At all times, art has quickly responded to the evident and concealed socio-political processes in the society. Starting from the first decades of the twentieth century, the semantic meaning of the terms "art" and "work of art" gradually has changed; art does not always refer to the category of beauty, and therefore the criteria for the selection of artefacts to works of art also has changed. The transformation of the phenomenon into art occurs gradually: first it arises spontaneously, then specific genres and professionals appear, then it becomes a social phenomenon and holds a particular niche in the cultural life of society. So, art should be a means of educating society, which develops according to the laws of aesthetics and composition, and in this case, the elemental phenomenon becomes an artistic phenomenon. The restoration industry is quite conservative; it adheres to the criteria for defining a work of art and the basics of preserving and reproducing a work of art that developed during the 20th and 21st centuries, in which restoration includes painting, murals, sculpture, carving, iconostasis, furniture, fabrics.

The article deals with the issue of urban development at the Secession period, it reveals the role of a private estate as an urban-planning unit of the late 19th century -beginning of the 20th century, analyses the specific features of private estates in different cities of Ukraine. The role of the historical and architectural site plans in modern conditions for the preservation of the historical environment of the cities was determined.

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The main problem of monuments' emergency state is poor condition of the bases and foundations often due to their moisture. Uneven foundations subsidence leads to redistribution of efforts in bearing constructions and static instability of the base-foundation-building system. That's why any restoration starts with the removal of their emergency state. Using the example of Mykola Pritisk's Church on Podil, where groundwater underflooding caused the collapse in the southeastern part of the building, describes how the restoration works on the monument, which began with the reinforcement of damaged foundations and framework for static recovery of base-foundation-building system, measures to protect foundations and basements from underflooding, ensuring reliable vertical and horizontal waterproofing for the basement walls and floors, and all the underground part of the church, and works for antiseptic treatment of biodamaged and saline walls and plaster surfaces. After that, the organization of reliable geodetic control for the structure deformation was ensured.

The article is devoted to the specific character of the formation of art-clusters as a new type of buildings. Today, the theme of redevelopment of unprofitable industrial enterprises for art objects is extremely relevant for Ukraine and Poland (where a powerful experience of such complexes is accumulated). A feature of such modern establishments is that this is a space of a fundamentally new type, based on fundamentally new principles, where the preserved in its original form, facade and the modern functional content are combined. Since such industrial buildings are often architectural monuments, a complex of the restoration and renovation measures becomes important.