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.

The university building was constructed according to the design of architect Vincenzo Beretti, with the completion of construction overseen by his son, Oleksandr Beretti. In addition to ceremonial halls and lecture auditoriums, the project included apartments for laboratory assistants, a library, a museum, and a house church. After being damaged by an explosion in 1943, the building was restored under the supervision of architect Pavlo Alyoshyn.

The brick structure, built over a basement, includes a ground floor, mansard level, and two full storeys. The walls are painted red, while the cast-iron capitals are finished in black. In plan, the building forms a rectangular enclosed courtyard. The façades are designed in the Empire style. The central part of the main façade is accentuated by an eight-column portico, creating a powerful architectural focal point.

The interior decoration employs the classical order system, reinforcing the building’s monumental and harmonious character. Today, it stands as one of the most iconic examples of Empire architecture in Kyiv, symbolizing the intellectual and architectural heritage of Taras Shevchenko National University of Kyiv.

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 Opera and Ballet Theatre (now the Taras Shevchenko National Academic Opera and Ballet Theatre of Ukraine) stands on the site of the former City Theatre, which was destroyed by fire in 1896, and serves as the main architectural and compositional focal point of Teatralna Square.

Built in the Neo-Renaissance style, the structure features brick walls, vaulted ceilings in the vestibule and foyer, and flat reinforced-concrete floor slabs. The stage and auditorium roofs are supported by metal trusses. The grand staircase is made of white marble, while the secondary staircases are of granite. Architectural and sculptural elements of the façades are executed in artificial stone, and the roofing is made of sheet copper.

The façades combine geometric and floral relief ornamentation with sculptural figures of muses and winged griffins placed above the main entrance. The Renaissance detailing is complemented by metal canopies above the entrances, intricately decorated with dynamic vegetal motifs. These same motifs dominate the interior decoration, particularly in the auditorium, where they are interwoven with Baroque-style elements — mascarons, gilded floral ornaments, and three-armed wall sconces. The auditorium, arranged in five tiers, accommodates 1,312 spectators.

Construction was supervised by city architect Oleksandr Kryvosheiev from August 1898, later continued by architectural academician Volodymyr Nikolayev, assisted by architect Oleksandr Verbytskyi. The sculptural decoration of the building was created by the renowned Italian sculptor Elio Sala.

The theatre remains one of Kyiv’s most significant architectural landmarks, combining structural innovation, artistic craftsmanship, and the grandeur of Neo-Renaissance aesthetics.

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.