Discover the extraordinary story of Shavarsh Karapetyan, a legendary Armenian athlete and true hero. This article recounts his remarkable bravery in saving 20 passengers after a derailed trolleybus plunged into a Yerevan Lake. < Back Yerevan Tales: The Finswimmer Who Saved 20 Lives from a Submerged Trolleybus Discover the extraordinary story of Shavarsh Karapetyan, a legendary Armenian athlete and true hero. This article recounts his remarkable bravery in saving 20 passengers after a derailed trolleybus plunged into a Yerevan Lake. Shavarsh Vladimirovich Karapetyan (born May 19, 1953, in Kirovakan, Armenian SSR, USSR, now Vanadzor) is an Armenian finswimmer. He is an 11-time world record holder, 17-time world champion, 13-time European champion, and a seven-time USSR champion in finswimming. On September 16, 1976, Shavarsh Karapetyan, accompanied by his brother Kamo and their coach, had just completed a 20-kilometer morning run. Near Yerevan Lake, they saw a trolleybus derail and plunge into the water. Without hesitation, Karapetyan leapt into action to rescue the passengers. Diving to a depth of 10 meters in zero visibility, he broke the trolleybus’s rear window with his legs and managed to pull 23 people out of the submerged vehicle within 20 minutes. He passed the rescued passengers to his brother, who transferred them to a boat, from where they were taken to waiting vehicles. Of the 23, 20 people survived thanks to the medical assistance provided onshore, while the other 26 people died. The fact that so many lives were saved is also due to the air bubble that formed inside the trolleybus. Shavarsh Karapetyan during training sessions During one of his dives, Karapetyan accidentally retrieved a seat cushion instead of a person, a memory that haunted him for years, as he believed he could have saved another life. His body was severely lacerated by shards of broken glass, and the rescue efforts led to pneumonia complicated by sepsis. With a persistent fever of 40°C, he spent 45 days in the hospital. The pneumonia left adhesions in his lungs, causing pain and choking fits with every deep breath. The trolleybus is being pulled out of Yerevan Lake Despite his health challenges, Karapetyan resumed training after recovering from the 1976 events. In 1977, he set another world record in finswimming, completing a 400-meter dive in 3 minutes and 6.2 seconds. However, due to the long-term effects of his injuries, he could no longer continue his sports career and decided to retire. Later, he served as the director of a youth sports school in Yerevan. On May 24, 2010, he was awarded the Medal of Courage by a decree of the President of Armenia. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

In this article, I’ve collected notable examples of Soviet Modernist architecture from across the former Soviet Union countries. These iconic structures embody the era's distinctive style, merging functionality with bold, innovative designs. From towering buildings to communal spaces, Soviet Modernism left a lasting imprint on the architectural landscape. < Back Modernist architecture in the Soviet Union In this article, I’ve collected notable examples of Soviet Modernist architecture from across the former Soviet Union countries. These iconic structures embody the era's distinctive style, merging functionality with bold, innovative designs. From towering buildings to communal spaces, Soviet Modernism left a lasting imprint on the architectural landscape. Modernist architecture emerged in the early 20th century as a bold departure from tradition, emphasizing function, simplicity, and the expressive potential of new materials like concrete, glass, and steel. In the Soviet Union, this movement took on a unique character, evolving significantly after the ornate excesses of Stalinist neoclassicism in the 1930s and 1940s. By the mid-1950s, under Nikita Khrushchev’s push for mass housing and utilitarian design, Soviet architects embraced modernism to meet the needs of a rapidly industrializing society. This shift birthed a distinct architectural language—often called Soviet modernism—marked by geometric forms, experimental structures, and a blend of local cultural influences with the ideological drive for progress. Across the vast expanse of the USSR, from the Baltic states to Central Asia, modernist buildings became symbols of a forward-looking socialist utopia, though their legacy today is a mix of admiration, neglect, and rediscovery. Armenia Earlier, I wrote about Soviet modernist buildings in Armenia —you can check out the link for more details. In this article, I will highlight three of my favorite examples, one of which has unfortunately been demolished. Zvartnots Airport Zvartnots Airport, Terminal 1 in Soviet times Zvartnots Airport, particularly Terminal 1—now known as the Old Terminal—stands as one of the most prestigious architectural achievements of the Soviet era. Its futuristic design, reminiscent of a monolithic space city from science fiction, remains a testament to the bold vision of its creators. In 1970, an open competition for architectural proposals was held, awarding first prize to a team of architects, including Artur Tarkhanyan, Spartak Khachikyan, Zhorzh Shkhiyan, Sergey Baghdasaryan, and Levon Cherkezyan. The project was later refined with contributions from A. Tigranyan and A. Meschyan. Constructed in an impressively short timeframe, the airport was officially inaugurated on February 10, 1982, with great ceremony. Recognized for its innovative architectural design, the team behind Zvartnots was honored with the Armenian SSR State Prize in 1985. The establishment of the airport marked a major milestone for Armenia, transforming it into a key transportation hub. Its runways, meeting international standards, placed Zvartnots among the most advanced airports in the Soviet Union—comparable only to those in Moscow and Kyiv. The terminal’s design was groundbreaking: a circular structure with a truncated cone shape, spanning a 200-meter diameter. At its center, a mushroom-shaped tower housed a panoramic restaurant. Surrounding the main terminal were seven mini-terminals, each capable of handling 300 passengers per hour, along with 14 aircraft stands designed for TU-154 aircraft, or 7 stands for larger Airbus IL-82 planes. In 2004, construction began on a new terminal, a $100 million project covering 19,200 m², designed to accommodate 2 million passengers annually. Under a new airport administration contract, the arrivals hall opened on September 14, 2006, followed by the international departures hall on June 1, 2007. With the completion of the new terminal, Terminal 1 ceased operations in 2011. Youth Palace: A Lost Architectural Icon of Yerevan The Youth Palace in Yerevan. Photo: Vladimir Vyatkin The Youth Palace, colloquially known as "Kukuruznik" due to its resemblance to an ear of corn, was a landmark hotel and cultural complex in Yerevan. As part of the 50th anniversary celebrations of the USSR's founding, Soviet authorities initiated the construction of Youth Palaces in the capitals of all Soviet republics. In Yerevan, the site was strategically chosen on Kanaker Heights, at the northern end of Abovyan Street, where Alexander Tamanyan’s master plan for the city concluded. The project was financed by Moscow with the aim of creating a space where young people from across the Soviet republics could gather, engage in cultural exchange, organize symposia and festivals, participate in sports, and reside in the palace’s on-site hotel. In the mid-1970s, the head of the Armenian Komsomol, Stepan Poghosyan, commissioned renowned architects Hrachya Poghosyan, Artur Tarkhanyan, and Spartak Khachikyan to design the structure. A notable feature of the Youth Palace was its 1,000-seat stage hall, which was completed later. The top floor housed a café with a rotating floor, offering visitors a 360-degree panoramic view of Yerevan. This made it the second rotating structure in the Soviet Union, following the Ostankino TV Tower in Moscow. The Youth Palace officially opened in 1979, operating as a state enterprise under the Intourist system. Adjacent to Abovyan Park, it became a key venue for cultural and social events. However, in 2005, under demolition permit No. 40 issued by the Yerevan Municipality, the structure was deemed unsafe based on assessments from Hayseismshin and KPAH, signed by Yerevan’s Chief Architect, Samvel Danielyan. Over the next two years, the building was completely demolished. Today, the former Youth Palace site has been transformed into a large active quarry, marking the loss of one of Yerevan’s most distinctive Soviet-era architectural landmarks. Sevan Writer's Rest House Perched on the Sevan Peninsula along the shores of Lake Sevan, the Sevan Writers' Rest House stands as a striking example of Soviet-era modernist architecture, continuing to attract visitors from around the world. Constructed primarily from concrete, the complex consists of two distinct structures: the Residence Hall and the Lounge Building , built at different stages of the Soviet period. Designed by architects Gevorg Kochar and Mikayel Mazmanyan, the Residence Hall was initially conceived in 1932 and completed in 1935. In 1963, Kochar was commissioned to renovate and expand the resort, adding an additional floor and a spacious terrace to the Residence Hall, refining its original aesthetic. As part of the expansion, Kochar also designed the new Lounge Building. While architecturally distinct from the Residence Hall, the two structures blend seamlessly with the surrounding landscape and the historic Sevan Monastery nearby. Together, they form an enduring testament to post-Stalinist Soviet modernism, embodying both innovation and harmony with their environment. Belarus Belexpo - The Pavilion of International Exhibitions The Pavilion of International Exhibitions, also known as "Belexpo," is a notable architectural structure in Minsk, Belarus. It was constructed in the 1980s, with its design credited to architects Leonard Moskalevich, Galina Laskavaya, and Viktor Kopylov. This building exemplifies Soviet-era architecture, characterized by its bold, monumental style and functional design, intended to host large-scale exhibitions and events. Located in the heart of Minsk, it remains a significant venue for trade shows and cultural gatherings, reflecting the city's history and its role as a hub of activity during the late Soviet period. Estonia Hotel Viru: Tallinn’s Soviet-Era Skyscraper and KGB Listening Post The Hotel Viru, an iconic establishment in Tallinn, Estonia, was designed by architects Henno Sepmann and Mart Port. The interior design was crafted by Vello Asi, Väino Tamm, and Loomet Raudsepp. Construction commenced in July 1969 under the Finnish company Repo Oy, but after a fire in December 1969, the project was completed by another Finnish firm, Haka Oy, and the hotel officially opened on May 5, 1972. While the hotel's official structure comprised 22 floors, a hidden 23rd floor housed a KGB radio center. The floor remained a secret until 1991, when, amidst the Soviet collapse, KGB operatives abandoned their posts overnight. Sixty rooms were bugged with hidden microphones in walls, telephones, ashtrays, and even flowerpots. Restaurant tables, saunas, and corridors were under constant surveillance. Guests, including journalists and Estonian exiles, were closely monitored. The unspoken rule: say aloud in your room that you need soap, and it would arrive instantly—proof someone was always listening. Despite its espionage legacy, Hotel Viru was a hub of Soviet nightlife, hosting celebrities like Elizabeth Taylor and Neil Armstrong. The lavish restaurant and exclusive “Currency Bar” catered to foreign guests, ensuring they never had to leave the KGB-controlled space. Today, the abandoned 23rd floor remains a chilling time capsule, preserved as the KGB Museum, where visitors can glimpse remnants of Cold War surveillance operations in the heart of Tallinn. Tallinn TV Tower The Tallinn TV Tower, standing at 314 meters, is the tallest building in Estonia and a prime example of Soviet Modernist architecture. Construction commenced on September 30, 1975, and the tower was officially inaugurated on July 11, 1980, in time for the 1980 Moscow Summer Olympics. Designed by architects David Baziladze and Juri Sinis, with engineers Vladimir Obydov and Yevgeny Ignatov, the tower was built to enhance telecommunication services for the Olympic regatta events held in Tallinn. The observation deck, located 170 meters above ground, offers panoramic views of the city and the Gulf of Finland. After renovations, the tower reopened to visitors on April 5, 2012, and now serves as a cultural and leisure center. Georgia Soviet modernism, particularly from the 1950s onwards, marked a shift from the ornate Stalinist architecture to more functional, minimalist designs. In Georgia, this period saw architects leveraging local materials and cultural motifs, creating buildings that stood out for their uniqueness. The country's hilly terrain and seismic activity also influenced designs, requiring innovative solutions that often resulted in striking, futuristic forms. In this article, I have excluded the Ministry of Highway Construction of the Georgian SSR and the Wedding Palace (Palace of Rituals) in Tbilisi, Georgia, as they are more accurately categorized under Brutalist architecture. For more information on these structures, please check out the following article, "Brutalist Architecture in the Soviet Union." Tbilisi Skybridge (Nutsubidze Skybridge) The Nutsubidze Skybridge, also known as the Tbilisi Skybridge, is a notable example of Soviet-era modernist architecture located in Tbilisi, Georgia. Designed by Georgian architects Otar 'Toni' Kalandarishvili and Gizo Potskhishvili, the complex was constructed between 1974 and 1976. It comprises three residential towers interconnected by elevated walkways, creating a distinctive silhouette against the city's landscape. The design incorporates elements of Brutalism, characterized by raw concrete structures, while also reflecting Georgian architectural motifs, such as horseshoe-shaped façade elements inspired by traditional Tbilisi balconies. These elevated bridges not only serve as physical connections between the buildings but also symbolize the ambitious urban planning ideals of the Soviet period. Tbilisi Chess Palace and Alpine Club (1973-1976) – Tbilisi The Tbilisi Chess Palace and Alpine Club, inaugurated in 1973, stands as a testament to late Soviet Modernist architecture in Georgia. Designed by architects Vladimir Aleksi-Meskhishvili and Germane Ghudushauri, the facility is nestled within Tbilisi's Vera Park (formerly Kirov Park). The establishment is dedicated to Nona Gaprindashvili, a five-time world chess champion, and mountaineer Alexandra Japaridze, reflecting its dual purpose of promoting both chess and alpine sports. Architecturally, the three-story building harmoniously integrates with the park's sloping terrain. The structure features an amphitheater-style main hall accommodating 520 spectators, with movable panels on the third floor allowing natural light to permeate the space. The use of local materials, such as beige Eklar stone and extensive glass elements, ensures a seamless blend with the surrounding landscape. In 2019, the Georgian government designated the Tbilisi Chess Palace and Alpine Club as a cultural heritage monument, underscoring its architectural and historical significance. Today, the building continues to serve its original functions, housing the Georgian Chess Federation on the second floor and the Alpine Club on the first floor, thereby remaining a vibrant center for both chess enthusiasts and mountaineers. Tbilisi State Philharmonic Hall: A Cultural Landmark of Georgia The Tbilisi State Philharmonic Hall is one of Georgia’s most prominent concert venues, located at 36/1 Merab Kostava Street in Tbilisi. Serving as a major cultural and architectural landmark, it has played a crucial role in the development of Georgian music and performing arts The Tbilisi Philharmonic Hall was constructed between 1971 and 1976 under the direction of architect Irakli Chkhankeli. Designed in the Soviet modernist style, the building features a distinctive circular structure with a spacious foyer that seamlessly integrates with the surrounding cityscape. The hall remains one of Tbilisi’s most remarkable architectural works from the late Soviet period. The venue boasts a main concert hall with a capacity of 2,500 seats and a smaller hall accommodating 750 guests. The spacious circular foyer enhances the building’s accessibility and connection with its urban surroundings. In front of the concert hall, a bronze sculpture titled "The Muse" by sculptor Merab Berdzenishvili and architect Irakli Chkhankeli serves as an artistic focal point. Today, the Tbilisi State Philharmonic Hall continues to be a leading venue for concerts, festivals, and cultural events, attracting both local and international performers. The hall's extensive renovation in the early 21st century has helped preserve its architectural integrity while modernizing its facilities. Kazakhstan Hotel Kazakhstan Built in 1977 with a capacity of 1,000 guests, the Kazakhstan Hotel is an architectural landmark. Designed by architects L. Ukhobotov, Yu. Ratushny, A. Anchugov, and V. Kashtanov, with structural engineers A. Deev and N. Matviets, engineer A. Tatygulov, and artists M. Kenbaev and N. Tsivchinsky, the building earned its creators the State Prize of the Kazakh SSR named after Chokan Valikhanov in 1980. Standing at 102 meters, it was the tallest building in Almaty from 1977 to 2008 and continues to host approximately 300,000 guests annually. For the first time in the Soviet Union, a 25-story building was constructed in a high-risk seismic zone (rated at nine on the seismic scale) without traditional scaffolding. Instead, a sliding formwork method was used, supported by hydraulic lifts. The reinforced concrete core of the building was set on a massive 40×60-meter foundation slab, 180 cm thick, with all floors effectively "threaded" onto this core. Shortly before completion, the structure underwent rigorous seismic testing. A special machine installed at the top of the building simulated earthquake tremors, while sensors on various floors recorded the vibrations. The building’s earthquake resistance was confirmed in 1979 when it withstood a magnitude 5 earthquake without damage. Arasan Bathhouse Complex Arasan (translated from Kazakh as "warm spring") is a wellness complex in Almaty. Built between 1979 and 1982 under the supervision of a team of architects and engineers (V. T. Khvan, M. K. Ospanov, V. V. Chechelev, K. R. Tulebaev, and others), it was constructed on the site of the 1935 bathhouses on Gogol Street. The Arasan complex includes Eastern, Russian, and Finnish baths, a hydrotherapy center, a shower pavilion, and a children's section. Located in the city's prestigious "Golden Square" district, Arasan was not built due to a "critical shortage of bathhouses" but rather in response to the opening of a magnificent bathhouse complex in Tashkent in 1977, designed by Moscow architect Andrey Kosinsky. However, compared to that facility, Arasan is reminiscent of the ancient Baths of Caracalla. It was the largest bathhouse in the USSR, covering an area of 19,000 square meters with a daily capacity of 3,200 visitors. Unlike the lavishly decorated Tashkent bathhouses, Arasan's architectural beauty lies in its form. The domes set the visual theme, causing the walls to flow in smooth curves. The interiors, however, are far more luxurious, particularly the "temples" of the pools, where nearly the entire floor is covered with water. The Eastern Hall, resembling an ancient tepidarium, stands out as the most striking and elegant space in the complex. The House of Services in Astana The House of Services in Astana, built in the 1970s in the style of Soviet modernism, remained a striking example of its era’s architecture for many years. In 2012, plans for its renovation were announced. The reconstruction, carried out in 2014–2015, radically transformed the building’s appearance, making it more modern but stripping it of its former uniqueness. Today, the building is hardly recognizable: its facade, now featuring tinted glass, only vaguely resembles the original vision of its creators. Kyrgyzstan National Historical and Archaeological Museum Complex Sulayman The National Historical and Archaeological Museum Complex Sulayman, located in Osh, Kyrgyzstan, is a notable example of Soviet-era architecture. Constructed in 1978 to mark the 3,000th anniversary of Osh, the National Historical and Archaeological Museum Complex Sulayman is seamlessly integrated into the iconic Sulayman Mountain. Its striking design, highlighted by a sophisticated glassed concrete arch at the entrance, exemplifies Soviet-era architectural innovation. In 2009, the site earned prestigious recognition as a UNESCO World Heritage Site, affirming its global cultural and historical significance. While some sources describe the museum's design as Brutalist, characterized by its bold use of concrete and geometric forms, others highlight its modernist elements. The integration of the structure into the mountain and the use of glass and concrete align with modernist architectural principles. Therefore, the museum can be seen as embodying both Brutalist and modernist architectural styles. Kyrgyz State Historical Museum The Kyrgyz State Historical Museum in Bishkek stands as a quintessential example of modernist architecture, completed in 1984 during the waning years of Soviet influence in Central Asia. Designed with a bold cubic form and unadorned surfaces, the building embodies the minimalist design principles of the modernist movement, prioritizing simplicity, functionality, and structural clarity. This aesthetic, characteristic of late Soviet architectural trends, reflects a deliberate shift toward rationalism and efficiency, hallmarks of the era’s urban development initiatives across the region. The museum’s design transcends mere utility, aligning seamlessly with modernist ideals by eschewing ornamental excess in favor of a stripped-down elegance that underscores its role as a premier cultural institution. Its clean lines and geometric precision create an unobtrusive backdrop, allowing the rich historical and ethnographic exhibits—spanning Kyrgyzstan’s ancient nomadic heritage to its Soviet past—to take center stage. Spanning approximately 8,000 square meters, the structure integrates open interior spaces that enhance visitor engagement, a testament to its thoughtful balance of form and purpose. Recognized as one of Bishkek’s architectural landmarks, the Kyrgyz State Historical Museum not only preserves the nation’s legacy but also serves as a enduring symbol of modernist innovation in the late 20th century. Latvia Dailes Theatre in Riga The Dailes Theatre in Riga, Latvia, stands as a prominent example of Soviet modernist architecture. In 1959, architect Marta Staņa won a competition to design a new building for the theatre. Construction commenced in 1966 and concluded in 1976, with the theatre officially opening its doors at Brīvības Street 75. Staņa's design is celebrated for its functionalism, characterized by clean lines and a minimalist aesthetic. The building features a glassed viewer's lobby stretching along Brīvības Street, contrasting dark brick elements with bright concrete and glass surfaces. A notable feature is the stylized flame relief adorning the upper facade, interpreted by sculptor Ojārs Feldbergs. The project involved architects M. Staņa, I. Jakobsons, H. Kanders, structural engineer A. Briedis, and sculptors O. Feldbergs and I. Muravskis. The interior design was created by architects M. Staņa and A. Vecsiliš, designer A. Ramats, and artist A. Vilbergs. In the final stages, Latvian architects V. Saviško and I. Akolov, as well as specialists from Moscow and Leningrad, joined the team. The theatre houses three halls: Large Hall: Accommodates up to 980 seats, suitable for a wide range of performances, including dramas, comedies, tragedies, musical performances, children's shows, and concerts. Small Hall: Seats up to 197 guests, often used for experimental productions and close-up psychological studies. Chamber Hall: Offers an intimate setting with up to 83 seats, ideal for experimental and avant-garde performances. In recent years, the theatre's square underwent refurbishment by MADE arhitekti, earning the Latvian Architecture Award 2023 Grand Prix. The project preserved the landscaping principles and materials characteristic of the original modernist design while enhancing accessibility and creating a welcoming environment for all visitors. World Trade Centre Riga The World Trade Center Riga, originally constructed in 1974, served as the headquarters for the Central Committee of the Communist Party of Latvia during the Soviet era. This building is a notable example of Soviet modernist architecture, reflecting the design principles prevalent in that period. The building was designed by a team of Latvian architects: J. Vilciņš, A. Ūdris, G. Asaris, and A. Staņislavskis. The structure embodies the functional and minimalist aesthetics typical of Soviet modernism, characterized by clean lines, geometric forms, and the use of materials such as concrete and glass. Following Latvia's independence, the building was repurposed as the World Trade Center Riga, aligning with the country's integration into global economic networks. This transition reflects a broader trend of adapting Soviet-era structures for new functions in the post-Soviet period. Press House (Riga) The Press House (Preses nams in Latvian) is one of the first high-rise buildings in Riga, the capital of Latvia. Originally constructed to house editorial offices of Latvian newspapers and magazines, it is located on Ķīpsala Island. Built between 1973 and 1978, the project cost approximately 20 million rubles. The building was constructed using a monolithic concrete frame and consists of 20 functional floors, with two additional technical floors at the top. Notably, it was the first building in Latvia to incorporate slipform construction, a technique that required specialized equipment and hydraulic jacks manufactured in Minsk. The core of the 26-story tower (from the basement to the technical floor) was erected at an unprecedented pace—in just 35 days. The project was led by Elena Ageevna Pozharskaya, head of SU-55 of the "RigaPromStroy" trust. The construction process included a reinforced concrete framework, with columns installed into sockets and rigid walls assembled. At peak efficiency, up to four floors were installed per day. However, the project faced delays of six years due to labor-intensive techniques such as bathtub welding and the casting of shock concrete panels, which required expensive custom equipment and significantly increased both time and cost. The Press House stands 75 meters tall. Adjacent to the high-rise was a large two-story printing facility, which covered a significant area despite its lower height. The building included a bomb shelter for 250 people. Its exterior finish featured concrete panels, natural marble, and granite, while the conference hall was adorned with wood paneling for a refined interior. Lithuania Lazdynai: A Visionary Approach to Soviet Urban Planning In the 1950s, the Baltic states faced rapid population growth and severe housing shortages. Soviet leader Nikita Khrushchev introduced a mass housing program relying on prefabricated panel buildings, known as Khrushchovkas. However, these uniform structures threatened the historic character of Vilnius, prompting a group of architects to resist their spread into the city center. As an alternative, the architects were assigned the task of designing a new residential district outside Vilnius. The chosen location was near the Polish village of Leszczyniaki, known in Lithuanian as Lazdynai. Instead of following Soviet architectural norms, the team drew inspiration from Finnish urban planning, focusing on harmonizing buildings with the natural landscape. This was a modernist approach to urban planning within the Soviet context. Unlike typical Soviet khrushchovkas, which followed a rigid and utilitarian layout, Lazdynai was inspired by Finnish modernist architecture, emphasizing: Terraced layouts that followed the natural landscape More open spaces and greenery compared to typical Soviet microdistricts Better integration with nature, avoiding the monotonous grid-like planning of standard panel housing Initially met with skepticism by Soviet authorities, the project was eventually embraced. In 1974, its leading architects—Vytautas Čekanauskas, Vytautas Brėdikis, Vytautas Balčiūnas, and Gediminas Valiuškis, along with engineers Algimantas Kleinotas and Vincentas Šileika—were honored with the Lenin Prize in Architecture for their innovative approach. Lithuanian National Opera and Ballet Theatre (Vilnius) The Lithuanian National Opera and Ballet Theatre (LNOBT) is one of the most significant cultural institutions in Lithuania, renowned for its world-class opera and ballet performances. Located in Vilnius, the theatre stands as a prime example of Soviet modernist architecture, blending monumental forms with functionality. The theatre, designed by renowned Lithuanian architect Elena Nijolė Bučiūtė and completed in 1974, is a striking example of late Soviet modernist architecture. Defined by clean geometric lines, a monumental façade, and an emphasis on verticality, the building embodies both elegance and functionality. Expansive glass panels create a sense of openness, while sculptural reliefs add depth and artistic refinement to its exterior. The main auditorium of the theatre is celebrated for its excellent acoustics and can accommodate over 1,000 spectators. The interior features wood, marble, and chandeliers, creating an elegant and sophisticated atmosphere. Additionally, the theatre features a smaller Chamber Hall with a capacity of 250 seats, used for more intimate performances or events. The theatre complex also includes rehearsal rooms, costume workshops, and technical facilities, making it a fully equipped performing arts center. Moldova Chisinau State Circus: A Monument of Soviet-Era Entertainment The Chisinau State Circus, an architectural and cultural landmark, was built in 1981 by architects Ala Kirichenko and Simion Shoyhet. At the time of its opening, it was one of the most advanced circus venues in the Soviet Union, featuring state-of-the-art equipment, dedicated rehearsal spaces, and facilities for animals and veterinary care. In 1988, the entrance was adorned with a sculptural ensemble by renowned artist Matvey Levinson, depicting two smiling acrobat-clowns, warmly welcoming visitors With a seating capacity of 1,900 and a 40-foot-wide performance ring, it was the largest auditorium in Moldova. The venue attracted world-class circus artists from Belarus, China, Finland, Germany, Russia, Ukraine, and beyond, establishing itself as a premier destination for live entertainment. At its peak, the Chisinau Circus was a record-breaking institution, hosting up to 57 performances per year, significantly surpassing other circuses in the Soviet bloc, which averaged around 14 shows annually. With a dedicated staff of about 60 people, it became a cultural hub for both local and international performers. Following the collapse of the Soviet Union, the circus experienced a decline in activity. By 2004, it ceased operations due to urgent renovation needs. In 2006, a decree by the Ministry of Culture and Tourism led to its listing on the stock market, marking a significant shift in its status. Despite its current inactivity, the Chisinau State Circus remains an iconic symbol of Moldova’s rich cultural and entertainment history, awaiting restoration to its former glory. The "Romanita" Collective Housing Tower (Chisinau) In the mid-1970s, to address growing housing needs, local authorities initiated the construction of a residential tower for small family units. Designed and built between 1978 and 1986 by architect O. Vronski and engineer A. Marian, in collaboration with O. Blogu, S. Crani, N. Rebenko, and P. Feldman, the project was a remarkable structural achievement of its time. The 16 residential floors were designed with cantilevered units, giving the building a distinctive slender appearance—an uncommon feature in that era. Standing approximately 77 meters tall, the "Romanita" tower was once the tallest building in Chisinau. It comprises two basement levels, a ground floor, and 22 above-ground stories. Designed as a collective housing complex, its circular form and vertical orientation were influenced by its proximity to Valea Trandafirilor Park. The structure includes four floors dedicated to utilities such as laundry, drying rooms, and other household facilities, while the two underground levels house technical areas. The tower's residential design followed the socialist-era model, where housing units were strictly standardized. Each unit consisted of two rooms for two occupants, along with a hall and a bathroom. Shared kitchens, recreation rooms, and technical spaces were available on each floor. The layout typically included eight two-room units per level, linked by a circular corridor with communal spaces illuminated by natural light. Modifications to living spaces required official approval, reflecting the rigid regulations of the period. Following privatization in the 1990s, the tower transitioned from social housing to private apartments. Residents, seeking to expand their limited living spaces, added makeshift balconies, significantly altering the building’s original design. Over time, these unauthorized modifications distorted its architectural integrity. Cosmos Hotel (Chișinău) The Cosmos Hotel was built between 1974 and 1983, designed by architects B. Banykin and Irina Kolbayeva. Located near Chișinău’s central railway and bus stations, and just 11 km from the international airport, it was one of the largest hotels in Moldova during the Soviet era. The 19-story structure was constructed using reinforced concrete and prefabricated elements, reflecting the architectural style of its time. During the 1980s, Moldova was a popular travel destination within the Soviet Union, and the hotel boasted an impressive 90% occupancy rate in summer, reaching 100% from September to November. However, after the political changes of 1990, tourism declined sharply, and the hotel’s business model had to adapt. To maximize its use, management began leasing rooms as office spaces and repurposed the lobby for commercial activities. Between 1997 and 2004, investments were made to improve economic performance and service quality, elevating the hotel’s status from two to three stars. However, today, the Cosmos Hotel operates at reduced capacity. Many rooms have deteriorated, with worn-out finishes, damaged tiles, and aging sanitary facilities, while public areas on the ground floor and mezzanine remain in better condition. Russia The Presidium of the Academy of Science or “Golden Brains” The Presidium of the Russian Academy of Sciences, often called the “Golden Brains,” is one of Moscow’s most striking architectural landmarks. Designed by Yuri Platonov, the construction of the Presidium of the Russian Academy of Sciences began in 1974. However, due to technical difficulties and delays, it was not completed until the early 1990s. The project was an ambitious attempt to create a high-tech structure beyond the technological limits of its time. The construction was initially delayed due to unstable ground conditions, prompting engineer Levenshtein to design deep underground volumes, the exact depth of which remains shrouded in mystery. The marble cladding was meticulously quartered by Sergey Kisselev, later a key post-Soviet architect. Most of the construction relied on Yugoslavian materials and labor, making later renovations challenging, as many of the original components are now unavailable. The structure combines precast concrete, steel, and ceramic cement panels clad in marble. Its golden-tinted glass and anodized aluminum elements shift hues depending on the light. The most recognizable feature is the intricate metal structures atop the building, designed by Mstislav Keldysh to echo Moscow’s golden domes while concealing rooftop utilities. The central golden clock, though decorative, adds to the futuristic aesthetic. Completed just as the Soviet Union collapsed, the building stands as a monument to an era of grand scientific ambition—and its abrupt decline. Tajikistan The Tajikistan Hotel, Dushanbe, 1977 The Tajikistan Hotel, designed by architect A. Onishchenko, featured 498 rooms, each equipped with contemporary furnishings, a radio, telephone, and television—luxuries of its time. The complex also included its own telephone exchange, radio station, and electrical substation. The name “Tajikistan” set high expectations, which is why the hotel’s artistic design involved renowned Tajik monumental artists and folk masters such as S. Nuriddinov (woodcarver), V. Sabzaliev (ceramicist), S. Sharipov, V. Odinaev, and D. Abdusamatov (tapestries). Turkmenistan Turkmen State Circus in Ashgabat The Turkmen State Circus (Turkmen: Türkmenistanyň Döwlet Sirki) is located on Magtymguly Avenue in Ashgabat. The circus hall has a seating capacity of 1,700. The building was constructed between 1979 and 1984, designed by architect Arif Zeynalov. What makes this structure unique is its column-free design and a scaly roof that can withstand earthquakes of up to 9 on the Richter scale. This innovative approach was developed by young Turkmen scientist Annageldi Bazarov, based on his PhD dissertation defended in 1975. The same design was later used for circuses in Bishkek (Kyrgyzstan) and Dushanbe (Tajikistan). Ukraine Hotel Salyut in Kyiv Hotel Salyut is a landmark of Soviet modernist architecture, standing out with its unique design. Built in 1984 based on the project by architect Avraam Miletsky, this seven-story hotel is located in the Pechersk district of Kyiv, on Slava Square, near a park and not far from the Kyiv Pechersk Lavra. The original plan envisioned an 18-story building, but after official approvals, the project was unexpectedly modified, reducing the height to eight floors, with only five being residential. The architectural concept is based on a central circular core that supports the suspended residential floors. The top section, resembling a "cap," was initially designed to house a summer restaurant with a panoramic view of the Dnipro River. The hotel has 100 rooms, including 90 single rooms and 10 two-room suites. As a three-star hotel, Salyut offers basic amenities for a comfortable stay. The construction of the hotel sparked controversy, especially among preservationists concerned about Kyiv’s historical skyline. Its proximity to the Kyiv Pechersk Lavra raised concerns about the impact on the monastery's visual integrity. However, over time, Salyut became an integral part of the cityscape and a prime example of late Soviet modernist architecture. Today, Hotel Salyut remains an important architectural landmark in Kyiv, attracting not only tourists but also enthusiasts of urban design. Lviv Bus Station Lviv Bus Station is a major terminal for intercity and international bus transportation in Lviv, Ukraine. It is located at 109 Stryiska Street and serves as an important gateway for travelers heading to various destinations, including the Carpathians and other regions via the city’s ring road. The station was built between 1976 and 1980, designed by architects V. Sagaidakovskyi and M. Stolyarov, with engineers V. Boikiv and A. Yefremov. It was planned as part of Lviv’s general urban development strategy, placing the bus station on the southern outskirts of the city to facilitate easy departures. The terminal is designed to handle up to 800 passengers per hour. Its spatial composition resembles a three-leaf structure, dividing the station into three functional zones: a forecourt facing the city’s highway, an arrival zone, and a departure zone for buses. Facing Stryiska Street, the building has three floors and features an extended, complexly designed canopy supported by reinforced concrete struts near the main entrance, adding to its distinctive modernist appearance. Today, Lviv Bus Station continues to be a key transportation hub, providing connectivity for both local and international travelers. Uzbekistan Tashkent TV Tower: The Tallest Observation Deck in Central Asia The Tashkent TV Tower is a prominent landmark in Uzbekistan’s capital, serving as a television and radio broadcasting hub. Standing at an impressive 375 meters, it is the tallest structure in Central Asia that features a publicly accessible observation deck. The tower ranks as the second tallest structure in the region, following the 420-meter chimney of the Ekibastuz GRES-2 power station. Construction of the tower began in 1978 and took six years to complete. On January 15, 1985, it officially commenced operations. The architectural vision behind this impressive structure was realized by Yuri Semashko and N. G. Terziev-Tsarkov, while engineers E. P. Morozov and M. D. Musheev handled the structural design. Its unique design ensures stability and durability, crucial for seismic activity common in the region. The tower’s framework consists of a combination of reinforced concrete and steel, contributing to its ability to withstand strong winds and earthquakes. One of the tower’s main attractions is its observation deck, which provides breathtaking panoramic views of Tashkent. Visitors can also enjoy a meal at the revolving restaurant located within the tower, offering a unique dining experience with ever-changing views of the city skyline. 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As one of the world's oldest civilizations, Armenia is a treasure trove of historical monuments, many of which date back to the early Christian era. At the same time, the country's diverse landscapes, ranging from rugged mountains to serene lakes, make it a paradise for nature lovers. In this article, we'll explore the must-see historical sites and natural wonders that make tours in Armenia an unforgettable experience. < Back Tours in Armenia: From Historical Monuments to Natural Wonders As one of the world's oldest civilizations, Armenia is a treasure trove of historical monuments, many of which date back to the early Christian era. At the same time, the country's diverse landscapes, ranging from rugged mountains to serene lakes, make it a paradise for nature lovers. In this article, we'll explore the must-see historical sites and natural wonders that make tours in Armenia an unforgettable experience. Historical Monuments: A Journey Through Time Armenia is often referred to as an open-air museum, thanks to its abundance of historical monuments scattered across the country. The rich history of Armenia is deeply intertwined with the rise of Christianity, making it the first nation to adopt Christianity as a state religion in 301 AD. This religious heritage is evident in the countless monasteries, churches, and khachkars (cross stones) that dot the landscape. 1. Etchmiadzin Cathedral: The Spiritual Heart of Armenia No tour of Armenia would be complete without a visit to the Etchmiadzin Cathedral, located in the city of Vagharshapat. Often referred to as the “Vatican of the Armenian Apostolic Church,” Etchmiadzin is considered the oldest cathedral in the world, with its origins dating back to 301 AD. The cathedral is not only a masterpiece of Armenian architecture but also a spiritual center for Armenians worldwide. Visitors can explore the cathedral’s intricate carvings, frescoes, and relics, including what is believed to be a piece of Noah's Ark. 2. Garni Temple: Armenia's Timeless Pagan Marvel Garni Temple, located in Armenia, is an iconic symbol of the country's pre-Christian heritage. Built in the 1st century AD, it is the only surviving Greco-Roman colonnaded building in the post-Soviet territory, dedicated to the god of sun Mithra. The temple's architecture, with its elegant columns and detailed stone carvings, reflects the influence of Roman design, yet it remains a uniquely Armenian monument. Set against the backdrop of the Azat River Gorge, Garni Temple is not only a historical treasure but also a stunning location for visitors to explore Armenia's ancient past. 3. Khor Virap: A Monastery with a View Khor Virap, located near the border with Turkey, is another iconic site in Armenia. The monastery is famous not only for its religious significance but also for its stunning views of Mount Ararat, the biblical mountain where Noah’s Ark is said to have come to rest. Khor Virap is where Saint Gregory the Illuminator, who is credited with converting Armenia to Christianity, was imprisoned for 13 years before healing King Tiridates III of an illness and converting him to Christianity. The site is a popular destination for pilgrims and tourists alike. Natural Wonders: Exploring Armenia’s Diverse Landscapes While Armenia’s historical monuments are awe-inspiring, the country’s natural wonders are equally captivating. From towering mountains to serene lakes, Armenia offers a diverse range of landscapes that are perfect for outdoor enthusiasts. 1. Mount Aragats: The Roof of Armenia For those seeking adventure, Mount Aragats is a must-visit destination. As the highest peak in Armenia, standing at 4,090 meters, Aragats offers challenging hiking trails and spectacular views of the surrounding countryside. The mountain has four distinct peaks, each offering a different level of difficulty, making it accessible to both novice and experienced hikers. In the summer, the lush meadows around Aragats are dotted with wildflowers, while nomadic herders add a lively character to the landscape. 2. Lake Sevan: The Jewel of Armenia Lake Sevan, the largest body of water in Armenia and one of the largest high-altitude lakes in the world, is another natural wonder that should be on every traveler’s itinerary. Known as the “Jewel of Armenia,” Lake Sevan is a popular destination for both locals and tourists seeking relaxation and recreation. The lake’s turquoise waters are perfect for swimming, sailing, and even SUP-boarding, while the surrounding beaches and forests offer plenty of opportunities for picnicking and hiking. The Sevanavank Monastery, perched on a hill overlooking the lake, adds a touch of history to this picturesque setting. Those interested in Soviet modernist architecture can visit the Sevan Writers’ House, enjoy a cup of coffee while taking in the view of Lake Sevan, or even stay there for the night. 3. Dilijan National Park: Armenia’s Green Paradise Often referred to as the “Armenian Switzerland,” Dilijan National Park is a heaven for nature lovers. The park is home to lush forests, crystal-clear rivers and lakes, and a rich variety of flora and fauna. Dilijan is also famous for its mineral springs, which are believed to have healing properties. Visitors can explore the park’s numerous hiking trails, which lead to hidden waterfalls, ancient monasteries, and scenic viewpoints. The town of Dilijan, located within the park, is a charming retreat with traditional Armenian architecture, artisan workshops, and cozy guesthouses. Cultural and Culinary Delights In addition to its historical and natural attractions, Armenia offers a rich cultural experience that should not be missed. The country’s cuisine is a delightful blend of Middle Eastern and Mediterranean flavors, with a strong emphasis on fresh, locally-sourced ingredients. Traditional dishes like khorovats (Armenian barbecue), dolma (stuffed grape leaves), and lavash (flatbread) are must-tries for any visitor. Armenia is also known for its wine-making tradition, which dates back over 6,000 years. The country’s winemakers produce a variety of wines, from rich reds to crisp whites, using indigenous grape varieties. A visit to a local winery is a great way to learn about Armenia’s viticulture and sample some of its finest wines. Conclusion Tours in Armenia offer a unique blend of historical exploration, natural beauty, and cultural richness. Whether you’re wandering through ancient monasteries, visiting Areni-1 cave, exploring abandoned buildings, hiking to the summit of Mount Aragats or mount Azhdahak, or relaxing by the shores of Lake Sevan, Armenia has something to offer every traveler. With its warm hospitality, diverse landscapes, and fascinating history, Armenia is a destination that will leave a lasting impression on your heart and soul. So, pack your bags and embark on a journey through this captivating country – you won’t be disappointed. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

Explore the captivating tale of the crushed plane on the slopes of Mount Aragats, although regrettably, it is no longer there. In 1978, Armenfilm studio transported the plane from Erebuni Airport to the slopes of Mount Aragats to recreate a scene of a crashed plane and shoot a movie based on Henri Troyat's novel "Snow in Mourning". < Back Crushed Plane on the Slopes of Mount Aragats Explore the captivating tale of the crushed plane on the slopes of Mount Aragats, although regrettably, it is no longer there. In 1978, Armenfilm studio transported the plane from Erebuni Airport to the slopes of Mount Aragats to recreate a scene of a crashed plane and shoot a movie based on Henri Troyat's novel "Snow in Mourning". In 1978, Armenfilm studio produced the film "Snow in Mourning," directed by Yuri Erzinkyan and based on the novel by Henri Troyat, at the request of the USSR State Television and Radio. Cast Armen Dzhigarkhanyan: Isai Guzh Manukyan: Marceline Maya Bulgakova: Marie Lavalou Altynay Asylmuratova: Hindu Plot A passenger plane crashes in the Alps, and rescuers cannot reach the crash site. Meanwhile, Isaiah, a peaceful shepherd living in the mountains, and Marcellin, his younger brother aspiring to sell their inherited house, escape rural life, and start a business in the city. Marcellin persuades his elder brother Isai, a former guide once the best in these mountains, to climb to the site of the disaster to collect the valuables of the victims. Despite Isai's hesitation who considers it an immoral act (due to a tragic accident in the mountains he was impaired intellectually) Marcellin exploits brother’s mental problems and pressures him into going. Upon reaching the crash site, they discover a survivor. Marcellin is interested in collecting valuable things, while Isaiah wants to help the survived passenger. A conflict erupts… https://www.youtube.com/watch?v=mUWpVeRTRs8 The movie in Russian is available on YouTube How the Plane Reached There Filmmakers used a Yak-40 aircraft from the Armenian Civil Aviation Administration, damaged during a rough landing at Erebuni Airport in Yerevan in 1973, to depict the foreign aircraft wreckage. The Yak-40 was transported to the slope of Mount Aragats near Lake Kari, resembling the crash site. After shooting, the plane was left on the mountainside. This photo is from Armen Gasparyan's photo archive, featuring his uncle posing for an epic shot while looking out of the plane's window Unfortunately, the plane is no longer there, as metal hunters have already looted it! Luckily, Armen Gasparyan's captivating photo from his family archive offers a glimpse into this historic moment! Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

If you’re seeking an unforgettable adventure amidst Armenia’s stunning natural beauty, Lake Kari (translated from Armenian as “Stone Lake”) is a must-visit destination. Perched at an impressive altitude of 3,200 meters on the southern slopes of Mount Aragats, this high-altitude alpine lake offers a perfect blend of hiking adventure and awe-inspiring scenery. Lake Kari serves as a popular starting point for climbing Mount Aragats, making it a key destination for trekking in Armenia and a popular spot for camping. < Back Lake Kari – Armenia’s High Altitude Lake Accessible On Sedan If you’re seeking an unforgettable adventure amidst Armenia’s stunning natural beauty, Lake Kari (translated from Armenian as “Stone Lake”) is a must-visit destination. Perched at an impressive altitude of 3,200 meters on the southern slopes of Mount Aragats, this high-altitude alpine lake offers a perfect blend of hiking adventure and awe-inspiring scenery. Lake Kari serves as a popular starting point for climbing Mount Aragats, making it a key destination for trekking in Armenia and a popular spot for camping. On the slopes of mount Aragats there are many high altitude lakes which are popular touristic destinations! Among them Lake Kari, Lake Rapi, Mtnalich, Lake Astghakan are very popular! Lake Kari as seen by my camera! In the distance, you can see Mount Aragats, with the left summit being the western one and the right summit being the southern one. The distance from Yerevan (Republic Square) to Lake Kari spans approximately 60 km. You have two route options: Via Byurakan – This is the preferred route as the road is in good condition despite its many sharp turns. Via Artashavan – This route includes a stop near the Armenian Alphabet Park, but the road becomes quite bumpy after the park. For those traveling in a sedan, the Byurakan route is the better choice. However, both roads merge above Byurakan, leading to a single road that takes you to the lake. While the asphalt is old, it is well-preserved, making the journey manageable even for a sedan. Expect a drive of approximately 1 hour and 20 minutes, bringing you to an elevation of 3,200 meters, where the stunning Lake Kari (Stone Lake) awaits! Snapped this shot of my Mitsubishi Pajero in mid-May near Lake Kari, at around 3,200 meters elevation. Just look at the snow still clinging to the ground—Mother Nature clearly isn’t done with winter up here. On the shore of Lake Kari, nestled at an elevation of 3200 meters, lies the Cosmic Ray Research Station, established back in 1943 by the esteemed Soviet physicists, brothers Artem and Abraham Alikhanyan. The station was the first of its kind in the Soviet Union to have the world's largest permanent magnet magnetic spectrometer. A photo of Lake Kari I took in mid-May. Lake Kari has a perimeter of 1,150 meters and reaches a depth of 8 meters. Its water remains refreshingly cold, making it an inviting spot for swimming during hot days. The lake is primarily fed by precipitation. To secure a reliable water supply for the Cosmic Ray Research Station, the southern outlet of Lake Kari was sealed with a concrete wall. This intervention has elevated the lake’s water level, preventing it from freezing completely during winter and ensuring a consistent water reserve. The stored water from the spring season now meets the station’s needs throughout the year. It was the end of November. As we got closer to Lake Kari, the road was blocked by a thick layer of snow from a blizzard the night before. Just then, a bulldozer came down from the lake, clearing the road. Additionally, the lake is home to trout, whose population is sustained through the annual introduction of artificially bred fry. This careful balance of ecological management and resource optimization highlights the harmonious integration of scientific infrastructure and natural preservation at Lake Kari. One of the earliest photos of Lake Kari and Cosmic Ray Research Station! Year 1953 It’s important to note that due to heavy snowfall, the road leading to Lake Kari is typically covered with a thick layer of snow and remains closed from late November until mid-May. Visitors who step through the station’s gates can also discover a remarkable Vishap (Dragon Stone) resting on the shores of Lake Kari, adding a touch of ancient mystery to this high-altitude scientific outpost. https://video.wixstatic.com/video/103e0a_533d4b89eed54ef380a44f8f4c014af1/1080p/mp4/file.mp4 A Vishapakar (Dragonstone) on the shore of Kari Lake! Vishapakars, also known as dragon stones, megalithic monuments, or menhirs, are ancient monoliths found in abundance across the Armenian Highland. These enigmatic stones, often located at high altitudes near natural and artificial ponds, as well as other water sources, are deeply connected to the ancient worship of water. To date, approximately 150 vishapakars have been discovered in the Armenian Highland, with 90 of them located in Armenia. Night on the shore of lake Kari Vishapakars are predominantly found in groups at elevations ranging from 2,300 to 3,200 meters above sea level, often positioned in concave meadow landscapes, which makes them less visible. However, isolated examples exist at altitudes as low as 1,200 to 2,300 meters. Carved from a single basalt block, these monoliths measure between 150 and 550 cm in height and typically feature cylindrical or slab-like shapes with depictions of fish, serpents, or bulls. Based on their iconography and form, they are categorized into three main types: Bull-Shaped Vishaps – A thick slab featuring a sculpted bull’s head and draped limbs on its front side. Fish-Shaped Vishaps – Cylindrical, featuring a carved fish with anatomical details. Hybrid Vishaps – Combining elements of both bull and fish designs. Most of the discovered vishapakars were found lying horizontally, having fallen from their original upright positions over time. These ancient stones remain one of Armenia’s most mystifying archaeological wonders, continuing to spark fascination and debate among historians and researchers. Lake Kari also serves as a starting point for those climbing Mount Aragats! Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

Explore the poignant history of a unique Armenian monument destroyed by Azerbaijani vandals in Soviet times < Back A unique monument in Armenia destroyed by Azerbaijani vandals Explore the poignant history of a unique Armenian monument destroyed by Azerbaijani vandals in Soviet times In 1968, a distinctive monument was erected at the entrance of Vardenis, Armenia. This composition featured a striking bull statue alongside a sculptural relief. The monument was the work of renowned sculptor Rafael Yekmalyan and esteemed architect Rafael Israelyan. Fortunately, a few historical photos have made their way to our days Unfortunately, the monument has not survived. According to sculptor Harutyun Yekmalyan, son of Rafael Yekmalyan, it was destroyed by Azerbaijanis. The bull statue was severely damaged and, by some accounts, buried by Azerbaijanis in the 1980s. Efforts to restore the monument were once blocked under the pretext of avoiding heightened tensions with Azerbaijan. The remnants of the monument today We hope that someday Armenian authorities will find the will and desire to rebuild this unique memorial. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

Discover the "King of the Forest" statue by renowned Armenian artist Ara Sargsyan, nestled deep within the woods of Dilijan National Forest. < Back King of the Forest Statue in Dilijan Discover the "King of the Forest" statue by renowned Armenian artist Ara Sargsyan, nestled deep within the woods of Dilijan National Forest. In 1966, while resting with his family on the forested slopes of Dilijan, Ara Sargsyan stayed at a government summer house built for Aghasi Khanjyan . During a stroll, the sculptor noticed a giant tree with spreading branches and was inspired to breathe life into it through his art. Ara Sargsyan and the statue "King of the Forest", 1968 Previously, in 1923, Sargsyan had created a wooden statue titled "Goatman," representing a divine figure from ancient Greek mythology associated with the forest. In 1967, he revisited and reimagined this work, giving it a new look and renaming it "King of the Forest." The statue is located just a few meters away from Aghasi Khanjyan's former summer house. Coordinates of the statue: 40°44'13"N 44°51'41"E Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

This church in Mrgashat village, Armenia, boasts a design that immediately caught my eye! I had never seen any church in Armenia with wooden columns before, making it truly stand out < Back An Armenian church with a unique design This church in Mrgashat village, Armenia, boasts a design that immediately caught my eye! I had never seen any church in Armenia with wooden columns before, making it truly stand out Known as the Holy Mother of God Church or Surb Astsvatsatsin Church in Armenian, it is an Armenian Apostolic Holy Church situated in the village of Mrgashat in the Armavir region of Armenia. It was constructed in the 19th century. The Church of the Holy Mother of God in Mrgashat village was erected in 1865 and consecrated in 1903, replacing a chapel that previously occupied the site. Before the renovation the basilica-style structure featured an earth-covered roof. It is constructed of black and yellow tuff stone, measuring (33 x 17) meters. During the Soviet era, particularly from 1937 to 1980, the church was repurposed as a grain warehouse. In 2007, renovations of the church commenced. On October 15, 2011, it was re-consecrated by the head of the diocese, Fr. Sion Bishop Adamyan. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

Rossia Cinema commissioned in Yerevan in 1974, is considered one of the most remarkable Soviet-era modernist structures in the city. The architects, Artur Tarkhanyan, Spartak Khachikyan, and Hrachya Poghosyan, were awarded the prize of the Council of Ministers of the USSR for this project in 1979. The cinema was privatized in 2004, and in 2006, part of the structure was transformed into the trade and cultural center "Rossia," which currently functions primarily as a commercial space. < Back Modernist Architectural Masterpiece - Rossia Cinema in Yerevan Rossia Cinema commissioned in Yerevan in 1974, is considered one of the most remarkable Soviet-era modernist structures in the city. The architects, Artur Tarkhanyan, Spartak Khachikyan, and Hrachya Poghosyan, were awarded the prize of the Council of Ministers of the USSR for this project in 1979. The cinema was privatized in 2004, and in 2006, part of the structure was transformed into the trade and cultural center "Rossia," which currently functions primarily as a commercial space. The project for the cinema, designed by Arthur Tarkhanyan, Spartak Khachikyan, and Hrachya Poghosyan, was submitted to the Union of Architects in 1970-1971 and subsequently approved by the City Council of Yerevan. The "Haypet Project" Institute was tasked with implementing the project. Construction began in the early 1970s on the site of one of Yerevan's oldest markets, the "Black Market." The project was challenging due to its modernist and unconventional design, prompting the architects to prepare a large model to facilitate the builders' work. A scale model of the Rossia Cinema. Image source: "Arthur Tarkhanyan Center" Facebook page The Rossia Cinema officially opened in December 1974 during a plenary session of the CPC Central Committee, chaired by Karen Demirchyan, the first secretary of the Central Committee of the CPC. The cinema was a multifunctional complex consisting of three main parts. two halls of different sizes, but with the same shape, with 1,600 and 1,000 seats, an open area under the halls where exhibition halls, a cafe, a bar, and ticket offices are located. You could also pass through this area on the street without entering the cinema. This connection between outside and inside is considered one of the building's ingenious solutions. Sculptures by Hmayak Bdeyan, in the form of masks, adorned the partition wall The lobby and bar were separated by a transparent partition that could be opened and closed, measuring 10 meters wide and 3.5 meters high. Sculptures by Hmayak Bdeyan, in the form of masks, adorned the partition wall, while other halls featured sculptures by Yervand Gojabashyan, Henry Elibekyan, Ohan Petrosyan, and others. The cinema's modern circular bar and the teahouse, furnished in a Russian style with kettles on the tables and freshly made cakes, were noteworthy features. The suspended ceiling of the "Rossia" cinema, called "вантовое перекрытие (cable-stayed ceiling)” was the first of its kind in Armenia. The cinema's roof, facing Tigran Mets Street, spans 40 meters wide and 60 meters long, hanging without any support. Arthur Tarkhanyan and other architects standing near the scale model of the Rossia Cinema. Image source: "Arthur Tarkhanyan Center" Facebook page Initially intended to be named "Ayrarat" or "Noyan Tapan," the cinema was ultimately named "Rossia." After Armenia's independence, it was briefly renamed "Ayrarat." In 2004, the "Rossia" cinema was privatized, and the "Narek" company, part of the "Sil Concern," became the owner. In 2006, the center was once again renamed "Rossia." On November 11, 2006, the first building of the "Rossia" commercial and cultural center was turned into a cafe and shopping halls. Unfortunately, the sculptures and paintings by Yervand Gojabashyan, Henry Elibekyan, Ohan Petrosyan, and Hmayak Bdeyan were later removed and up to this day their fate is unknown. Rossia Cinema today However even today, the Rossia Cinema stands as a testament to the innovative spirit of its architects and the modernist architectural movement in Yerevan. Despite changes and challenges over the years, it remains a significant cultural and architectural landmark in Armenia's capital. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

As a child, I remember gazing at the large bookshelves in our home, filled with books neatly lined up one after another. Among them, one stood out—a book displayed with its cover facing outward. On the cover was an image of a man traversing a snowy, rocky mountain, pulling a loaded yak behind him. The white letters in Russian on the cover were unreadable to me then. But soon, I learned to read and write, and that book turned out to be The Crystal Horizon by Reinhold Messner. Let’s talk about it. < Back On Reinhold Messner’s book “The Crystal Horizon: Everest – The First Solo Ascent” As a child, I remember gazing at the large bookshelves in our home, filled with books neatly lined up one after another. Among them, one stood out—a book displayed with its cover facing outward. On the cover was an image of a man traversing a snowy, rocky mountain, pulling a loaded yak behind him. The white letters in Russian on the cover were unreadable to me then. But soon, I learned to read and write, and that book turned out to be The Crystal Horizon by Reinhold Messner. Let’s talk about it. On August 20, 1980, Reinhold Messner made history as the first person to climb Mount Everest solo and without supplemental oxygen, pioneering a new route on the North Col/face. For me, this ascent remains the epitome of heroism in mountaineering. It’s a feat that I would only compare to Hermann Buhl’s legendary first ascent of Nanga Parbat in 1953. However, while Buhl had a large team supporting him, Messner embarked on his Everest climb accompanied only by his girlfriend, with no backup team. The first time I read The Crystal Horizon was in Russian. It was published in Moscow in 1980 with 100,000 copies, a rarity and highly sought-after book at the time. My father, through his connections, managed to get a copy. Years later, I bought the original German version of the book. Though I wasn’t fluent in German, I pushed myself to read it, learning new words and significantly improving my language skills in the process. This book is not just a thrilling account of a mountaineering milestone; it’s also a source of inspiration and personal growth. The Russian and German editions of The Crystal Horizon Later, when I got my hands on both the English and German editions of The Crystal Horizon, I noticed that they included more photos than the Russian one. Despite this, the book was highly valued in Soviet countries, where access to Western literature was limited, and it played a significant role in introducing Messner’s incredible achievements to a wider audience. The Russian edition, though slightly abridged in visuals, still managed to capture the essence of his journey and contributed to making Messner famous among mountaineering enthusiasts in the USSR. The first page instantly captures the reader's attention, beginning with a heartfelt letter from Messner’s mother. However, this letter appears only on the early pages of the Russian version, while in the German edition, it is found on pages 306–307. Personally, I find the Russian version more compelling and greatly value their approach. Having already lost one of her sons, Günther, she found it incredibly difficult to come to terms with Messner’s future ascents. This letter is not only deeply moving but also serves as a poignant reminder of the psychological challenges and emotional weight that accompanied this extraordinary climb. Messner begins by recounting early attempts to conquer Everest, including the fascinating story of Maurice Wilson’s ill-fated expedition. This historical context adds immense value to the ascent, as it helps the reader fully appreciate the near-impossible nature of Messner’s achievement. No surprise that throughout his ascent, he constantly thinks about Wilson and Mallory, asking himself whether they made it. Here's an excerpt: "If Wilson had managed to get up here, I think suddenly, would he have reached the summit? Wilson was tougher than I am, uncompromising, and capable of enduring loneliness. The stretch above me seems really easy, so Wilson would have been able to climb it, at least as far as the North-East Ridge." When I read this book around 2005, during the pre-Internet era in Armenia—when dial-up connections were still a novelty and access to information was limited—I learned a great deal about the pioneering expeditions. It was through this book that I first discovered the stories of Mallory and Irvine, as well as Maurice Wilson. Messner accomplished this incredible feat not only solo but also during the monsoon season—a time when climbing conditions on Everest are notoriously harsh. Initially, his plan was to attempt the ascent in the mid-1980s. However, upon learning that Japanese climber Naomi Uemura had obtained permission to climb Everest in 1980/81, Messner decided to take on the challenge earlier, opting for an even more daring ascent: during the monsoon season and completely alone. Open page of the Russian edition of The Crystal Horizon Uemura was no ordinary competitor—he had reached the North Pole solo on a dog sled, a feat that underscored his determination and skill. However, despite his reputation, Uemura later canceled his plans to climb Everest from the North (Tibetan) side. Messner, on the other hand, pressed forward undeterred. Interestingly, Messner skillfully incorporates excerpts from his girlfriend Nena's diary, offering the reader a unique third-person perspective on the events. I plan to dedicate a separate article to Messner's 1980 solo ascent. For now, I highly recommend The Crystal Horizon to anyone fascinated by mountaineering, adventure, or stories of unparalleled human resilience. This book is much more than an account of a climb—it’s a profound journey into the mind of one of the greatest climbers in history. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

In 1971, 17-year-old Juliane Koepcke boarded a plane destined for Christmas with her mother. Their journey took a tragic turn when lightning struck the aircraft, causing it to disintegrate mid-flight. Juliane, still strapped to her seat, plummeted 2 miles into the dense Amazon rainforest. Miraculously, she survived the fall, sustaining injuries like a broken collarbone and deep gash on her arm. This is her story. < Back The story of Juliane Koepcke who survived a plane crash and the Amazon jungle In 1971, 17-year-old Juliane Koepcke boarded a plane destined for Christmas with her mother. Their journey took a tragic turn when lightning struck the aircraft, causing it to disintegrate mid-flight. Juliane, still strapped to her seat, plummeted 2 miles into the dense Amazon rainforest. Miraculously, she survived the fall, sustaining injuries like a broken collarbone and deep gash on her arm. This is her story. Juliane Koepcke was flying over the Peruvian rainforest with her mother on Christmas Eve 1971 when their plane was hit by lightning and disintegrated in mid-air. She was the only survivor of the 92 passengers and crew on board LANSA Flight 508. She fell nearly 10,000 feet, still strapped to her seat, and landed in the dense jungle. She had a broken collarbone, a gash on her leg, and a ruptured knee ligament, but she was alive. Photo of Juliane Koepcke at the crash site She had spent most of her childhood in the rainforest, where her parents were zoologists who ran a research station. She knew how to survive in the wild and what dangers to avoid. She decided to follow a stream, hoping it would lead her to a river and then to a village. She had no food, no shoes, and no tools, but she had a determination to live. For 11 days, she walked through the jungle, enduring hunger, thirst, pain, and loneliness. She faced threats from piranhas, crocodiles, snakes, and insects. She suffered from sunburn, infection, and maggots in her wounds. She hallucinated about her mother, who had died in the crash, and wondered if anyone was looking for her. Cover of Juliane Koepcke's book: "When I Fell from the Sky: The True Story of One Woman's Miraculous Survival" On the tenth day, she found a small boat moored near a shelter. She waited there, hoping someone would come. The next day, she heard the sound of an engine and saw three men approaching. They were lumberjacks who worked in the area. They were shocked to see her, but they quickly took care of her. They gave her food and water, cleaned her wounds, and took her to a nearby village. From there, she was flown to a hospital in the city of Pucallpa, where she was reunited with her father. After recovering from her injuries, Koepcke assisted search parties in locating the crash site and recovering the bodies of the victims. Her mother's body was discovered on 12 January 1972." Werner Herzog and Juliane Koepcke during filming the documentary 'Wings of Hope' in 1998 Juliane’s story of survival amazed the world. She later wrote a book about her ordeal, called When I Fell From the Sky. She also became a zoologist like her parents and returned to the rainforest to study wildlife. She said she never lost her love for the jungle, even after everything she had been through. She said: “The jungle is my home.” Koepcke's story is also depicted by herself in German filmmaker Werner Herzog's documentary, "Wings of Hope" (1998). Herzog had a personal connection as he was initially scheduled to be on the same flight while scouting locations for his film "Aguirre, the Wrath of God" (1972). However, a last-minute change of plans spared him from the crash. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

If you have taken the Tatev ropeway, you have undoubtedly seen a monastic complex nestled in the gorge, hidden deep in the woods. That's the mysterious Big Desert of Tatev, and a visit promises unforgettable memories! < Back The Big Desert of Tatev If you have taken the Tatev ropeway, you have undoubtedly seen a monastic complex nestled in the gorge, hidden deep in the woods. That's the mysterious Big Desert of Tatev, and a visit promises unforgettable memories! The Big Desert of Tatev is a 17th-century Armenian monastery located on the right bank of the river Vorotan, where it meets its tributary Tatev. It was built in the 1660s after an earthquake destroyed the nearby Harants (Fathers') Hermitage of Halidzor in 1658. The Great Hermitage of Tatev has the same layout as the older hermitage but is larger. It's a valuable example of medieval Armenian architecture with a unique design This is how you see the monastic complex when hiking down the gorge! The main part is surrounded by walls with towers, and there's an additional structure with a table-shaped plan on the southern side. It was of a military significance in the 18th century, during the liberation struggle organized by Davit Bek. In 1663, Saint Astvatsatsin, a 3-naved basilica church, was constructed in the south-western part of the desert using smoothly hewn basalt stone. It's an architectural marvel and when you step inside you can feel a rush of positive energy inside you! In 1743, Meliq Yeghan added a vaulted church-porch hall and a small chapel-mausoleum adjacent to the western part of the church. The dining hall in the southern part is a vaulted long structure with a kitchen, small windows, and stone tables. There are 64 vaulted cells for cenobites along the western and northern walls, some with two or three stories, doors, and windows. The desert once had gardens, threshing floors, a wine press, cellars, and a water mill (now broken). The climate here was suitable for viticulture. The Big Desert of Tatev served as a significant educational, religious, and cultural center. Around 700 monks dedicated themselves to spiritual service here, and the Catհolicos of All Armenians, Movses Khorenaci (Syuneci), received education in this spiritual and cultural hub. The Big Desert of Tatev played a vital role in the formation of manuscript centers, where many manuscripts were written in various monasteries and deserts. How to get to the Big Desert of Tatev? First of all, note that there is no road for cars to reach the location. You will need to take a short hike. You can hike to the Big Desert of Tatev by either starting from Tatev Monastery, descending all the way down towards the gorge and concluding your trip on Satan Bridge. Alternatively, you can park your car on Satan Bridge and commence your hike from that point. Inside the monastic complex, you may encounter a hermit who has been living there for several years and prefers not to be photographed, although he is very friendly! Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk