalits are adorned with pilasters of the Corinthian and Ionic orders.

The rounded corner section is plastically modeled and decorated with caryatids supporting the balcony of the third floor. The parapets and balconies feature ornate wrought-iron railings, contributing to the refined decorative character of this late 19th-century urban residence.

The building, originally three storeys high, was extended by a fourth floor in 1953. Constructed of brick, it has a T-shaped plan, elongated deep into the plot, and features a three-part functional and spatial layout. The architectural design is executed in the Art Nouveau style.

The structure was erected to house the Kyiv branch of the Peasant Land Bank and the Nobility Land Bank — two interrelated governmental institutions established to implement a more flexible agrarian policy in the early 20th century.

The two-storey building with a mezzanine features a stone first floor and a wooden second floor resting on a brick plinth, all plastered. The original volume has a rectangular plan. In the late 1850s, wings were added on the courtyard side, forming a cour d’honneur. The structure was built in the Classical style. The architect is unknown.

The mansion belonged to the Trubetskoy counts from the 1830s. The estate grounds, on which the building stands, possess exceptional archaeological value. During excavations carried out in 1975–1976, archaeologists uncovered burials, a pagan shrine, treasure hoards from the 11th–13th centuries, and remains of a masonry rotunda dating from the 12th–13th centuries.

The building, located at the bend of Voznesenskyi Descent, is three storeys high, four storeys on the courtyard side, and partly basemented. It has a symmetrical plan, consisting of two longitudinal and three transverse wings that form two enclosed courtyards with driveways from the rear façade. The walls are brick, painted in two tones, and the multi-pitched roof, covered with sheet metal, includes an attic. The façade decoration is executed in the brick style.

The first design proposal for the new seminary building was developed by Kyiv architect Volodymyr Nikolayev (1894), while the final version was prepared by St. Petersburg architect Yevhen Morozov (1898). The construction was supervised by Kyiv diocesan architect Yevhen Yermakov. In 1960, a new four-storey academic wing was added, and during 1975–1980, the building underwent reconstruction and extensions to its side sections.

The Kyiv Theological Seminary was designed to accommodate 500 students, with its foundation ceremony held on April 27, 1899. The complex originally included several ancillary structures — a hospital, bathhouse, stable, and icehouse — of which the hospital and bathhouse were destroyed during World War II.

In 1918–1919, the building served as barracks for the Sich Riflemen Corps, commanded by Yevhen Konovalets and Andrii Melnyk.

Since 1925, the building has housed the Kyiv State Art Institute (now the National Academy of Fine Arts and Architecture).

The building is closely associated with the activities of many prominent figures of Ukrainian science and culture, including Kyrylo Stetsenko, Pylyp Kozytskyi, Oleksandr Bohomazov, Mykhailo and Vasyl Boichuk, Fedir Krychevskyi, and Kazymyr Malevych, among others.

Construction of the three-storey building in the Neo-Gothic style began in 1881 on a plot with a fruit garden facing the street. The project was initiated by Justice of the Peace I. Matsniev.

From 1882, and for the next 26 years, the property belonged to the Méranville de Saint-Clair family, after which it was acquired by E. Kaftal, who commissioned a major reconstruction in 1909. The redesign was executed by architect O. Feokrytov, who also resided in the building. During this reconstruction, two additional upper floors were added, and the façades were remodeled in the Art Nouveau style.

The building thus embodies a unique synthesis of Neo-Gothic origins and early 20th-century Art Nouveau aesthetics, reflecting the architectural evolution of Kyiv’s historic center at the turn of the century.

The building is a valuable example of the early period of Kyiv eclecticism. It is a three-storey brick structure, L-shaped in plan. In the early 20th century, it belonged to feldsher Y. Kotsiuba. The ground floor originally housed commercial establishments, later replaced by a pharmacy.

The façade architecture is designed in the Neo-Renaissance style. The corner entrance is flanked by figures of ifrits (evil genies) supporting the balcony of the second floor. An aedicule with an arched vault on Ionic columns is topped by a barrel-shaped dome.

The building is crowned by an elaborate entablature, including a cornice with dentils and paired modillions, and a frieze adorned with stucco garlands. The axes of the façades are accentuated by attics of varying height: a simple rectangular one on the Saksahanskoho Street side, and an elongated stepped attic with a circular lucarne on the Symon Petliura Street side.

This building exemplifies the expressive ornamental richness and compositional dynamism characteristic of Kyiv’s late 19th-century Neo-Renaissance urban architecture.