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Exploring abandoned places can be a thrilling and enriching experience, offering a unique glimpse into the past and a chance to discover forgotten stories. Whether you're a seasoned urban explorer or a curious newcomer, finding these hidden gems requires a mix of research, patience, and respect for the locations you visit. Here’s a comprehensive guide on how to find abandoned places for your next adventure. < Back How to Find Abandoned Places: A Guide for Urban Explorers Exploring abandoned places can be a thrilling and enriching experience, offering a unique glimpse into the past and a chance to discover forgotten stories. Whether you're a seasoned urban explorer or a curious newcomer, finding these hidden gems requires a mix of research, patience, and respect for the locations you visit. Here’s a comprehensive guide on how to find abandoned places for your next adventure. 1. Online Research The internet is your most powerful tool for locating abandoned places. Here are some effective ways to use it: Urban Exploration Websites and Forums: Websites of urban explorers and forums dedicated to urban exploration are treasure troves of information. Members share photos and videos, but rarely the exact locations. Is finding the location still an issue? Let’s move forward… Social Media : Platforms like Instagram, Reddit, and Facebook have dedicated groups and hashtags (e.g., #urbex , #abandonedplaces ) where explorers share their finds and tips. Research each photo in detail; you may see something written on the wall, documents, or posters that can disclose the location. If there is a horizon, that makes things easier! Try to identify familiar buildings and mountains. For example, in this image, G. Mattu inadvertently revealed the location of the mosaic. Meanwhile, many were asking, "Where is this?" Lol. Image credits: G. Mattu Google Earth and Maps: Use satellite imagery to spot potentially abandoned buildings and structures. Look for signs of decay, rusty roofs, overgrown vegetation, and lack of maintenance, and no cars parked nearby. Remember, Google Earth is your most reliable tool in finding the best places, but it requires time and dedication. Thanks to it, you may find places that no one has ever stepped in. Sometimes, after checking the building, you may be disappointed, but the reward comes to the most talented, hardworking, and dedicated explorers! Google Earth is such a powerful tool that you can even find crushed planes in the mountains! When it comes to finding crushed planes I should probably dedicate another article to it! Meanwhile a small task: The accident happened in 1990 in Armenia. Where is the plane? 2. Historical Research Understanding the history of an area can lead you to abandoned sites. Here’s how to dig deeper: Local Archives and Libraries: Visit local archives, libraries, and historical societies to find old maps, documents, and records of now-defunct industries, bunkers, schools, and other establishments. Newspaper Archives: Search for articles about business closures, natural disasters, or economic downturns that might have led to abandonment. For example thanks to “Soviet Art” Armenian magazine we learned about a lot of hidden artworks which in fact survived up to moderns days. Thanks to the Soviet Armenian magazine "Soviet Art," I learned about this fresco Books and Documentaries: There are numerous books and documentaries on urban decay and abandoned places that can provide leads and inspiration. 3. Networking with Local Explorers Building connections with other urban explorers can be invaluable. Here’s how to connect: Meetup Groups: Look for local urban exploration or photography meetup groups where members share information and organize joint explorations. Online Forums and Social Media Groups: Join online communities where you can ask questions, share experiences, and get recommendations. Attending Events: Attend urban exploration conferences, talks, and workshops to meet like-minded people and learn about new locations. Social Networks: Get acquainted with professionals by showing interest and passion for their work. Important Reminder for Novice Urban Explorers: Please refrain from sending the following message to urban explorers: "Hello, where is this?" Remember : Every piece of information has value. To build a strong and supportive community, always offer something in exchange for what you seek. This reciprocal approach fosters trust and collaboration within the community. 4. Fieldwork and Scouting Sometimes, nothing beats old-fashioned scouting. Here’s how to do it effectively: Drive or Walk Around: Spend time driving or walking through older parts of towns and cities. Look for telltale signs of abandonment like boarded-up windows, overgrown lots, and faded signs. Ask Locals: Engage with local residents, especially older ones, who might have knowledge of abandoned places and their histories. In return, they may ask why you want to find those places. Be prepared with a convincing explanation that you are not a looter. Show gratitude for their help, and if someone is hesitant to share information, politely offer something in return to express your thanks. Carrying a big camera often helps create a trustworthy atmosphere. I know this from personal experience. Follow Leads: Keep an eye out for leads while exploring other sites. One abandoned place often leads to another. 5. Using Technology Leverage technology to enhance your search: Drones: Use drones to get a bird’s-eye view of large areas and spot potential sites that are difficult to see from the ground. Fly high to avoid cables and for staying unnoticed. Conclusion Finding abandoned places requires a mix of online research, historical digging, networking, and good old-fashioned exploration. By using these strategies and respecting the locations, you can uncover hidden gems and enjoy the unique thrill of urban exploration. Safe and memorable exploration! In this article you can find more information on how to urbex. 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

Earlier, I dedicated several articles to destroyed bas-reliefs and statues in Armenia. These articles still attract strong interest, drive steady traffic to my website, and help bring forgotten masterpieces back into public view. Today’s article focuses on another crucial layer of Soviet monumental art: the destroyed mosaics and frescoes of Armenia. < Back Destroyed Soviet Mosaics and Frescoes in Armenia Earlier, I dedicated several articles to destroyed bas-reliefs and statues in Armenia. These articles still attract strong interest, drive steady traffic to my website, and help bring forgotten masterpieces back into public view. Today’s article focuses on another crucial layer of Soviet monumental art: the destroyed mosaics and frescoes of Armenia. Soviet mosaics, frescoes, and bas-reliefs are among the most striking visual legacies of the USSR. They transformed grey, industrial environments into open-air galleries. Their widespread presence was not accidental but the result of a deliberate state policy that combined ideological messaging with a practical solution to monotonous blank walls. Here, we must again refer to the 1955 decree “On the Elimination of Excesses in Design and Construction” (Об устранении излишеств в проектировании и строительстве), initiated by Nikita Khrushchev. Like bus stops and bas-reliefs, mosaics and frescoes became a kind of aesthetic loophole and were not classified as “architectural excess. One of the largest and finest mosaics was created in 1977 by Karapet Yeghiazaryan, Hrayr Karapetyan, Khachatur Gyulamiryán, Vaghinak Mandakuni, Aleksandr Azatyan. The architects of the building were Grigori Grigoryan and Armen Aghalyan. It decorated the façade of the USSR Institute of Telecommunications Research (ՀՍՍՀ Կապի Գիտահետազոտական ինստիտուտ). In the first half of 2023, the building was demolished and the mosaic dismantled, reportedly with plans to reinstall it after the new building is constructed. At the time of its destruction, the Beeline office was located inside the building. Photo Credits: Damien Hewetson BIG UPDATE I’m happy to share some good news and update this article. As of February 2026, the mosaic is being reinstalled on the newly built skyscraper, on the site of the previously demolished building. I have already visited the location twice to document the restoration work and take new photos. One of the key reasons for the sheer number of mosaics was a formal state requirement: 2–5% of the construction budget for any public building—factories, schools, institutes, hospitals, and even bus stops—had to be allocated to “artistic and decorative elements.” In Soviet planning, this was officially known as “Artistic-Decorative Finishing” (Художественно-декоративное оформление). The “Anahit” resort in Stepanavan once featured an impressive mosaic on the wall of its swimming pool. Although the resort still operates today, the mosaic is long gone. The Art Fund acted as a mandatory intermediary in this process. When a factory or public building was under construction, the building authority transferred the allocated “artistic percentage” to the Art Fund, which then: assigned an artist to the project; approved the sketch, ensuring ideological compliance; supplied materials such as smalt, ceramics, and cement. In Russian art history, this system is often described by the term “Sintez Iskusstv” (Синтез искусств — Synthesis of Arts): the idea that architecture and fine art should not exist separately, but merge into a single, unified expression of Soviet life. Before the modern Cascade was built, a mosaic adorned the Old Cascade Waterfall. The artist was the Armenian sculptor and Honored Artist of the Armenian SSR (1967), Derenik Danielyan. This policy created a vast and guaranteed market for artists. The Union of Artists of the USSR (Союз художников СССР) controlled the distribution of these commissions. For many artists, state orders became their main source of income, resulting in the creation of thousands of works across the Soviet Union, from Moscow to remote Siberian villages. Unlike murals, mosaics made of smalt (special colored glass) or ceramic tiles do not fade in the sun and can withstand harsh winters. Soviet authorities viewed mosaics as “art for eternity.” Yet even art meant to last forever is gradually disappearing. About frescoes... Soviet frescoes, while sharing the same ideological DNA as mosaics, occupied a different niche. If mosaics ruled the exterior, frescoes and other mural techniques dominated interiors. They adorned the foyers of Culture Houses, Culture Palaces, Pioneer Palaces, university lecture halls, and factory meeting halls. Their tone was academic and historical, focused on Soviet ideology and on the country’s history stretching back centuries, depicting key moments in its past. In Armenia, many frescoes have survived, perhaps thanks to the fact that they were created by renowned artists such as Minas Avetisyan or Hakob Hakobyan. Others, however—especially works by lesser-known or anonymous artists—have already vanished or are slowly fading away. The First Class (“Պեռվի կլաս”) restaurant at Gyumri Railway Station once featured a remarkable fresco named "Old Gyumri" by Eduard Edigaryan. A few low-quality images offer a glimpse of its original appearance. The central section of the mural portrays men dressed in traditional national costumes. In the background, the city of Leninakan is depicted, while the left and right panels of the triptych feature Armenian women turned toward the center. The door is usually kept closed; about a year ago, I asked a staff member to open it to check if the mural might be hidden behind a mirror or panel, but it appears the artwork is lost forever. From left a guest from Philadelphia, in the center Khachatur Vardparonyan, on the right Hakob Hakobyan. Image credits: Khachatur Vardparonyan (Խաչատուր Վարդպարոնյան), Facebook page. One of the finest frescoes that has not survived was painted by Khachatur Vardaparonyan and titled Rebirth («Վերածնունդ», 1979). It was located in Leninakan (present-day Gyumri) at the Sock Factory (գուլպա-նասկեղենի ֆաբրիկա), now the Millennium Restaurant. The fresco was not preserved and was destroyed in the early 2000s during renovations. The fresco discovered in Artik’s former Youth Palace in 2018 during reconstruction works. Photo credits: SHANTNEWS Initially, the fresco was thought to be the work of Khachatur Vardparonyan, but this attribution was later rejected by his grandson. It was eventually established that the author of the rediscovered fresco was Misha Sargsyan. The work was identified by his wife, Azatuhi Tadevosyan, for whom the discovery came as a complete surprise. According to her, the fresco had been painted more than 45 years earlier and had long faded from her husband’s memory. When I visited the site in 2024, I was shocked to see that the mural was gone and the building had been turned into a store selling toilets, sinks, and other plumbing fixtures. “The painting was created in 1967–1968. At that time, we had just gotten married. I suggested that he leave his signature beneath the work, but back then artists were not allowed to sign their paintings,” Azatuhi Tadevosyan told the SHANTNEWS correspondent. The Culture Palace in Vayk also featured a notable fresco, which was destroyed a few years ago. When I visited the site in 2022, the fresco was already gone, but fortunately, a local worker had a photo of it and kindly shared it with me. I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . Project Gallery You May Also Like Inside the Eerie Corridors of an Abandoned Russian Fortress Soviet Bus Stops in Armenia Urbex Tours in Armenia – Photo Gallery The 53 cm Schmidt Telescope at Byurakan Astrophysical Observatory Exploring an Abandoned Rest House with Impressive Bas-Reliefs A Spaceship on Earth: The Soviet-Armenian Echo of the Futuro House Destroyed Soviet Mosaics and Frescoes in Armenia The Chayka Monument That Angered Nikita Khrushchev During His 1961 Visit to Armenia Previous Next

Mount Aragats, Armenia’s highest peak, stands as a majestic symbol of the nation’s natural beauty and cultural heritage. Towering at 4,090 meters (13,419 feet), this dormant volcano draws outdoor adventurers and history enthusiasts alike with its awe-inspiring vistas and significant scientific and historical value. This article explores the mountain's fascinating origins, cultural importance, diverse hiking experiences, and the unique gravity-defying phenomenon that make Mount Aragats an extraordinary destination. < Back Mount Aragats - Highest Mountain in Armenia Mount Aragats, Armenia’s highest peak, stands as a majestic symbol of the nation’s natural beauty and cultural heritage. Towering at 4,090 meters (13,419 feet), this dormant volcano draws outdoor adventurers and history enthusiasts alike with its awe-inspiring vistas and significant scientific and historical value. This article explores the mountain's fascinating origins, cultural importance, diverse hiking experiences, and the unique gravity-defying phenomenon that make Mount Aragats an extraordinary destination. The Geography Rising to 4,090 meters (13,420 feet) above sea level, Mount Aragats is the highest peak in Armenia and the pinnacle of the Lesser Caucasus. This majestic, four-peaked volcanic massif lies northwest of Yerevan, bordered by the Kasagh River to the east, the Akhurian River to the west, the Ararat Plain to the south, and the Shirak Plain to the north. Encompassing a circumference of approximately 200 kilometers (120 miles), Aragats spans a significant portion of the Armenian Highlands. Mount Aragats has 4 summits which are named according to their relative geographic position: Northern—4,090 m (13,420 ft) Western—3,995 m (13,107 ft) Eastern—3,908 m (12,822 ft) Southern—3,888 m (12,756 ft) Note that Mount Ararat is not in the territory of Armenia, since it came under Turkish control according to the 1921 Treaty of Moscow and Treaty of Kars. All 4 summits of mount Aragats Cultural significance The slopes of Mount Aragats are rich with ancient archaeological sites, fortresses, petroglyphs, and the unique Vishaps (Dragonstones). Among these, Amberd Fortress stands as the most renowned. This historic fortress includes a three-story princely citadel, fortified walls, a bathhouse, a small chapel, a church, hidden passages, and reservoirs. While much of the original citadel has collapsed, the upper two floors and their five large rooms remain intact. Within the fortress grounds lies the 11th-century Vahramashen Church. In 1236, the fortress fell to Mongol forces, leaving it in ruins. Later, the Vachutian noble family partially rebuilt Amberd at the close of the 13th century, but it was permanently destroyed during the Timurid invasions at the end of the 14th century and has not been rebuilt since. Medieval Amberd Fortress Scientific Institutions 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. One can step inside the gates of the station to see a massive Dragon-stone on the shore of lake Kari! Lake Kari and Cosmic Ray Resarch station as seen by me from the slopes of Southern Aragats Additionally, the Byurakan Observatory, founded in 1946 by Victor Hambartsumian, sits proudly on the southern slopes of Aragats in the village of Byurakan, positioned at an altitude of 1,405 meters (4,610 feet). The ZTA-2.6 telescope is the largest observational instrument at the Byurakan Astrophysical Observatory (BAO). Constructed by the Leningrad Optical-Mechanical Association (LOMO) in St. Petersburg, Russia, it is a twin of the G.A. Shain reflector located at the Crimean Astrophysical Observatory (CrAO). Architect Sargis Gurzadyan, 1976 Currently, the observatory is equipped with five instruments. The largest telescopes include a 2.64-meter reflector telescope with a sitall mirror, built in 1976 (the mirror was installed in 1984, with the previous mirror transferred to the ROT-54/2.6 telescope), and a 1-meter Schmidt telescope, which was the largest Schmidt telescope in the USSR and remains one of the largest Schmidt telescopes in the world. Other instruments include a 53-centimeter Super-Schmidt system telescope (similar to the WOW (AZT-1, f=1800)), as well as 50- and 40-centimeter reflector telescopes with electrophotometers and electropolarimeters. Another scientific gem is the ROT54 which is a dream destination for urban explorers. Orgov Telescope, officially known as ROT-54/2.6, is a prominent radio-optical telescope located in Armenia’s Orgov village. Aerial photo of ROT54 Constructed between 1975 and 1985, the Orgov Telescope operated from 1986 until it ceased activity around 1990. In the mid-1990s, plans for its restoration emerged, leading to modernization efforts between 1995 and 2010. This included the installation of advanced control computers and updated feeds, enabling resumed observations in partnership with the Russian Astronomical Society and the National Technical University of Athens. However, in 2012, operations halted again due to a control arm failure that immobilized the secondary mirror. With the Armenian state unable to fund repairs, the telescope was mothballed. Experts estimate that reviving the telescope would require $25 million for upgrades to control systems, digital sensor replacements, and data processing enhancements. The control room of ROT54 Armenia’s High-Altitude Lakes On the slopes of Mount Aragats, several high-altitude lakes serve as popular tourist destinations. Among these, Lake Kari (3,200 meters), Lake Rapi (3,005 meters), and Lake Mtnalich (3,465 meters) are particularly notable. Lake Kari, the highest lake in Armenia accessible by sedan, is reachable via an older yet well-maintained asphalt road constructed during the Soviet era to facilitate scientific research in the area. Lake Kari (Stone Lake) Aragats Gravity Hill Gravity hills are found in numerous locations worldwide, including Australia, Argentina, Brazil, Canada, China, Chile, France, India, and Greece. Armenia’s gravity hill, located on the slopes of Mount Aragats, is among the most popular. These sites are often called "Magnetic Hill," "Magnetic Road," "Magic Road," or simply "Gravity Hill," as many lack specific local names. The phenomenon behind gravity hills is a captivating optical illusion resulting from the landscape's unique layout. This illusion creates the appearance of a slight downhill slope as an uphill incline. As a result, when a car is left out of gear on these hills, it seems to roll "uphill," defying gravity. This effect is similar to the experience within an Ames room, where perspective distortions lead objects to appear as though they’re defying gravitational laws. https://video.wixstatic.com/video/103e0a_0efe69ae87674c6286c0e0a1461d38b9/1080p/mp4/file.mp4 In this video you can see how a water bottle "rolls up the hill" For those interested in experiencing this firsthand, the coordinates of the Aragats Gravity Hill are 40°25′55″N 44°14′04″E , with another nearby site close to Amberd Fortress at 40°24'02"N 44°13'50"E . ---------- For a hiking tour to mount Aragats with me check out this link ! 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If you are someone who loves cars, especially historic ones, then this museum is for you! While in United Arab Emirates, don’t hesitate to visit and explore its vast collection of rare and luxurious cars. I loved it and strongly recommend it to fellow car enthusiasts! < Back A Visit to Emirates National Auto Museum If you are someone who loves cars, especially historic ones, then this museum is for you! While in United Arab Emirates, don’t hesitate to visit and explore its vast collection of rare and luxurious cars. I loved it and strongly recommend it to fellow car enthusiasts! During my trip to Dubai, I asked my brother to take me to this museum. Luckily, he hadn’t been there himself, so it was also an interesting experience for him. The next day, we set off for the museum. At the time, I didn’t anticipate writing a blog post about it, so I didn’t take many photos, but I’ll attach whatever I could find on my phone to this article. Here is some brief information about the museum: https://video.wixstatic.com/video/103e0a_8181248b5ae64b1c85752250a0ab7ff5/1080p/mp4/file.mp4 Here we go... The car museum, shaped like a pyramid, can be found in Al Dhafra, just a short 45-minute drive from Abu Dhabi city. It boasts a collection of over 200 cars belonging to His Highness Sheikh Hamad Bin Hamdan Al Nahyan, including off-road vehicles, classic American cars, and the Sheikh's iconic Mercedes rainbow collection. Fans of the BBC television programme Top Gear may spot some familiar vehicles among them. The car that has earned a place in the Guinness Book of Records One particularly noteworthy exhibit is a car that has secured a place in the Guinness Book of Records: The largest motorized model car, an oversized replica of a Willy Jeep at a scale of 4 to 1. Crafted by His Highness Sheikh Hamad bin Hamdan Al Nahyan (UAE), it was measured at the PYRAMID museum of cars in Abu Dhabi, UAE, on November 3, 2010. Notably, visitors can also marvel at an 1885 steam-powered Mercedes. The museum welcomes visitors every day from 9 AM to 5 PM. At the time of writing this article (March 16, 2024) tickets cost AED 50 (approximately 14 USD), and children under 10 enter for free. 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 Armenia’s Orgov village, at an altitude of 1,700 meters above sea level, stands the iconic ROT54—an engineering marvel designed by Paris Herouni that leaves a lasting impression on every visitor. Its giant scale surprises everyone, offering views toward Tegher Monastery and the biblical Mount Ararat. The control rooms feel like scenes from a Stanley Kubrick film, while the nearby Arev solar thermal power station—built during Armenia’s 1990s energy crisis—adds even more mystery to the place. This site is a must-visit for anyone interested in the scientific history of the Soviet Union. Now abandoned, it remains a striking testament to Armenia’s Soviet-era scientific legacy and a highlight of my urban explorer tours. < Back ROT54 or the Herouni Mirror Radio Telescope In Armenia’s Orgov village, at an altitude of 1,700 meters above sea level, stands the iconic ROT54—an engineering marvel designed by Paris Herouni that leaves a lasting impression on every visitor. Its giant scale surprises everyone, offering views toward Tegher Monastery and the biblical Mount Ararat. The control rooms feel like scenes from a Stanley Kubrick film, while the nearby Arev solar thermal power station—built during Armenia’s 1990s energy crisis—adds even more mystery to the place. This site is a must-visit for anyone interested in the scientific history of the Soviet Union. Now abandoned, it remains a striking testament to Armenia’s Soviet-era scientific legacy and a highlight of my urban explorer tours. The ROT54 radio-optical telescope is located in Orgov village, Aragatsotn Province of Armenia, at an elevation of 1,700 meters. It was designed by the Armenian physicist and engineer Paris Herouni, who spent 17 years navigating Soviet bureaucracy to bring his vision to life. Despite strong pressure to build the project in Crimea rather than in Armenia, Herouni secured approval to construct the observatory in Armenia—an achievement that reflects his persistence and deep devotion to his homeland. Herouni Mirror Radio Telescope (Зеркальный радиотелескоп геруни) Patent No. 1377941 Image credits: База патентов СССР (USSR Patent Database) Herouni was known for his innovative approach to radio engineering and his dedication to advancing scientific knowledge in Armenia. Over his career, he published around 353 scientific works, including 248 papers, four monographs, and 25 patents. He was also a passionate science communicator, frequently appearing in newspapers, magazines, radio, and television, with media coverage about him spanning the USSR, Russia, Armenia, USA, France, and Italy. ROT-54 in winter Herouni carried out several expeditions along the southern slopes of Mount Aragats before selecting this site as the future location for the telescope. The natural, crater-like shape of the landscape was ideal for installing the dish, while the 13th-century Tegher Monastery and the biblical Mount Ararat formed a dramatic backdrop. At the time, there were plans to relocate the village—a common practice during the Soviet industrialization era. Rather than investing in roads, gas supply, or other essential infrastructure for remote mountain communities, Soviet authorities often chose to resettle villagers in nearby towns. By launching the ROT54 project, Herouni built a road from scratch, connected the village, and ultimately saved Orgov from being erased. Inside the control room of ROT-54 While Paris Herouni patented many inventions, this project became his Mona Lisa—the first Radio-Optical Telescope (ROT-54/2.6). The structure is a massive antenna with a diameter of 54 meters (177 ft), boasting some of the finest technical parameters among large antennas worldwide. Aerial photo of ROT-54 telescope Constructed between 1975 and 1985, the telescope was active from 1986 to 1990 before ceasing operations around 1990. In the mid-1990s, there was a proposal for the restoration of the telescope. Between 1995 and 2010, it underwent modernization with new control computers and feeds, and observations resumed in collaboration with the Astronomical Society of Russia and the National Technical University of Athens. Me sitting in the control room of ROT-54 However, in 2012, the operations ceased again when a control arm failed, immobilizing the secondary mirror. The Armenian state couldn't cover the cost of repairs, leading to the mothballing of the research complex. Future operation requires further upgrades to the control systems, comprehensive adjustments, replacement of outdated analog sensors with digital ones, and modernization of the data processing systems. According to experts, these upgrades will cost approximately $25 million. A historical photo shows the newly installed telescope with a helicopter hovering above it. The small trees planted at the time have since grown taller than the surrounding buildings, turning the site into a surprisingly pleasant and shady place during the hot summer months. The ROT-54/2.6 radio-optical telescope enabled a wide range of advanced radio astronomy observations, including: Studies of ultra-distant objects such as quasars and radio galaxies Observations of pulsars, supernovae, and their temporal changes Investigation of radio sources with angular sizes smaller than 1 arcsecond Analysis of fine inhomogeneities with angular sizes below 1 arcsecond Study of thermal radiation from newly formed stars Research on nebulae and T Tauri stars Organization of simultaneous radio and optical observations of well-known celestial objects, allowing results from leading radio observatories to be combined into a new unified catalog Searches for new molecules in comets and planetary atmospheres within the Solar System Thanks to its exceptionally low intrinsic noise temperature of approximately 5 K, the telescope’s radio noise level did not exceed 1–2 mJy. With a receiver bandwidth of 1 GHz and an integration time of just 1 second, ROT-54/2.6 was capable of detecting extremely faint objects. Its sensitivity was comparable to that of major facilities such as the Very Large Array (VLA) in New Mexico, despite the VLA consisting of 27 antennas. "Arev" solar power station Another giant “dish” comes into view as soon as you enter the site. Many visitors mistakenly assume it’s a telescope, but it’s actually a solar power station —another remarkable invention by Paris Herouni. “Arev” is an unfinished solar thermal power station designed by Paris Herouni In the 1990s, during Armenia’s energy crisis—when the country’s nuclear power plant was offline, the war in Artsakh was ongoing, and the nation faced a blockade—Paris Herouni set out to develop efficient solar energy systems. In 1991, he presented his “Arev” thermal power plant project, protected by seven international and two Armenian patents, demonstrating higher efficiency than comparable international projects. The project attracted attention from major international organizations and investors, particularly from the United Kingdom, and construction began. However, when the project was nearing completion, the investors attempted to claim Herouni’s patents. The matter went to court, construction was delayed, and the project was never resumed. https://video.wixstatic.com/video/103e0a_5f30da795304441b98c4fe3ec4eb6e8b/1080p/mp4/file.mp4 An aerial view of Herouni Mirror Radio Telescope Today, this place attracts tourists from around the world. For urban explorers visiting Armenia, this place is a must-visit! The "Orbita" Antenna I am standing near the giant "Orbita" antenna and pointing towards west Within the territory of the Herouni United Space Center, visitors can also see a massive antenna known as “Orbita.” The Orbita (Орбита) system was the world’s first national satellite television network, launched by the Soviet Union in 1967. Because the USSR covered an enormous territory, laying cables to every remote region was impractical. Instead, a network of ground stations equipped with large, iconic parabolic antennas was built to receive signals from Molniya satellites. Armenia was also part of this network and had several Orbita antennas. At least three are known to me, with two surviving to this day. According to available information, the Orbita station in Armenia became operational in November 1977, though it is unclear whether this date refers to this specific station or another antenna; further verification is required. The launch of this station coincided with the construction of the 311.7-meter Yerevan TV Tower, which allowed Armenia to receive the Second Program of Central Television from Moscow via the Molniya and Raduga satellite constellations. More on this you can read in the following article... I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . 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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

In 1982, a group of climbers from Soviet Union embarked on a daring expedition to conquer Mount Everest, the world’s highest mountain. This was the first acknowledged Soviet expedition to the Himalayas! < Back 1982 Soviet Everest Expedition In 1982, a group of climbers from Soviet Union embarked on a daring expedition to conquer Mount Everest, the world’s highest mountain. This was the first acknowledged Soviet expedition to the Himalayas! The 1982 Soviet Himalayan Expedition was a significant event in the history of mountaineering. It marked the first time that Soviet climbers embarked on an expedition to the Himalayas. The expedition took place in the spring of 1982, following a lengthy period of preparation. The expedition was dedicated to the 60th anniversary of the formation of the USSR. The members of the 1982 Soviet Himalayan Expedition were selected from one and a half hundred candidates, and the final team consisted of 25 people. The selection process involved a series of training camps during which the organizing committee and the Federation of Mountaineering paid attention to the preparation of athletes, their health, and psychological compatibility. The candidates participated in both sports (who will climb faster to the peak of Communism) and medical tests (testing in a baro-chamber at altitudes up to 10,000 m). The expedition leader was Evgeny Tamm, the senior coach was Anatoly Ovchinnikov, the coach was Boris Romanov, and the team captain was Valentin Ivanov. For the assault on the mountain, the climbers were divided into four sports teams: Eduard Myslovsky, Nikolay Cherny, Vladimir Balyberdin, Vladimir Shoppin Valentin Ivanov, Sergey Efimov, Mikhail Turkevich, Sergey Bershov Yervand Ilyinsky, Sergey Chepchev, Kazbek Valiev, Valery Khristchaty Vyacheslav Onishchenko, Valery Khomutov, Vladimir Puchkov, Alexey Moskaltsov, Yuri Golodov The fourth team was initially intended to be a support team, assisting with the organization of high-altitude camps and the delivery of supplies, as there was uncertainty about the assistance of Sherpa porters on the chosen route. However, once in the Himalayas, the coaching council decided that the team would participate in the ascent on equal terms. Despite the fact that prior to the expedition, Soviet climbers had not ascended peaks higher than 7600 meters (the height of the highest peak in the USSR, Peak Communism, is 7495 meters), the ascent was made via a route on the southwest wall that had not been used by anyone before. This route was more complex than all the routes on Everest that had been passed before. The expedition team established seven camps at various altitudes on Everest for the direct preparation of the ascent: Base camp (21.03., 5340m) — slightly below the Khumbu Icefall Intermediate camp (21.03, 6100m) Camp 1 (22.03., 6500m) Camp 2 (31.03., 7350m) Camp 3 (12.04., 7850m) Camp 4 (18.04., 8250m) Assault camp (03.05., 8500m) Eleven Soviet climbers managed to reach the summit of Everest, mostly in pairs. Some climbers reached the summit at night. Several athletes received injuries; later, one of them had four frostbitten phalanges on both hands amputated. The ascents were stopped due to severely deteriorating weather. The ascent of eleven climbers to the summit of Everest without fatal cases was considered a success. The climbers who reached the summit of Everest were: Vladimir Balyberdin and Eduard Myslovsky on May 4, 1982 Sergey Bershov and Mikhail Turkevich on the night of May 4-5, 1982 Valentin Ivanov and Sergey Efimov on May 5, 1982 Kazbek Valiev and Valery Khristchaty on the night of May 7-8, 1982 Valery Khomutov, Vladimir Puchkov, and Yuri Golodov on May 9, 1982 After the ascent: After the ascentall participants of the expedition were awarded the title of Honored Masters of Sports. At the time of the ascent, seven out of eleven members of the expedition were already champions of the USSR in mountaineering, including all three Almaty residents who were two-time champions, and Ural resident Sergey Efimov, who was a three-time champion. On December 20, 1982, a special postal block (CFA [AO “Marka”] No. 5356) was issued in the USSR with a circulation of 800,000 copies. The work of Yu. Levinovsky, it featured the State Flag of the USSR, a scheme of the route of the First Soviet Himalayan Expedition, Soviet climbers making the ascent, and a commemorative text. As of the early 2010s, the route of the expedition had not been passed by any other climber. In the future, some of those who failed to conquer Everest during this expedition were able to reach the summit. However, it remained unconquered for Vyacheslav Onishchenko, Vladimir Shoppin, Sergey Chepchev, and Alexey Moskaltsov. 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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

Geghard, the Spear of Destiny, also known as the Holy Lance or the Spear of Longinus, is a legendary relic with a history shrouded in myth and mystery. According to Christian tradition, the spear is said to be the weapon that allegedly pierced the side of Jesus as he hung on the cross during his crucifixion. Several relics are claimed to be fragments of the Holy Lance or the spearhead itself. Some of the most renowned locations housing these relics include Vienna, Austria, where the most famous relic is kept in the Hofburg Palace; Rome, Italy, where a significant relic is housed in the Vatican Museum; and Vagharshapat, Armenia, where a spearhead is displayed in the Museum of the Mother See of Holy Etchmiadzin. In this article, we will primarily focus on the relic housed in Vagharshapat, Armenia, which was preserved in the Ayrivank Monastery for 500 years. < Back Spear of Destiny - Geghard Geghard, the Spear of Destiny, also known as the Holy Lance or the Spear of Longinus, is a legendary relic with a history shrouded in myth and mystery. According to Christian tradition, the spear is said to be the weapon that allegedly pierced the side of Jesus as he hung on the cross during his crucifixion. Several relics are claimed to be fragments of the Holy Lance or the spearhead itself. Some of the most renowned locations housing these relics include Vienna, Austria, where the most famous relic is kept in the Hofburg Palace; Rome, Italy, where a significant relic is housed in the Vatican Museum; and Vagharshapat, Armenia, where a spearhead is displayed in the Museum of the Mother See of Holy Etchmiadzin. In this article, we will primarily focus on the relic housed in Vagharshapat, Armenia, which was preserved in the Ayrivank Monastery for 500 years. The crucifixion of Jesus is narrated in all four canonical gospels. After facing trials, Jesus carries his cross to Calvary, with the path traditionally referred to as the Via Dolorosa. At Calvary, a sponge soaked in a painkiller mixture is offered to Jesus, and according to Matthew and Mark, he declines it. The soldiers proceed to crucify Jesus and cast lots for his clothes. Pilate's inscription, "Jesus of Nazareth, the King of the Jews," is placed above Jesus' head on the cross, leading to mockery from soldiers and onlookers. Two convicted thieves are also crucified alongside Jesus. In Matthew and Mark, both thieves mock Jesus. In Luke, one of them rebukes Jesus, while the other defends him. Jesus responds to the latter, saying, "today you will be with me in Paradise." In John 19:33–34, Roman soldiers broke the legs of the two thieves to hasten their death, but they didn't do the same to Jesus, who was already dead. Instead, one soldier pierced Jesus' side with a lance, and blood and water flowed out. Fresco by Fra Angelico, located in the Dominican monastery at San Marco, Florence, depicting the scene when a Roman soldier pierces Jesus' side with a lance on the cross. Longinus is the name given to the unnamed Roman soldier who pierced Jesus' side with a lance, described in medieval and some modern Christian traditions as a convert to Christianity. His name first appeared in the apocryphal Gospel of Nicodemus. The lance is called the "Holy Lance" (lancea) in Christianity, and the story is related in the Gospel of John during the Crucifixion. This act is said to have created the last of the Five Holy Wounds of Christ. According to the tradition of the Armenian Church, the Holy Lance or Geghard was brought to Armenia by the apostle Thaddeus in the year 33, and it was kept in Christian communities for a long time. In 301, when Christianity was declared the state religion in Armenia, Geghard became the property of the Armenian Apostolic Church. Now it is displayed in the Echmiadzin treasury. Since that day, the weapon of death (Armenian: Գեղարդ - Geghard) has become a sacred relic for Christians. The spear's journey through history is both fascinating and enigmatic. Legends suggest that whoever possesses the Spear of Destiny holds a source of great power. In medieval times, the spear became a sought-after relic and was believed to grant its owner invincibility. Rulers like Charlemagne, Frederick I of the Holy Roman Empire, and others were said to have possessed or sought the spear. Its association with divine powers led to its use as a symbol of legitimacy and authority. During the Crusades, the Spear of Destiny gained further prominence, with many believing that its possession could influence the outcome of battles. The fascination with the spear continued through the ages, and it became the subject of various myths, legends, and conspiracy theories. On the door of Geghard Monastery is carved the representation of the Spear of Destiny, which for centuries was kept here! At least four major relics are claimed to be the Holy Lance or parts of it, located in Rome, Vienna, Armenia, and Antioch. In Mein Kampf, Adolf Hitler wrote that the Imperial Insignia "were still preserved in Vienna and appeared to act as magical relics rather than as the visible guarantee of an everlasting bond of union. In 1938, Nazi Germany annexed Austria, and Hitler visited the Hofburg Palace. Thirty years earlier, Hitler’s indelible conviction that he would one day claim the Spear of Destiny materialized from the moment he was free to remove the ancient weapon in the museum of the Hofburg Palace. One can imagine he held the talisman of power in his hands. Walter Stein comments that Hitler stood at the moment like a man in a trance, as if had cast some dreadful magic spell: “he was suffering almost a total eclipse of self-consciousness. He felt somehow renewed as a complete human being, a deep longing arose in his heart to discover the meaning of his individual destiny. It was a chastening experience.” Aerial view of Geghard Monastery As mentioned earlier one of the supposed Holy Lances is conserved in Armenia, in ancient city of Echmiadzin, the religious capital of Armenia. It was previously held in the monastery of Geghard. The first source that mentions it is a text called "Holy Relics of Our Lord Jesus Christ," in a thirteenth-century Armenian manuscript. According to this text, the spear that pierced Jesus was brought to Armenia by the Apostle Thaddeus. In 1655, the French traveler Jean-Baptiste Tavernier was the first Westerner to see this relic in Armenia. Every year during the commemoration of the apostles St. Thaddeus and St. Bartholomew, the relic is brought out for worship. The true nature and origin of the Spear of Destiny remain elusive, blending historical events with religious symbolism and legendary tales. While its mystical powers are a matter of belief, the spear's historical journey and its impact on the course of history make it a captivating relic that continues to capture the imagination of historians, archaeologists, and enthusiasts alike. 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Explore the rich history and cultural significance of the Armenian eternity symbol, also known as "arevakhach." Uncover the origins and meanings embedded in this ancient emblem that has transcended time, serving as a symbol of identity for the Armenian people. From its early appearances in petroglyphs to its prevalence in architecture, khachkars, and even Armenian rug weaving, discover how this enduring symbol continues to play a vital role in art and spiritual culture, reflecting the timeless heritage of Armenia. < Back Armenian Eternity Symbol Explore the rich history and cultural significance of the Armenian eternity symbol, also known as "arevakhach." Uncover the origins and meanings embedded in this ancient emblem that has transcended time, serving as a symbol of identity for the Armenian people. From its early appearances in petroglyphs to its prevalence in architecture, khachkars, and even Armenian rug weaving, discover how this enduring symbol continues to play a vital role in art and spiritual culture, reflecting the timeless heritage of Armenia. Starting from ancient times, the swastika, or arevakhach (derived from the words sun and cross), held profound meaning for the Armenian people. It symbolized eternity, serving as an ancient national emblem and representing the identity of Armenians. It is represented as a curved image with arms rotating either to the right or left, originating from a central point. One of the earliest depictions were discovered in the rock paintings of the Armenian Highland, depicting the Sun in the form of a wheel or a swastika (single or multi-winged scroll). The symbol conveyed positive wishes, embodying concepts such as the sun, life, fire, lightning, fertility, childbirth, progress, and development. The directional rotations of the swastika carried active and passive meanings. For instance, a baby crib adorned with the symbol rotating to the right was intended for boys, while a left rotation symbolized cribs for girls. One of the earliest known instances of the eternity symbol, the swastika, dates back to the 16th-15th centuries BC, discovered in excavations in Shamkhor, a historical Armenian region. Throughout Armenia and its historical territories, the eternity symbol can be traced on architectural pillars, church walls, altars, frescoes, miniatures, khachkars, carpets, jewelry, clothes, household items, and state, public, private, and religious structures. In medieval Armenian culture, the symbol represented the idea of eternity, particularly in heavenly life. From the 5th century, it became prevalent on Armenian memorial stones and evolved into a widespread symbol of Khachkar. By the 8th century, the eternity symbol was firmly embedded in national iconography, retaining its practical significance to the present day. The Geghama mountains in the modern-day territory of Armenia reveal petroglyphs featuring the swastika, dating back to 8,000 – 5,000 BC, marking one of the earliest uses of this enigmatic symbol. As a fundamental element in khachkars, the symbol adorned church walls, tombstones, and architectural elements, including prominent churches like Mashtots Hayrapet Church in Garni, Horomayr Monastery, Nor Varagavank, Tsitsernavank, and many others. Today, the swastika continues to be an integral part of Armenian identity, prominently featured in art and spiritual symbolism, universally embraced by the Armenian people as a timeless symbol of their heritage. Even in Armenian rug weaving traditions, Armenian eternity symbol (swastika) finds a place, as seen in a 17th-century Armenian rug where it is prominently featured at the center. This WWII memorial in Vardenut village features a large Armenian eternity symbol at the base of its metal sculpture 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 rich heritage and physical characteristics of the Armenian people in this insightful article. Uncover the historical evidence tracing their origins, the scientific classification under the Armenoid or Aryan race, and detailed descriptions by notable figures like Renato Biasuti. Explore the unique traits of Armenians, including their distinctive nose, often expressed in statues of cultural icons. Delve into the cultural significance of the nose, its impact on beauty standards, and the prevalence of nose surgery in Armenia. Learn about the dominant Christian faith, historical milestones, and the athletic prowess of Armenians in various sports, from wrestling to chess. Explore what makes the Armenian identity truly fascinating. < Back Armenian People Discover the rich heritage and physical characteristics of the Armenian people in this insightful article. Uncover the historical evidence tracing their origins, the scientific classification under the Armenoid or Aryan race, and detailed descriptions by notable figures like Renato Biasuti. Explore the unique traits of Armenians, including their distinctive nose, often expressed in statues of cultural icons. Delve into the cultural significance of the nose, its impact on beauty standards, and the prevalence of nose surgery in Armenia. Learn about the dominant Christian faith, historical milestones, and the athletic prowess of Armenians in various sports, from wrestling to chess. Explore what makes the Armenian identity truly fascinating. Armenians (Armenian: հայեր) are an ethnic group and nation native to the Armenian highlands of West Asia. Regarding the origin of Armenians, there are five historical pieces of evidence written not only by Armenians but also by foreign authors. These include Armenian, Georgian, Greek, Arabic, and ancient Hebrew sources. While foreigners refer to us as Armenians, we use the name (Hay, հայ), traditionally derived from Hayk (Armenian: Հայկ), the legendary patriarch of the Armenians and a great-great-grandson of Noah. According to Movses Khorenatsi (Moses of Khorene), Hayk defeated the Babylonian king Bel in 2492 BC, establishing his nation in the Ararat region. The presence of Armenia on the Babylonian clay slab-map, dating to no earlier than the 9th century BC, further confirms Armenia as one of the oldest countries on earth. In the context of scientific racism, Armenians are classified as belonging to the Armenoid or Aryan race, a now-outdated model developed originally by Europeans in support of colonialism. The term was used by Austrian anthropologist Felix von Luschan and Eugen Petersen in the 1889 book Reisen in Lykien, Milyas und Kibyratis ("Travel in Lycia, Milyas and Kibyratis"). Carleton Coon (1904–81) described the regions of West Asia such as Anatolia, the Caucasus, Iraq, Iran, and the Levant as the center of distribution of the Armenoid race. The 9th World Chess Champion Tigran Petrosian and composer Aram Khachaturian Renato Biasuti, a notable Italian geographer who published many works on physical anthropology, described the Armenoid type as follows: "Opaque-white to brown skin, dark hair, and dark eyes, abundant hair, medium height (166), solid body, broad head, rounded nape, very long face, straight and narrow nose with a high bridge of the nose, thin lips, narrow opening of the eyes." Armenian writer Zabel Yesayan (1878 – 1943) Armenian people are typically characterized as being relatively tall (170 cm), with medium to dark brown or black hair, and fair to medium skin tone. They commonly possess large, round eyes that are usually dark brown, a round, brachycephalic head shape with a straight nape (planokiput), high cheekbones, and a not particularly large jaw. Lips are thin, and only a minority of Armenians have blond hair and blue, green, or hazel eyes. Prominent Soviet-Armenian composer and pianist Arno Babajanian A major distinctive feature of Armenian people is their nose. Anthropologists have calculated that the average length of the nose of Armenians is 58 mm, making it the second-largest in the world after the Kurds. In Armenia, it is even possible to buy a souvenir in the shape of a nose, such as a glasses stand or a magnet. At every step, you can see not only a "living" nose but also a stone one. The noses of prominent Armenian cultural figures, such as Arno Babajanyan, Mher Mkrtchyan, and Yeghishe Charents, are clearly expressed in their statues. However, the subject of Armenian pride is not always desirable. For many girls, a big nose is not a gift but a tragedy. It is no coincidence that the most popular medical intervention in Armenia is nose surgery. Such a nose is not the best option for girls, and many Armenian women prefer to get rid of a big nose through surgery. Me sitting on a nearby wall of Yereruyk monastery The majority of Armenians, around 97%, are Christians belonging to the Armenian Apostolic Church. In 301 AD, Armenia adopted Christianity as a state religion, becoming the first state to do so. Maksim Manukyan - Greco-Roman wrestling champion (80 kg) When it comes to physical performance, Armenians may not excel in team sports (football, basketball) and sports requiring endurance (like long-distance running, skiing, etc.). Our bodies are more adapted to wrestling, weightlifting, boxing, and gymnastics. The fact that many Armenian athletes achieve high results to this day supports this statement. Armenians are also proficient in chess, a mental sport that is highly developed in Armenia and has thousands of active players across all age categories. 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

Armenia’s second-largest city, Gyumri, is known not only for its distinctive pre-Soviet and Soviet architecture but also for its long-standing blacksmithing traditions. It’s no surprise that in 2023 this tradition was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity. Today, though, we’re looking at another part of Gyumri’s cultural landscape — Soviet-era monumental art, specifically a 1977 bas-relief created by sculptor Ferdinand Araqelyan. < Back A Remarkable Soviet-era Bas-Relief in Gyumri Armenia’s second-largest city, Gyumri, is known not only for its distinctive pre-Soviet and Soviet architecture but also for its long-standing blacksmithing traditions. It’s no surprise that in 2023 this tradition was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity. Today, though, we’re looking at another part of Gyumri’s cultural landscape — Soviet-era monumental art, specifically a 1977 bas-relief created by sculptor Ferdinand Araqelyan. As you walk up Garegin Nzhdeh Street, just before reaching Charles Aznavour Square, you’ll notice a supermarket called Baseni Govq on your left. The façade of the supermarket is adorned with a striking bas-relief titled “Hospitality.” The "Hospitality" bas-relief in Soviet times Ferdinand Araqelyan completed the bas-relief in 1977, and a year later the new Shirak Hotel opened its doors behind it. The hotel’s architect was Grigor Ghazazyan, who served as the chief architect of Leninakan (the former name of Gyumri) from 1961 to 1962. The “Hospitality” bas-relief before the reconstruction During Soviet times, the artwork decorated the façade of the Shirak Hotel, which was destroyed in the 1988 earthquake. Miraculously, the bas-relief survived. In November 2017, the Armenian government approved the allocation of the former hotel site to Baseni Govq LLC. The investor committed to a 1-billion-dram redevelopment project, promising to build a four-story service center and create 100–150 new jobs. A key condition was the preservation of Araqelyan’s bas-relief “Hospitality.” To ensure the project wouldn’t stall, the government set a three-year deadline for the reconstruction. The “Hospitality” bas-relief in the course of reconstruction The Saribekyan brothers carried out the restoration with exceptional care, meticulously repairing damaged sections and cleaning the darkened areas of red tuff. Today, the bas-relief is fully restored and beautifully preserved — a genuine Soviet-era gem that draws curious travelers from around the world. I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . Project Gallery You May Also Like Inside the Eerie Corridors of an Abandoned Russian Fortress Soviet Bus Stops in Armenia Urbex Tours in Armenia – Photo Gallery The 53 cm Schmidt Telescope at Byurakan Astrophysical Observatory Exploring an Abandoned Rest House with Impressive Bas-Reliefs A Spaceship on Earth: The Soviet-Armenian Echo of the Futuro House Destroyed Soviet Mosaics and Frescoes in Armenia The Chayka Monument That Angered Nikita Khrushchev During His 1961 Visit to Armenia Previous Next