The dissertation research consistently analyzes iterations in the architectural and artistic field of Kyiv depending on socio-political, cultural, economic, technological and other factors that had a direct impact on the specified genesis. Creative progress in the city is presented as part of global changes with the identification of unique features and international parallels and identities in the relevant transformations.
The research is interdisciplinary and developed at the intersection of the fields of architecture, art history and culturology, with the involvement of appropriate sources, methods and conceptual apparatus from each of them.
The genesis of Kiev architecture is studied around three boundary points, "crises", which marked a sharp change in the vector of development. The transition from historical and eclectic reminiscences and Art Nouveau to the avant-garde; from constructivism and rationalism to Soviet neoclassicism; from the so-called Stalinist Empire style to Soviet architectural modernism and functionalism is considered step by step. The research primarily focuses on these boundary points, their role, meaning and consequences in the architecture, art and culture of the era.
In addition to intra-artistic factors, the influence of the background is manifested, which, according to the hypothesis of the work, determines the designated turning points. At each stage, iterations of the influence of folk traditions, Ukrainian baroque and Ukrainian architectural art nouveau are analyzed. Markers of local cultural and national self-identification are emphasized.
The concept of "aesthetics" in architecture is clarified in relation to the concepts of "traditional" and "academic" architecture; "living" and "invented" traditions in the architectural and artistic field of the period are manifested.
At the intersection of architecture and art, the national monumental propaganda of the 1910s - 1960s was manifested, its formation and transformation depending on the marked transitions.
Active use of primary sources and archival materials is aimed at creating an unbiased, scientifically balanced coordinate system, re-assigning previously known facts from the point of view of paradigms of modern Ukrainian art history, architecture and cultural studies. An important component is to attract little-known and unknown archival materials that are in limited access to fill in existing gaps.
For the first time, all three transitional periods of Kyiv architecture of the first half of the 20th century are considered in stages. The international context is indicated not only in comparison with Kyiv's foreign experience, but also in the international situation with domestic achievements.
