The article explores the phenomenon of the architecture style transformation with a radical change in the natural environment. By the example of two pairs of objects of the same style – objects of Northern National Romanticism in Finland and China and objects of the “Moscow pattern work” in Russia and France, the non-identity of the their architecture perception is argued with the general preservation of the defining signs of style – severe stone forms of northern national romanticism in dense Helsinki's urban development is perceived differently than similar forms of northern national romanticism among the exotic greenery of the coastal city of Qingdao, just as finely detailed forms of the Moscow Orthodox churches are perceived differently than similar forms among the palms of Nice. Another aspect is associated with a change in the ideological perception of the style of architecture when it is transferred to the territory of another country. Thus, Northern National Romanticism was perceived by Finland and the Baltic countries as the style of their national identity, therefore, it clearly expressed those elements and plots that just expressed the national identity of the countries under the rule of the Russian Empire. The same style, embodied in the representative buildings of Qingdao, primarily the governor's residence, expressed a different ideology: Qingdao was the military base of the navy, therefore Northern National Romanticism in this case expressed the nationality and dominance of Germany. At the same time, as you move away from the center of origin, each style invariably transforms as a result of multiple local layers, therefore, with all the grandeur of the appearance of the residence, it does not look as monumental as similar buildings in Finland or the Baltic countries due to the influence of Chinese traditions in polychrome and decor and placement in a different natural environment.

The article analyses the impact of natural environment on the creation of a Christian church design, as an example, reviews the Orthodox architecture of Ukraine – historical and contemporary one. From time immemorial, Orthodox churches were erected in the most picturesque places – on high hills, steep banks, near rivers and lakes – so that the temple was reflected in the water surface. A typical example is the historical silhouette of the steep right bank of Kyiv, formed by many churches, cathedrals and monasteries located along the edge of the hilly shore. If temples in the urban environment were constrained by the conditions of dense quarterly development (the principal cathedrals and monasteries were an exception), then the peculiarity of the remote suburban monasteries – the hermitages – was precisely the creation of nature and architecture picturesque combination. At the monasteries, parks, gardens and flower beds were created, artificial lakes were arranged. During the domination of the atheistic ideology, temple construction was in decline, most of the cathedrals, churches and monasteries were destroyed or redesigned under the socialist functions of clubs, museums of atheism, schools and storages. The contemporary course in the creation of new Orthodox churches is aimed at restoring the lost sequence in the church building. In this case, particular attention is paid to the natural environment: churches are built in park areas, in forest parks, on the banks of lakes, surrounded by flower beds. The relevance of the study is explained by the presence in Ukraine of a large number of Orthodox churches – both architectural monuments and newly built, which are traditionally surrounded by gardens, parks and flower gardens as symbols of their non-earthly purpose, the image of the Garden of Eden. Therefore, during the restoration and new construction of such objects, it is necessary to understand the features of the сhurch landscape design, which has been formed and improved over the centuries.

The article analyses the origins of such a small architectural form as the Chinese pavilion, investigates its functional, planning and artistic figurative features. The evolution of functional and artistic figurative solution of pavilions from dynasty to dynasty is determined. On the basis of the dimensions of the preserved pavilions, their proportional and metro-rhythmic features were determined; a list of the most characteristic forms of roofs as the main exponents of the national originality of the Chinese pavilions was compiled. The reasons for the revival of the tradition of “chinoiserie” style in modern landscape design are argued.

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 analyzes the features of traditional Chinese landscape design and its impact on the landscape design of modern Chinese parks. The purpose of the article is to compare the historical gardens and modern parks of China in order to determine the continuity and at the same time the features of innovation. The main difference between historical gardens and modern parks is emphasized: historical gardens were aimed at creating a calm, serene atmosphere of contemplation of nature; modern parks often combine traditional landscape techniques and the function of entertainment. The main historical landscape techniques provided for the presence of a lake and artificial mountains as symbols of immortality, a constant change of views, contemplation of the landscape through the opening as a picture in a frame, the inclusion of a small garden in the large, partitioning the space with "green screens". Modern parks in China still inherit these techniques in general: they have reservoirs, a lot of greenery, park pavilions, but there are already views from distant points, the parks are surrounded by a wall of skyscrapers, entertaining attractions have appeared in them, and in the evenings they are illuminated with bright illumination. Despite their attractiveness and modernity, the atmosphere of the Chinese garden has changed from a secluded personal to a public character, as can be seen in the examples of modern parks in Xi'an and Hong Kong.