З 1999 року ця філія Музею історії міста Києва мала назву «Київський музей О.С. Пушкіна». 1 березня 2022 р. було підписано наказ, відповідно до якого вирішено змістити фокус Музею на той, що більше відповідає змісту колекції. Йдеться про Музей, який би розповідав історію київського побуту І пол. ХІХ ст., що відобразилося і в робочій назві філії. Після тривалої роботи колективу над новою концепцією, Вченою радою Музею затверджено нову назву — «Садиба на Кудрявці».

GARAGE33: для мистецтва, яке безкомпромісно скидається на маргінес та залишається поза офіційним дискурсом. У нас відсутні будь-які симптоми ієрархії, ми говоримо на рівних, показуємо мистецтво відомих та визнаних разом з мистецтвом малознаних та недооцінених.

Знайти Dark Club Theatre нелегко. У вечір вистави – йде дрібний дощ. Ми двічі заходимо й виходимо з Арени на Бессарабці, аж поки хлопець із театру не виходить зустріти блукаючих гостей. Насправді усе досить просто. Якщо ви стоїте у дворі Арена-Сіті, орієнтуйтеся на найбільший тут білий генератор. А праворуч від нього знайдете сходи, що ведуть вниз,  до «Метрограду». Отам і світяться червоні літери Dark Club Theatre. 

У гардеробі залишаємо одяг і парасолі.

Простір складається з великого нижнього залу з дуже високими стелями – відчуття повітря та вертикалі привертає увагу, щойно заходиш. Його посилює стіна в широку вертикальну смужку та панно-дерево. Це – подарунок театру від акторки Тамари Яценко. Ручна робота авторства Ніоніли Яковлевої. Ліворуч – трохи закручені сходи, що ведуть на другий рівень. Це ще одна частина простору, де можна погомоніти. Люди туди й піднімалися з келішками з коньяком чи кавою. 

Місія VLL art gallery — створювати простір для розвитку та популяризації сучасного українського мистецтва. Ми надаємо митцям можливість для самовираження, допомагаємо глядачам відкрити їхнє бачення світу та сприяємо формуванню культури колекціонування в Україні. Галерея підтримує як досвідчених і визнаних авторів, так і молодих талановитих художників, роблячимистецтво доступним для кожного.

Кожний українець знає ім’я Михайла Грушевського. Дехто — знайомий з його працями. Більшість уявляє його державотворцем, і мало хто як людину, люблячого чоловіка і ніжного турботливого батька. Але не кожному пощастило побувати в гостинній оселі академіка, поринути в його наукову “лабораторію”, світ уподобань, відчути неповторну ауру великої дружньої родини. Ви маєте таку нагоду. Завітайте на Паньківську, 9 в Історико-меморіальний музей Михайла Грушевського. Музей є філією Музею історії м. Києва.

In 1980–1982, to commemorate the 1500th anniversary of Kyiv’s founding, new compositions by Valerii Lamakh and Ernest Kotkov appeared on the buildings along Beresteiskyi Avenue, flanking the central thematic mosaic panels created in 1967. These works represent the main stages in the development of Ukrainian culture. The panel on building No. 19 symbolizes the culture of Kyivan Rus.

The Circus Building was constructed in 1960. Its prefabricated reinforced-concrete dome was engineered by M. Grutman, S. Rivkin, and I. Skachkov. The circus accommodates 2,000 spectators. Over the years, many renowned circus artists and performers have worked here, including M. Yehorov, V. Nikulin, V. Petrus, V. Tytov, V. Fomenko, and V. Frantsuzov, among others.

The four-story brick structure (including the basement) consists of two main volumes: a cylinder and a right-angled curved parallelepiped that embraces it from the sides. The cylindrical section contains the main facilities—the arena with the auditorium, vestibule with cloakroom, foyer, and corridors—while the adjoining block houses service and auxiliary rooms. The inner courtyard serves as an exercise area for animals.

The roof is metal, and the floors are made of prefabricated reinforced concrete. The base of the building is faced with pink granite, the walls are clad in light-gray ceramic tiles, and the columns are finished with white Inkerman stone. The dome is covered with decorative metal scales and topped with a cylindrical lantern and spire. The architectural style is Neoclassical.

The Astronomical Observatory of St. Volodymyr University was constructed between 1841 and 1845 according to a design by academician and chief university architect Vincenzo Beretti. After his death, supervision of the construction was continued by his son, architect Oleksandr Beretti. The organizer and first director of the observatory (1838–1855) was Vasyl Fedorov (1802–1855).

The observatory is located on a hill in the center of an enclosed courtyard. The brick building consists of a rectangular two-story volume with an enfilade-corridor layout, flanked by two adjoining octagonal towers—a one-story tower to the north and a two-story tower to the west. The architectural design and decorative treatment are executed in the Classical style.

The Kyiv Roman Catholic Church of St. Alexander was conceived as a monumental temple commemorating Russia’s victory in the 1812 war against Napoleon and honoring the visit of Emperor Alexander I to Kyiv. The emperor ordered that the site for the church be allocated between Old Kyiv, Podil, and Pechersk.

Construction of the church, founded in 1817, proceeded in several stages and was completed only in 1849. The original design was prepared by architect Ludwig Piller, but for various reasons his project was not executed. The main construction work took place between 1824 and 1833, after which it was suspended until 1836. That year, architect Franciszek Miechołowicz developed two new design variants, one of which was implemented.

The church was designed in the Classical style. In plan, it forms a square structure crowned with a central dome and two towers. The main entrance is accentuated by a portico. Among the church’s most treasured relics are a crucifix brought from Italy and an exquisite copy of Raphael’s Madonna of Foligno.

The final construction phase lasted from 1836 to 1842. The works were initially supervised by architect Vincenzo Beretti, later by city architect Ludwik Stanzani. The project was largely funded by landowner A. Sovetsky, and the church was consecrated in 1842.

In 1937, the church was closed as a place of worship. In 1952, part of the building was converted into a planetarium, while other sections were assigned to the Historical Library of the Ministry of Culture of the Ukrainian SSR. In 1991, the church was returned to the Catholic community, regaining its status as a functioning parish and one of the key historical and architectural landmarks of Kyiv.

The monument stands on the terrace of Mykhailivska Hill, facing the Khreshchatyk Spring. It was unveiled on September 30, 1853, the same day the Kyiv Chain Bridge was consecrated. The monument commemorates Volodymyr the Great (c. 950–1015) — Grand Prince of Kyiv, statesman of Kyivan Rus, and the ruler who introduced Christianity as the state religion.

On the front side of the pedestal is a bronze bas-relief featuring a multi-figure composition depicting the Baptism of the Kyivan people in 988. The upper part of the pedestal is adorned with medallions, garlands, interlacing ornaments, and the coat of arms of Kyiv depicting Archangel Michael, along with a star and the cross of the Order of St. Volodymyr. The reverse side bears an inscription with the date of construction (1853).

On the stylobate, in raised letters, are the names of the creators of the monument — sculptors Vasyl Demut-Malynovskyi and Peter Clodt, and architect Oleksandr Ton — as well as the dates of its unveiling (September 30, 1853) and restoration (1953).

The Monument to Prince Volodymyr is one of the oldest and most iconic landmarks of Kyiv, symbolizing the Christianization of Rus’ and standing as a spiritual and historical emblem of the city.

The monument was unveiled on March 6, 1939, in the park opposite Kyiv University, on the site of the former monument to Tsar Nicholas I. The opening was dedicated to the 125th anniversary of the birth of Taras Shevchenko, and on the same occasion, the University was named in his honor.

The bronze figure of the poet, 6.45 meters high, was cast at the Leningrad Artistic Casting Plant from a model by sculptor Matvii Manizer and set upon a red granite pedestal measuring 7.3 meters in height, designed by architect Yevhen Levinson.

The bronze statue stands on a low artificial mound, approached by a five-flight staircase from the park’s main entrance, both the steps and the stylobate made of bush-hammered granite. On the front face of the rectangular pedestal is the inscription:
“T. H. Shevchenko. 1814–1861”,
and beneath it are lines from the poet’s “Testament” (Zapovit) engraved in stone.

The monument remains one of the most prominent landmarks of Kyiv, symbolizing the spiritual and cultural heritage of Ukraine’s national poet.