In the center of the village of Smotrovaya Buda, on a hill by the Miryatinka River, at a place known as the Cemetery, a church was built in honor of St. Nicholas the Wonderworker from 1889 to 1892. The church was designed in the style of rural wooden architecture of the late 19th century, characteristic of the neo-Russian direction. The building has a cross-shaped form, constructed from logs using the 'in lap' technique and covered with wooden planks. The church's base is made of brick, and the roofs are covered with iron.

The main part of the church consists of four rectangular log cabins arranged in a cross shape with gable roofs. In the center rises a low blind square section, above which is a light octagon topped with a tent-like roof and an onion dome on a sharp 'neck'. In the corners between the eastern and side parts of the cross are lowered square extensions for the deacon's and altar's areas, while on the western side are the porches of the side entrances. The verticality of the church is echoed by the bell tower, which is placed above the western part of the refectory and the porch with a vestibule. The bell tower also concludes with a tent roof and a dome.

The facade of the church is adorned with alternating wooden plank cladding: horizontal up to the top of the windows and vertical up to the cornice, while in the pediments, it is vertical and 'in a herringbone pattern'. The decor is complemented by modest window frames (single and triple) with small pediments and lintels, simple cornices and pediments that finish the arms of the cross and the porch. Decorative gables that break the cornices and shelves below the roofs add expressiveness to the silhouette of the church.

Inside, the central part of the church dominates, connected to the refectory, side extensions, and altar through wide arched openings. The transition from the square section to the octagon is achieved using flat sails. The interior painting, executed in oil paints in 1904, includes the image of 'SABAOTH' on the eastern side of the tent and 'EVANGELISTS' on the narrow sides of the octagon, done in an academic style. The color palette is maintained in soft, muted tones.

The modest decor repeats in a simplified form the design of the side iconostases: applied geometric elements and felt pilasters in the base part. The framing of icons from the second half of the 19th century is made in the form of a series of 'teeth'. The single-tier side iconostases from the mid-19th century, likely transferred from other churches, represent interesting examples of Ukrainian Baroque. Elements of these iconostases and all icons have been lost. The original finishes of the iconostases were adorned with rich carved decor, harmonizing with the Baroque painting of the icons (images of archangels). The main four-tier iconostasis from the second half of the 19th century with the 'Crucifixion' at the top is stylized in the spirit of Baroque. Its royal gates and icons of local rank have also been lost.

The church was closed from 1933 to 1941, the bell tower was dismantled, and the building was used as a grain storage facility. The church was finally closed in the second half of the 1960s, and in August 1989, it burned down.