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This article explores the fascinating world of iconic custom-made cars in Soviet Armenia. These unique modifications highlight the ingenuity and creativity of Armenian car enthusiasts who transformed standard Soviet vehicles into extraordinary masterpieces, reflecting personal style and engineering brilliance despite the era's constraints. Discover these automotive gems in one comprehensive collection! < Back Custom Cars in Soviet Armenia This article explores the fascinating world of iconic custom-made cars in Soviet Armenia. These unique modifications highlight the ingenuity and creativity of Armenian car enthusiasts who transformed standard Soviet vehicles into extraordinary masterpieces, reflecting personal style and engineering brilliance despite the era's constraints. Discover these automotive gems in one comprehensive collection! The Soviet automotive market offered a limited range of standardized vehicles, such as the Lada, Moskvitch, and Volga, with purchasing often requiring years on a waiting list. While iconic Western vehicles were reserved for a select few, such as Vladimir Vysotsky, Anatoly Karpov, and Yuri Gagarin, many enthusiasts took it upon themselves to modify Soviet-made cars—or even build their own—from scratch. The history of custom cars in Armenia begins in 1977, attracting great attention and earning high praise. Yuri Gagarin’s Matra Bonnet Djet One of the most celebrated cars of the Soviet era belonged to Yuri Gagarin, the first human in space. In 1965, Gagarin visited the airshow in Le Bourget and lingered for a long time near the elegant, low-slung mid-engine coupe. Whether he hinted at his desire to own such a car or the French took the initiative themselves is unknown, but just a month later, on July 26, a personal Matra Djet for Yuri Alekseyevich was shipped from Paris to Moscow. Yuri Gagarin and his René Bonnet Matra-Djet before the titanium obelisk erected in Moscow Alley of Heroes in honor of space explorers. Although many photos depict this car as sky blue, it was actually beige-gray in color. Copyright Matra - Lagardère, 1965, courtesy of Club René Bonnet The GT-77 by Rafik Ordyan The talented Armenian engineer-designer Rafik Ordyan even in his early youth dreamed of creating his own unusual car. Our boyish hero read an article about how to build a car yourself in the magazine Young Technician . And he understood - his cherished dream is completely feasible. By the 10th grade, he had constructed a simple vehicle, which he called the “Buggy Model.” In 1971, Ordyan began working on his new and ambitious project, the GT-77, a project that required six years of determination and self-learning. Besides engineering, he mastered skills in design, chemistry, metalwork, and electronics. Many doubted that a single person could create a functional sports car, but Ordyan proved them wrong. Rafik Ordyan and his iconic GT-77 The GT-77, completed in 1977, was powered by a 47-horsepower engine from a Czechoslovak Škoda 1202 and built on the chassis of a Soviet Moskvich 412. The car's total height was 1 meter, and it could reach a speed of 180 km/h. Ordyan meticulously crafted many of the car's parts from scratch, creating a striking and one-of-a-kind sports car that captivated attention on the streets of Yerevan. The GT-77 was so distinct in a sea of Zhiguli and Volga vehicles that onlookers often mistook it for a foreign car. People were genuinely curious about its origins, asking which country it had come from and how it had ended up in the USSR. In 1977, Rafik overcame the test of 2500 km on the route Moscow — Sevastopol. GT-77 participated in an all-Union exhibition and was awarded the Grand Prix, the top prize, beating 34 competitors from different Union republics. Following this, it was displayed for an entire month at the Exhibition of Achievements of National Economy in Moscow, captivating visitors. Henrik Matevosyan's "Gull" on the cover of Soviet-Armenian magazine "Science and Technology", 1986/7 Henrik Matevosyan created his custom-built car, the "Gull," in 1981. While visiting the home of a friend who had a collection of cars, he admired one of the models, took inspiration from it, and decided to build a full-scale version with his own hands. Although the design process took four months, it took him two years to complete the car. The vehicle was named "Gull" due to its doors, which resemble the wings of a bird when opened. Notably, Matevosyan assembled the car in the closed balcony of their apartment. Archival photos show the moment the completed car was lowered from the balcony. In 1983, Matevosyan renamed the car "Zangezur," reflecting his roots in the Zangezur region. Over the years, the car's color has changed several times: from white to silver, then green, and black. Today, the car is painted red. The creator of "Zangezur" believes that every color suits his car. Since its creation, the vehicle has traveled over 2 million kilometers. During Soviet times, it participated in nearly all automotive competitions, winning numerous awards. A passionate speed enthusiast, Matevosyan confesses that he would still drive fast today, if only he were allowed to. While Ordyan’s GT-77 and Matevosyan's "Gull" remain a standout achievement, other Armenian car enthusiasts also pursued custom builds. I kept on researching Science and Technology magazine to uncover more examples and was able to find some, though details remain scarce. Lyova Sahakyan's "Landa" Car enthusiast Lyova Sahakyan is one of the creators of homemade cars. His models, "Lana," "Landa," "Sport-1," and "Mir-86," have repeatedly participated in races, winning awards. At his parents' advice, Lyova enrolled in the Brusov Institute of Russian and Foreign Languages, where he studied for three years but soon realized that studying languages was not his calling. He then entered the Karl Marx Polytechnic Institute's mechanical faculty, where he began seriously pursuing his passion during his student years. A "Zaporozhets" car, gifted by his parents, became his first testing ground. In a very short time, the car was modified, gaining a new look and being named "LANA," after the initials of his family members: Lyova, Asya, Nara, and Artur. One after another, his other homemade cars were created, the most famous of which are "Landa," "Sport-1," and "Mir-86." These models earned high praise from experts. For example, "Landa" was built in just three months. The car can accommodate six passengers in addition to the driver, and its external dimensions are smaller than even a "Zhiguli." One unique feature of the car is its four headlights, two of which move in sync with the wheels during turns. Lyova Sahakyan's futuristic "Mir-86" Lyova's most famous model is the "Mir-86," created in honor of the International Year of Peace, which was recognized by the United Nations in 1986. It stood out for its futuristic design and was considered the lowest sports car in the USSR, with a height of only 870 mm. The car could reach a speed of 200 km/h and was primarily built from Zaporozhets parts. The headlights of the "Mir-86" were connected to the steering wheel and wheels, allowing them to move in unison with the car during turns. It also had reserve lights that could be activated with the press of a button. 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A true time capsule, this school, built in 1901 with the support of Gaspar Ter-Margaryan, has left an indelible mark. Unlike many abandoned buildings in Armenia, this architectural marvel remains untouched, thanks to the efforts of the locals who have preserved its rich history. Despite the school's closure in 2010, its cultural significance lives on, with hopes for restoration to transform it into a museum. < Back Exploring an abandoned school in Armenia A true time capsule, this school, built in 1901 with the support of Gaspar Ter-Margaryan, has left an indelible mark. Unlike many abandoned buildings in Armenia, this architectural marvel remains untouched, thanks to the efforts of the locals who have preserved its rich history. Despite the school's closure in 2010, its cultural significance lives on, with hopes for restoration to transform it into a museum. We are on the road again with G. Mattu, and it takes us to the best-preserved abandoned school in Armenia. This school is like a time capsule and left a lasting impression on me! A local man was working in the yard, and we asked for permission to sneak inside. It looks like an architectural marvel, but the interior impressed me even more! I did not expect to see so many things preserved inside! Usually, buildings in Armenia are looted, but not this one. The locals have preserved it well. The school was built in 1901 with the support of Gaspar Ter-Margaryan, a village resident who made his fortune by mining oil in Baku. Seryozha Margaryan, a relative of the benefactor, who himself attended this school from 1966 to 1976, says that Ter-Margaryan built similar schools in 15 to 20 villages of Syunik region. The hallway and photos of graduates on the wall! There were years when 400 students attended the school in several shifts. In the last years of its existence, the number of students in the school gradually decreased: 13 students studied in the academic year 2003-2004, 11 students in 2004-2005, 9 students in 2005-2006, and 6 students per class in 2006-2007. Today, there are no school-age children in the village, and it is not possible to reopen the school. The school finally closed in 2010 after over a century of educating Armenia’s pupils. The restoration of the school building today has purely cultural significance. The building can serve as a museum. Me in chemistry class! Even the school where I studied didn't look this sublime! It had bare walls and looked symplistic... Currently, it is on the verge of collapse and is ready to become a distant memory for those who received such high-quality education in a place with a historical backdrop. 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 The Forgotten 50 cm Cassegrain Telescope of Byurakan Observatory Destroyed Soviet Mosaics and Frescoes in Armenia 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 Previous Next

In 301, Armenia became the first country in the world to officially adopt Christianity! The journey from pagan faith to Christianity started from here: Khor Virap, which translates to "Deep Pit" in Armenian. Later, in the 7th century, a chapel was built over the pit to commemorate these important historical episodes in Armenian history. Today, this historic site is both a pilgrimage destination and a major tourist attraction. < Back Khor Virap Monastery: From the Pit to the First Christian Country In 301, Armenia became the first country in the world to officially adopt Christianity! The journey from pagan faith to Christianity started from here: Khor Virap, which translates to "Deep Pit" in Armenian. Later, in the 7th century, a chapel was built over the pit to commemorate these important historical episodes in Armenian history. Today, this historic site is both a pilgrimage destination and a major tourist attraction. In 287 AD, Tiridates III of Armenia came to power. Tiridates III was the son of King Khosrov II of Armenia, who was assassinated in 252 by a Parthian agent named Anak. Anak was captured and executed along with most of his family, while his son, Gregory the Illuminator, was sheltered in Caesarea, Cappadocia, where he was introduced to the Christian religion. Khor Virap Monastic Complex As the only surviving heir to the throne, Tiridates was quickly taken away to Rome soon after his father's assassination while still an infant. He was educated in Rome and became skilled in languages and military tactics. In addition, he firmly understood and appreciated Roman law. The Armenian historian Movses Khorenatsi describes him as a strong and brave warrior, who participated in combat against his enemies and personally led his army to victory in many battles. Accompanied by Roman troops, Tiridates returned to Mets Hayk in 287 to reclaim the throne. The young Gregory, the son of Anak, also joined him, becoming a loyal comrade-in-arms of the king. Gregory received a Christian education in Caesarea. After the victory against Persia, King Tiridates offered Gregory the opportunity to make an offering to the goddess Anahit. Gregory refused to sacrifice to the idol. King Tiridates III the Great Upon learning that Gregory was the son of Anak, the man who had killed his father, Tiridates III ordered him to be thrown into the dungeon known as "Khor Virap", where Gregory endured 14 years of confinement. Khor Virap, which translates to "deep pit," was originally a royal prison in Artashat city. Legend states that Saint Gregory survived this ordeal thanks to the secret compassion of a kind woman, who sustained him by providing bread and water in secrecy During this time, Tiridates III enforced pagan practices, issuing proclamations and imposing the death penalty on Christians. According to tradition, after a few years, King Tiridates fell ill with a condition described as resembling swine flu. The cause of his illness was attributed to the murder of 33 Hripsimian virgins who had fled from Roman Emperor Diocletian. Among them, Hripsime was stoned to death for rejecting the king’s marriage proposal. Agathangelos writes: "Tiridates began to rage and eat himself, and like Nebuchadnezzar, king of the Babylonians, left his human nature and, in the form of wild pigs, went to live among them." Tiridates’ sister, Khosrovidukht, had a dream revealing that only Grigor, still imprisoned, could heal the king. Gregory was brought out of the dungeon and taken to Vagharshapat. He buried the remains of the martyred virgins, established a five-day fast, and through prayers, healed the king. A painting of Gregory the Illuminator by Vardges Sureniants An epoch-making event in Armenian history occurred in 301 when Tiridates III officially recognized Christianity as the state religion. Afterwards king Tiridates III and Gregory the Illuminato traveled across Armenia, destroying pagan monuments and establishing Christian ones in their place. Saint Astvatsatsin Church By the decision of the Council of Elders, Tiridates sent Gregory to Caesarea, where he was ordained as a bishop. Upon his return, the newly consecrated Catholicos baptized Tiridates and his court in the Aratsani River. Together, they initiated the construction of the Mother Cathedral of Etchmiadzin. The entrance to Khor Virap "Deep Pit" inside Saint Gregory Chapel In around 642, Catholicos Nerses III built a chapel over the pit where Gregory had been imprisoned. While the original structure did not survive, the current buildings date back to the 17th century. Modern-Day Khor Virap The monastery complex, built in the 17th century, includes the Saint Gregory Church, the Saint Astvatsatsin Church, and the famous underground dungeon known as Khor Virap (Deep Pit). Visitors can descend into this pit via a narrow ladder, experiencing the space where Saint Gregory endured his imprisonment. Saint Gregory Chapel (1662–1669): Built on the foundations of an earlier church, it houses the dungeon beneath its High Altar. Saint Astvatsatsin Church : Located in the center of the complex, this domed church features bas relief of Gregory and Tiridates. Walls and Bell Tower : The bell tower, built in the 19th century, is adorned with columns, while the surrounding walls date to the 17th century. Khor Virap also served as an educational center, founded by Vardan Areveltsi in 1255. Many manuscripts copied here are preserved at the Mesrop Mashtots Matenadaran in Yerevan. The complex underwent renovation during the 1960s and 1970s. His Holiness Karekin II and the Pope of the Roman Catholic Church visiting Khor Virap Tourism and Accessibility Located approximately 40 kilometers from Yerevan, Khor Virap is easily accessible by car or guided tour. Its proximity to the Turkish-Armenian border provides unparalleled views of Mount Ararat, a national symbol of Armenia. The picturesque surroundings and profound historical significance make it a must-visit destination for travelers exploring 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

While exploring abandoned buildings in Armenia, we entered this factory where we saw a fresco of Lenin, many rusty buses, and picturesque posters on 'Civil Defense' and 'Road Safety Rules'! Urbexing in Armenia can reveal lots of interesting stuff about the country's rich industrial history! < Back Exploring An Abandoned Factory In Armenia While exploring abandoned buildings in Armenia, we entered this factory where we saw a fresco of Lenin, many rusty buses, and picturesque posters on 'Civil Defense' and 'Road Safety Rules'! Urbexing in Armenia can reveal lots of interesting stuff about the country's rich industrial history! In the northern part of Armenia, we explored an abandoned factory that held a lot of interesting surprises! G. Mattu had some vague information about it, and we decided to check it out. Access was easy; we parked the car nearby, hopped over a boom barrier, and entered the territory. Near the building's entrance, there was a chair and a coffee cup, giving me the impression that we might encounter someone, but in the end, we met no one. We walked up the stairs which led to a large fresco of Lenin. At the time we thought this is the only survived fresco of Lenin in Armenia but a year later G. Mattu found another one! After capturing some photos, we continued exploring and entered a hall filled with old buses. We spent some time taking pictures before moving forward. Always love seeing cars painted yellow! This yellow Ikarus bus caught my eye instantly... Another room awaited us, adorned with posters on 'Road Safety Rules' and 'Civil Defense.' This led to that room full of posters... In Soviet Union civil defense measures were first held during the repulsion of the German attack on Petrograd in February - March 1918. On March 3, 1918, the Committee of Revolutionary Defense of Petrograd appealed to the population of Petrograd and its environs, where they brought to them the basic requirements of air defense and chemical protection. It uses the principles of emergency operations: prevention, mitigation, preparation, response, or emergency evacuation and recovery. On how to use a gas mask correctly! Together with radio and newspapers, posters in the Soviet Union were means of agitation and propaganda, influencing the consciousness and mood of people in order to encourage them to political or other activities. These posters are typically works of fine art and reflect elements of Soviet cultural heritage. In this case we have posters on "Road Safety" which I personally liked a lot! G. Mattu is exploring "Road Safety" posters! I took as many photos as possible to share with you. All in all, this abandoned factory turned out to be an interesting place to explore, and I hope we can return there together! Join my guided tour by contacting 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 The Forgotten 50 cm Cassegrain Telescope of Byurakan Observatory Destroyed Soviet Mosaics and Frescoes in Armenia 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 Previous Next

Explore the bold and functional world of Soviet Brutalist architecture. Discover iconic structures like the “Druzhba” Sanatorium in Yalta and the Ministry of Highway Construction in Tbilisi. Learn about the architects behind these monumental designs and the historical context that shaped this unique architectural style. < Back Brutalist Architecture in the Soviet Union Explore the bold and functional world of Soviet Brutalist architecture. Discover iconic structures like the “Druzhba” Sanatorium in Yalta and the Ministry of Highway Construction in Tbilisi. Learn about the architects behind these monumental designs and the historical context that shaped this unique architectural style. Brutalist architecture is a style that emerged in the mid-20th century, characterized by its stark, geometric designs and the use of raw concrete. The term “Brutalism” comes from the French word “béton brut,” meaning raw concrete, which was a primary material used in this architectural style. The plasticity of concrete, its "sculptural" possibilities were hardly the main element of the artistic language of neo-brutalist architects. Brutalism is known for its massive, monolithic structures and a focus on functionality over form. Origins and Key Figures Brutalism began in the United Kingdom in the 1950s, with architects like Alison and Peter Smithson leading the movement. They were inspired by the works of Le Corbusier, particularly his use of raw concrete and modular design. The style quickly spread across Europe, the USA, Canada, Japan, Brazil, and in the 1970s and 1980s also in the USSR. Brutalism in the Soviet Union In the Soviet Union, Brutalism took on a unique character, influenced by the region’s political, social, and economic conditions. Soviet architects embraced Brutalism for its cost-effectiveness and the ability to create large-scale housing and public buildings quickly. The style became prominent in the 1970s and 1980s, with many iconic structures still standing today. The architectural style is characterized by: Functionality First: The primary focus is on the practical use of the building, ensuring it serves its intended purpose efficiently. Exposed Materials: Brutalist buildings often feature raw concrete, steel, and glass, leaving these materials exposed rather than covering them with decorative elements. Simple, Geometric Forms: The aesthetic is dominated by straightforward, geometric shapes that emphasize the building’s structure and function. Monumental Scale: Many Brutalist structures are large and imposing, reflecting the power and permanence of the institutions they house. Famous Examples of Soviet Brutalist Architecture Druzhba Sanatorium Druzhba Sanatorium, (Yalta, 1985). Пансионат "Дружба" (Ялта, 1985) The “Druzhba” Sanatorium in Yalta is a striking example of Soviet Brutalism. Built by 1985 under the leadership of a team of architects from the Kurortproekt Institute under the leadership of I. A. Vasilevsky., this building resembles a UFO with its circular structure and elevated position. In 1980, the leaders of the trade unions of the USSR and Czechoslovakia decided to jointly build the Druzhba boarding house in Crimea for workers of the two countries. A difficult site with a 40-degree slope between the road and the unique Golden Beach was allocated for the construction of the boarding house. The construction site had a crack in the earth's crust, experienced landslides, and was characterized by a seismicity rating of 9 points. A special building project was developed by the design team of "Kurortproekt" in 1978-1980, including architects I. A. Vasilevsky, Y. Stefanchuk, V. Divnov, L. Kesler, and engineers N. V. Kancheli, B. Guryevich, E. Vladimirov, E. Ruzyakov, E. Kim, V. Maltz, V. Hansgorye, and E. Fedorov. They proposed a stable structure on three tower supports, which transferred the load from the building to the rock. The centerpiece of the composition is a glass atrium shaped like a crystal. Public spaces are located on different levels. The base is formed by a swimming pool bowl suspended from the building's three supports. In the center, there is a light and music fountain. Frequent stained glass windows around the fountain create the illusion of a moving water space. At night, this effect is enhanced by the illumination of three crystal chandeliers, turning the atrium into a glowing crystal. On the central terrace of the atrium there is a plastic composition “Awakening”, made of ceramics. (Artist R. Tsuzmer, architect R. Tevosyan). Hotel rooms are located behind the outer ring of the building and face the sea. Between the rooms and the atrium are open light wells. The supports are encircled by a glass corridor-gallery, which widens conically upward through the floors. This area houses a cafe, billiard room, and gym. The building is crowned by a three-part cantilevered restaurant. The roof of the fifth floor is at the level of the driveway and the main entrance to the resort. The roof features an observation deck with a panoramic view at a height of 56 meters above sea level. The building’s supports contain three high-speed elevators that transport guests to the residential floors and the seashore. Thanks to the architectural design of the building, the natural slope and existing vegetation remained unchanged. Additionally, for the first time on the entire site, heating and hot water were provided using thermal energy from the sea. Ship-house" on Bolshoi Tula Street "Ship-house" on Bolshoi Tula Street (Moscow, 1973-1986). "Дом-корабль" на Большой Тульской улице (Москва, 1973–1986) The “Ship-house” on Bolshaya Tulskaya Street in Moscow is another notable example. This residential complex, designed by architects Vladimir Davidovich Babad and Vsevolod Leonidovich Voskresensky, was constructed between 1972 and 1986. The Ship House is a 14-story residential building on Bolshaya Tulskaya Street in Moscow, known for its unusual shape and colossal size. It is also referred to as the "Titanic," "the house of nuclear engineers," "the bachelor's house," and the "horizontal skyscraper." The building is 400 meters long, 15 meters wide, and 50 meters tall. It has 14 floors, including two technical floors without windows. Additionally, it features duplex apartments on the 12th and 14th floors, and all floors, except the second and thirteenth, are residential. The building contains a total of 980 apartments. Residents began moving into one end of the building while the other end was still under construction. Due to the fact that V. Babad, previously worked exclusively on the construction of atomic reactors, he incorporated some of their features into this building. For example, the building has high seismic resistance, with facades and ends positioned at angles of 87° and 93° (instead of 90°) to each other to prevent folding. House of Aviators on Begovaya Street (Moscow, Russia) The Aviators’ House on Begovaya Street (also known as the “Centipede House,” “Octopus House,” or “House on Stilts”) is a unique 13-story brutalist residential complex with 299 apartments. Designed by architect Andrey Meerson and completed in 1978, it was originally intended as a hotel for the 1980 Summer Olympics but was later repurposed as housing for workers of the Znamya Truda aviation plant. The building’s defining architectural feature is its 40 massive reinforced concrete stilts, which elevate the first residential floor to the height of the fourth. This creates a striking visual effect of a “floating” structure, though in reality, the foundation and support system are made of solid reinforced concrete, ensuring the building’s stability. The structure consists of 13 residential floors and two technical levels—one beneath the stilts and another between the top floor and the roof. Measuring 130 meters in length, its façade is divided into three broad sections. The 40 reinforced concrete supports, arranged in 20 pairs, taper towards the ground so dramatically that they can be encircled by two people, enhancing the illusion of fragility. However, the building remains structurally sound, with the open space beneath the stilts commonly used as a parking area by residents. Ministry of Highway Construction of the Georgian SSR Ministry of Highway Construction of the Georgian SSR (Здание Министерства автомобильных дорог Грузинской ССР) The Ministry of Highway Construction building in the Georgian SSR, now acquired by the Bank of Georgia in 2007, is a striking example of Soviet Brutalist architecture. Located in Tbilisi, Georgia, this 18-story building was designed by architects George Chakhava and Zurab Jalaghania and completed in 1975. The engineer was Temur Tkhilava. Its unique design features interlocking concrete forms that resemble a stack of blocks, creating a visually dynamic and innovative structure. The building's location on a steep slope presented a unique challenge, which the architects ingeniously addressed by orienting three of the interlocking blocks on an east-west axis and the remaining two on a north-south axis. This configuration not only optimized the building's footprint but also created a dynamic interplay of volumes and shadows. The Ministry of Highway Construction building is a prime example of Soviet Brutalist architecture. Characterized by its raw concrete exterior, geometric forms, and emphasis on functionality, the building reflects the era's ideals of progress and social engineering. The structure's imposing scale and bold design solidified its status as a landmark in Tbilisi's skyline. Originally intended to house the Ministry of Highway Construction, the building reflects the Soviet Union’s emphasis on infrastructure development and modernization. The architects aimed to symbolize progress and modernity through the building’s bold design, which stands out against the backdrop of Tbilisi’s traditional architecture. In 2007, the building underwent a significant transformation when it was acquired by the Bank of Georgia. A comprehensive renovation project was undertaken to adapt the space to the bank's needs while preserving its architectural integrity. A new main entrance and underground lobby were added, creating a seamless transition between the historic structure and modern amenities. One of the most remarkable aspects of the building is its use of cantilevered sections, which create a sense of balance and harmony despite the massive concrete forms. This design not only maximizes the use of space but also allows for natural light to penetrate the interior, enhancing the building’s functionality. Celebrated for its bold aesthetic, the structure remains an iconic example of Soviet-era architectural ambition. Today, the former Ministry of Highway Construction remains an iconic landmark in Tbilisi, admired for its architectural innovation and historical significance. It serves as a testament to the creativity and ambition of Soviet-era architects, continuing to inspire and captivate visitors and architecture enthusiasts alike. “Amanaus” Hotel in Dombay The Abandoned “Amanaus” Hotel in Dombay (Заброшенная гостиница “Аманауз” в Домбае) The abandoned “Amanaus” Hotel in Dombay, built in 1985, is a haunting reminder of the Soviet Union’s ambitious architectural projects. At the foot of the Caucasus Mountains in the resort village of Dombay in the Karachay-Cherkess Republic, one can still see this Soviet monolith. The futuristic structure, dating back to approximately the mid 1980s, resembles honeycombs that will never be inhabited. It was intended to be a resort accommodating 630 people. The actual construction probably began between 1980 and 1982. It is still mystery but the construction was abruptly halted in 1985, just a few months before completion. A glimpse inside reveals that only wallpapering and furnishing remained. Utilities were already installed, walls plastered, and some doors fitted. The sudden cessation of construction remains a mystery. Unfortunately, we have not yet found reliable information about the course of construction and its abrupt halt. It is likely that records or official decrees may be found in libraries, if not in press reports, and we plan to investigate this further. The creators of the hotel were most likely inspired by the architecture of French ski resorts. In resorts like Tignes, Val Thorens, La Plagne, or Le Corbier, cozy alpine chalets are interspersed with similar multi-story structures. And it cannot be said that these buildings look unattractive or out of place. Residential Complex "Aul" Residential Complex "Aul" (Almaty, Kazakhstan, 1983)Жилой комплекс “Аул” (Almaty, Kazakhstan, 1983) The unfinished "Aul" microdistrict on Tole Bi Street is an impressive experiment in urban development. The complex, consisting of four towers built in 1983, is just a part of a large-scale reconstruction project for the entire "Tastak" area along Tole Bi Street. The project was designed by architects B. Voronin, L. Andreyeva, V. Vi, M. Dzhaikipbayev, and E. Rykov. Originally, the plan was to construct 33 monolithic towers of varying heights, grouped together similarly to the existing structure at the intersection with Volkhovskaya Street. In addition to residential buildings, the plan included the creation of service enterprises, but this was hindered by the collapse of the country and its economy. The core structure of the towers is made of monolithic reinforced concrete, constructed using sliding formwork. The towers themselves are designed in a trefoil configuration, allowing the architects to arrange them in various compositions. Spaces were left between the buildings for walkways, but higher up, the buildings almost touch each other, forming arches. The main expressive feature is the numerous semicircular balconies that densely populate the building's facades. The corners of the solid walls also have a rounded shape. Vilnius Palace of Concerts and Sports Vilnius Palace of Concerts and Sports In 1960 (or 1961, according to some sources), a competition was announced by the Institute of Urban Development Design for the creation of a sports hall in Vilnius, intended to expand the large sports complex adjacent to the Žalgiris Stadium. Three architectural teams participated in the competition. The second-place project, designed by Eduardas Chlomauskas, Jonas Kriukelis and Zigmantas Lendzbergis, was selected for construction due to its distinctive plastic silhouette. The Vilnius Palace of Concerts and Sports is a notable example of brutalist architecture. Completed in 1971, the building incorporates key brutalist elements such as exposed concrete, a utilitarian design, and sculptural, raw forms. The original engineering innovation of the building lies in its cable-stayed roof structures, designed by engineer Henrikas Karvelis. The façade and interior were finished with dolomite tiles, a material typical for that period. The foyer was decorated with wooden panels integrated into the walls, designed by artist R. Kavaliauskas. The northern wing of the building housed a café-bar adorned with mirrors and brown leatherette, designed by T. Baginskas. The palace's hall was designed for versatile use, featuring a transformable platform and a stage weighing 46 tons, which could be folded back against the hall’s rear wall. The seating capacity varied depending on the event: for hockey, the hall could accommodate 3,176 spectators; for basketball, 4,520; and for boxing, 5,400. If adapted for conferences or concerts, the maximum capacity could reach 6,000 people. The arena itself, primarily used for volleyball and basketball, had a seating capacity of 4,400. It is emblematic of Communist Modernism and remains one of the few surviving sports arenas in this architectural style. The exterior of the Sports Palace bears similarities to other contemporary structures, including the Wiener Stadthalle in Vienna (1958), the Sports Palace in Minsk (1966), the Hala Olivia in Gdańsk, Poland, and the now-demolished Volgar Sports Palace in Tolyatti, Russia. However, it features an original roof design that sets it apart. Unfortunately, due to safety concerns, the palace was closed in 2004. The 15th Building of the Belarusian National Technical University The 15th Building of the Belarusian National Technical University (BNTU), located in Minsk, is a striking example of Soviet brutalist architecture. The building is nicknamed "The Ship" due to its unusual shape, resembling the structure of an ocean liner. Construction of the 15th Building began in the 1970s, designed by the Minsk Architectural and Construction Institute (MASI), with the project authored by Igor Esman and Viktor Anikin. Although the full vision for MASI was not realized, the project was distinguished by its cohesive composition and scale, fitting the capital's architectural standards. The 15th academic building was opened in 1983, intended for the architecture and civil engineering faculties of the Belarusian Polytechnic Institute (now BNTU). Alongside the building, a teaching and laboratory block, dormitories, a canteen, and a sports and utility building were constructed. The reconstruction of the 15th Building began in June 2007. Until September 2008, landscaping work was carried out, including paving and facade improvements. However, due to insufficient funding, the reconstruction was halted. Today, the 15th Building of BNTU continues to serve as an educational and scientific center, reflecting the characteristics of Soviet architecture and the history of higher education development in Belarus. The Wedding Palace (Palace of Rituals) – Tbilisi, Georgia The Wedding Palace (also known as the Palace of Rituals) is an iconic example of Soviet-era brutalist architecture in Tbilisi, Georgia. Designed by architects Viktor Jorbenadze and Vazha Orbeladze, the building was constructed between 1980 and 1985 as a venue for wedding ceremonies. It is located at 21 Bochorma Street. One of the earliest high-profile ceremonies held at the palace was the 1987 wedding of singer Tamara Gverdtsiteli, attended by Soviet Foreign Minister Eduard Shevardnadze and British Prime Minister Margaret Thatcher. In 1990, Ian Gillan, the frontman of Deep Purple, renewed his vows with his wife Brona there during a tour. Following Georgia’s independence from the Soviet Union, the palace fell into disuse and remained abandoned for several years. In 2002, businessman Badri Patarkatsishvili purchased the property, converting it into a private residence and renaming it Arcadia Palace. After his death in 2008, he was buried in the palace garden, where a monument in his honor was erected in 2018. The Wedding Palace is often categorized as Brutalist architecture, yet it also blends elements of organic modernism. The use of raw concrete, geometric massing, and a fortress-like design aligns with Brutalism, while its fluid, temple-like form and dramatic silhouette reflect influences from expressionist and futuristic architecture, drawing parallels to the works of Le Corbusier and Oscar Niemeyer. Often compared to religious architecture, its futuristic, cathedral-like aesthetic has led Frederic Chaubin, editor-in-chief of Citizen K magazine, to describe it as "a cathedral from another, illusory world." Today, the palace remains closed to the public, with the grounds privately owned. Vilnius Marriage Palace The Vilnius Marriage Palace, also known as the Palace of Weddings, is primarily considered an example of Brutalist architecture, though it incorporates elements of late Soviet modernism. It was designed by a visionary team of architects led by Gediminas Baravykas. This striking structure not only set a precedent for similar buildings in Lithuania but also influenced architectural designs in neighboring countries. Architect: G. Baravykas Builder: A. Katilius Interior Design: E. Gūzas Stained Glass: K. Šatūnas Year: 1974 The building's design is unified, with the same stylistic elements carried through both its interior and exterior. Notable for its dynamic spaces and sculptural forms, the Palace of Marriages integrates harmoniously with its natural surroundings. The signature staircase on the façade serves as a symbolic bridge, representing the union of people’s lives. The interior and exterior have remained largely unchanged, offering a rare opportunity to explore one of the most impressive examples of late 20th-century architecture. For many residents of Vilnius, the building holds a cherished place in their most treasured memories. Kokhi Borbad The Kokhi Borbad (Palace of Culture and Congresses) in Dushanbe is a remarkable example of Soviet brutalist architecture. Situated by the serene Komsomolskoye Lake, this imposing structure, resembling an alien spacecraft, was designed by architect Sergo Sutyagin. It houses the largest concert hall in Tajikistan, with a capacity of 2,300 seats.Its construction during the late Soviet period aligns with a phase where architects explored beyond traditional modernism, incorporating elements that could be classified as Brutalist, especially given its concrete construction and monumental scale. The building's massive concrete facade, adorned with bold geometric patterns and sweeping curves, sets it apart from other Soviet-era public buildings. Its imposing, almost otherworldly design reflects the ambition of Soviet architecture in Central Asia, seamlessly merging monumental scale with artistic vision. Inside, Kokhi Borbad boasts an expansive auditorium designed for optimal acoustics, enhanced by intricate interior decorations that fuse Soviet and Tajik artistic influences. The hall's grand stage has hosted an array of performances, from classical music concerts to state ceremonies, cementing its role as a central venue for cultural expression. Although it was constructed during the Soviet era, Kokhi Borbad continues to be a vital cultural center in modern Tajikistan, hosting concerts, festivals, and government events. Its futuristic design remains a powerful symbol of Soviet architectural ambition and cultural identity in the region. Chuvash State Opera and Ballet Theater The Chuvash State Opera and Ballet Theater, located in Cheboksary, Chuvashia, Russia, is a major cultural institution with deep historical roots. Designed by architects R. Begunts and V. Teneta, the current building was completed in 1986. While some classify its style as Soviet modernism, the dominant architectural influence is Brutalism. Today, it remains the largest theater company in the Volga region and a key pillar of Chuvashia’s cultural scene. The appearance of photos and videos of this unique building on social media attracts a lot of attention, striking with its bold and unconventional appearance. Bonus Building: Though not located within the former Soviet Union, this structure stands as a striking Soviet creation in Cuba. We’re talking about the Embassy of the Russian Federation in Havana—a formidable example of Soviet Brutalism abroad. Designed by Alexander Grigoryevich Rochegov and his wife Maria Alexandrovna Engelke, in collaboration with the design organization Mosproekt-1, this iconic building was constructed between 1978 and 1987 and remains one of the most imposing Soviet-era structures outside the USSR. The building was initially opened as the Soviet embassy during a time when Soviet influence in Cuba was at its peak. Following the dissolution of the Soviet Union in 1991, it transitioned to its current status as the Russian Embassy. Its towering, angular form, resembling a sword planted into the ground, dominates Havana’s skyline. No surprise, the building quickly earned the nickname "control tower," a playful reference to both its resemblance to an air traffic control tower and the USSR's dominant role in the bilateral relationship between Cuba and the Soviet Union. A classic example of Brutalist architecture, the embassy features raw concrete, sharp geometric lines, and a fortress-like presence, reflecting both Soviet power projection and the architectural trends of the time. Conclusion Brutalist architecture in the Soviet Union represents a fascinating blend of functionality, ideology, and artistic expression. These structures, with their bold designs and raw concrete forms, continue to captivate architects and enthusiasts around the world. They stand as a testament to a unique period in architectural history, reflecting the ambitions and challenges of the Soviet era. 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Explore the rich history of Armenian winemaking dating back 6,000 years, with the discovery of the oldest winery in the Areni caves. Journey through time to 1887 when the first Armenian cognac factory emerged, laying the foundation for a flourishing industry. Discover the pivotal role played by the Shustov family in elevating Armenian cognac to international acclaim, earning the right to be called 'Cognac' after a surprising triumph at the 1900 Paris Exhibition. Uncover the fascinating connection between Winston Churchill and Ararat cognac, a bond so strong that it influenced political decisions and shaped the destiny of an Armenian. < Back Armenian Cognac and Winston Churchill Explore the rich history of Armenian winemaking dating back 6,000 years, with the discovery of the oldest winery in the Areni caves. Journey through time to 1887 when the first Armenian cognac factory emerged, laying the foundation for a flourishing industry. Discover the pivotal role played by the Shustov family in elevating Armenian cognac to international acclaim, earning the right to be called 'Cognac' after a surprising triumph at the 1900 Paris Exhibition. Uncover the fascinating connection between Winston Churchill and Ararat cognac, a bond so strong that it influenced political decisions and shaped the destiny of an Armenian. Archaeological finds indicate that the traditions of Armenian winemaking began 6,000 years ago. The oldest winery was discovered in the Areni caves in the Vayots Dzor region. However, the first cognac factory appeared in Armenia in 1887 when the merchant of the first guild, Nerses Tairyan, brought the Charente apparatus from France to Armenia and began producing cognac. After 12 years, the company was bought by the Russian company Shustov and Sons. Shustov spared no effort nor investment. Between 1893 and 1894, three new cognac factories were built in Yerevan, and in 1914, the number of factories in Armenia reached 15. The biggest one was the cognac factory bought by the Shustovs from Tairyan. Kirill Silchenko became the chief winemaker of the factory until 1947 and the first manager. During his leadership, 'Tonakan,' 'Hobelyanakan,' and other sorts of cognacs were created. The first oak barrels for Armenian cognac were brought from France, and until today, the main types of cognac are kept in those barrels. It is obvious that the French technology of cognac production and the French education of Inspector Musinyan caused the high quality of Armenian cognacs at that time. The mighty walls of Ararat Brandy Company It was thanks to Shustov that Armenian brandy received the right to be called cognac. In 1900, a young entrepreneur sent a drink to the Paris Exhibition, and during blind testing, this particular sample was recognized as the best. The French were so surprised that the Grand Prix was awarded not to French cognac but to its Armenian counterpart, allowing Shustov to use the original name “Cognac” on the label. This is how Armenian cognac appeared. An impressive bas relief of Armenian mythological warrior god “Vahagn the Dragon-reaper” on the wall of Ararat Brandy Company! Sculptor: Artashes Hovsepyan In 1937, a group of explorers led by Ivan Papanin set out for the North Pole. Each Soviet republic contributed something to support the participants of this scientific expedition. Belarus provided warm clothing, Ukraine contributed salt, and Armenia supplied cognac. Ivan Papanin, after setting up the "North Pole-1" camp on a drifting ice floe, treats the participants to Armenian cognac The "Pravda" newspaper published an article and a photo featuring the expedition members holding a cognac barrel. The article mentioned that the campaign faced such severe cold conditions that even the 42-degree Armenian cognac couldn't provide enough warmth. This prompted the question: could a cognac with a higher alcohol content be created? Master Margar showcased his creative talent by crafting "Dvin" with a strength of 50 degrees, and in 1947, the "Yerevan" cognac was introduced with a strength of 57 degrees, making it the strongest in cognac production. Winston Churchill One of the most famous fans of Armenian cognac was Winston Churchill, the former Prime Minister of the United Kingdom and one of the leaders of the Allied forces during World War II. According to some accounts, Stalin sent Churchill Armenian cognac annually, and even on the 75th anniversary of Churchill, he sent 75 bottles of cognac to him. Churchill’s response was: "What a pity, I don’t celebrate my 100th Anniversary..." It’s believed that Churchill drank one bottle of “Dvin” a day, but one day he claimed to Stalin that the quality of the cognac was not the same. Stalin ordered to find out what’s the problem! Soon he was told that that the master of “Dvin” cognac had been exiled. Churchill’s love towards Armenian cognac and respect for the master of “Dvin” was so big that he influenced Stalin’s decision to set Margar Sedrakyan free. That is the story of how Churchill rescued the life of an Armenian. Churchill enjoyed drinking Ararat cognac regularly, often accompanied by his cigar and his favorite food: roast beef with Yorkshire pudding. He also used it as a gift for his friends and allies, such as Franklin D. Roosevelt and Charles de Gaulle. He reportedly said that “Ararat” was “the best thing that ever happened to me”. No wonder that when he was asked about the secret of his long life, Churchill replied: “Cuban cigars, Armenian cognac and no sport.” 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

Join my guided Mount Aragats hike and conquer one of its four summits by choosing the route that best matches your fitness level and goals. Just so you know, Mount Aragats has four summits, each named according to its geographical location: North, South, East, and West. All four are accessible and do not require technical climbing skills. Each route has its own challenge—ranging from moderate trails like the Southern Summit to steeper climbs like the North Peak. In this tour itinerary, you'll learn everything you need to know to choose which summit to climb. < Back Climbing mount Aragats (all 4 summits) Join my guided Mount Aragats hike and conquer one of its four summits by choosing the route that best matches your fitness level and goals. Just so you know, Mount Aragats has four summits, each named according to its geographical location: North, South, East, and West. All four are accessible and do not require technical climbing skills. Each route has its own challenge—ranging from moderate trails like the Southern Summit to steeper climbs like the North Peak. In this tour itinerary, you'll learn everything you need to know to choose which summit to climb. Mount Aragats, a striking natural landmark in the central part of Armenia, rises majestically to the northwest of Yerevan and north of the Ararat Plain, straddling the border between the Aragatsotn and Shirak regions. This iconic mountain features four distinct summits, each offering breathtaking views and symbolizing both natural beauty and cultural significance. All four peaks are accessible to hikers without the need for technical climbing skills. To embark on this adventure, you should be in good health, maintain an average level of physical fitness, and bring sufficient food and water. Additionally, wearing appropriate hiking attire is highly recommended to ensure a comfortable and safe experience. The 4 summits of mount Aragats are named according to their relative geographic position: Northern—4,090 m (13,420 ft) Highest summit in Armenia Western—3,995 m (13,107 ft) Eastern—3,908 m (12,822 ft) Southern—3,888 m (12,756 ft) All four summits offer accessible hiking routes suitable for adventurers of varying skill levels, with no technical expertise required. The Southern Summit stands out for its popularity, thanks to its easy accessibility. The Northern Summit presents a more challenging ascent, demanding robust physical fitness. The Western and Eastern summits present a more challenging ascent compared to the Southern Summit , requiring greater endurance and effort on the trail. During our journey on the way to lake Kari, we'll take a break to enjoy some playful experiments at "Aragats Gravity Hill". The road to lake Kari in midst May Aragats Gravity Hill is a fascinating natural phenomenon located on the southern slopes of Mount Aragats. It is often referred to as a "gravity hill" or "magnetic hill," where the laws of physics seem to defy common sense. At this site, objects such as cars or water appear to roll uphill instead of downhill, creating the illusion that an unseen force—like gravity or magnetism—is pulling them against the natural slope. A memorable photo on the shore of Lake Kari, guiding a group from Singapore to the southern summit of Mount Aragats! The effect at Aragats Gravity Hill, however, is not caused by any gravitational or magnetic anomaly but is rather an optical illusion. The surrounding landscape, including the slopes, horizon, and vegetation, creates a distorted perception of the terrain's incline. What appears to be an upward slope is, in fact, a slight The view of Northern Aragats from the peak of the Southern Summit, as witnessed by me Northern Aragats — 4,090 m (13,420 ft) Tour details: Distance: 6km (One way) Altitude Gain: 1090 meters Duration: 4,5 hours (Ascent)! Descent takes around 3,5 hours Start point: Gegharot Waterfall (3000m) End point: Gegharot Waterfall (3000m) Difficulty: Difficult Trail Type: Out-and-Back Transportation: Off-road car ----------------- Tour Price to the Summit of Mount Aragats (Northern)! Total price for 1-4 participants (the whole group): 110.000 AMD For larger groups, please consider contacting for more details! ------------ The Price Includes: Transportation (Pick Up & Drop-off) Service of a guide. -------------- The Price Does Not Include: Airport transfers Insurance Lunch (Lunchboxes can be added in case of an extra payment) Eastern Aragats, as seen from the slopes of Northern Aragats. --------------------- Eastern Aragats — 3,908 m (12,822 ft) Tour Details: Distance: 4.5km (One way) Altitude Gain: 1200 meters Duration: 3.5 - 4 hours (Ascent)! Descent takes around 3 hours Start point: 10 km up from Aragats village, towards Gegharot waterfall End point: 10 km up from Aragats village, towards Gegharot waterfall Difficulty: Difficult Trail Type: Out-and-Back Transportation: Off-road car ---------------- Tour Price to the Summit of Mount Aragats (Eastern)! Total price for 1-4 participants (the whole group): 110.000 AMD For larger groups, please consider contacting for more details! ------------- The price includes: Pick up & drop off (In Yerevan) Transportation Service of a guide ---------------- Southern and Western Aragats, as seen from the summit of Northern Aragats. Western Aragats — 3,995 m (13,107 ft) Tour details: Distance: 6.5km (One way) Altitude Gain: 800 meters Duration: 3.5-4 hours (Ascent)! Descent takes around 3 hours Start point: Stone Lake End point: Stone Lake Difficulty: Difficult Trail Type: Out-and-Back Transportation: Sedan ------------------ Tour Price to the Summit of Mount Aragats (Western)! Total price for 1-4 participants (the whole group): 90.000 AMD For larger groups, please consider contacting for more details! ---------------- The price includes: Pick up & drop off (In Yerevan) Transportation Service of a guide -------------------- Southern Aragats as seen by me from the shore of lake Kari Southern Aragats — 3,888 m (12,756 ft) Tour details: Distance: 5.5km (One way) Altitude Gain: 688 meters Duration: 2.5-3 hours (Ascent)! Descent takes around 2 hours Start point: Stone Lake End point: Stone Lake Difficulty: Moderate Trail Type: Out-and-Back Transportation: Sedan ----------- Tour Price to the Summit of Mount Aragats (Southern)! Total price for 1-4 participants (the whole group): 90.000 AMD For larger groups, please consider contacting for more details! ----------- The price includes Pick up & drop off (In Yerevan) Transportation in air conditioned vehicle Service of a guide -------------- The Price Does Not Include: Airport transfers Insurance Lunch (Lunchboxes can be added in case of an extra payment) ---------- Gear for Mount Aragats 1. Backpack: A sturdy backpack to carry all your essentials. 2. Water: S ufficient water to stay hydrated throughout the hike. At least 1.5 liters… 3. Food: Pack lightweight, high-energy snacks or meals to keep your energy levels up. 4. Clothing: Dress in layers, including a waterproof/windproof outer layer, and choose moisture-wicking materials. Having extra socks and boots always welcomed… 5. Hiking Shoes/Boots : Wear comfortable and supportive footwear suitable for the terrain. 6. First Aid Kit: I have mine but in case you are using specific medicaments take with you! 7. Sun Protection: Sunscreen, sunglasses, and a hat to protect yourself from harmful UV rays. 9. Headlamp/Flashlight: Essential for hiking in low light conditions or during overnight trips. 10. Whistle: A loud whistle for attracting attention in case of emergencies. 11. Trekking Poles: Optional but helpful for stability, especially on challenging terrains. 12. Rain Gear: A lightweight, waterproof jacket or poncho to stay dry during rain showers. 13. Trash Bag: Carry a small bag to pack out your trash and keep the trail clean. Remember, this list may vary depending on the length and difficulty of the hike, weather conditions, and personal needs. But this were the basic things I decided to emphasize! For more details or to book a tour, feel free to contact me directly via WhatsApp or Telegram for a quick response! 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Inside an abandoned textile factory in Armenia, I stumbled upon something unexpected: rows of old computers, a large auditorium, and a Soviet mosaic. While I'm usually drawn to monumental Soviet art, this time the computers completely stole the show. They looked like nothing I'd ever seen before—and strangely, even a Google image search didn’t turn up anything similar. < Back The Forgotten Computers of a Soviet-Era Factory Inside an abandoned textile factory in Armenia, I stumbled upon something unexpected: rows of old computers, a large auditorium, and a Soviet mosaic. While I'm usually drawn to monumental Soviet art, this time the computers completely stole the show. They looked like nothing I'd ever seen before—and strangely, even a Google image search didn’t turn up anything similar. Curious, I dug deeper. I ran a DeepSearch with Grok and asked around in the Reddit community r/vintagecomputers. Here’s what I found out: What Were These Mysterious Computers? The machines are labeled "AM-5" and were likely produced by Gerber Technology , a U.S. company known for CAD (Computer-Aided Design) and CAM (Computer-Aided Manufacturing) systems, especially for the garment industry . They were used from the late 1980s for tasks like pattern design , grading , and automated fabric cutting . Since the factory they were found in used to produce textiles, the match fits perfectly. Evidence points to the computers being manufactured in Germany , at Gerber's European branch— Gerber Technology GmbH in Ismaning, Germany. Why It Matters In the 1980s, companies like Gerber were revolutionizing how clothes were made. Their computers streamlined the process—digitally creating patterns, optimizing fabric usage, and even controlling cutting machines. These “AM-5” systems were likely part of that wave of innovation, quietly sitting in Armenia, forgotten by history. After stepping out of the computer room one can see a wonderful mosaic by Vanik Manukyan These machines, echoes of the past, are part of a larger narrative—where fashion and automation converged during the final years of the Soviet Union. Final Thoughts It’s frustrating how few people recognize the value of preserving relics like these. Old computers, military bunkers, carpet-weaving machines, thread spinners, watch-making tools—they’re all part of our industrial and cultural heritage. With the right approach, they could fuel niche tourism and spark real curiosity. But sadly, most are being looted or scrapped long before anyone realizes their worth. 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 The Forgotten 50 cm Cassegrain Telescope of Byurakan Observatory Destroyed Soviet Mosaics and Frescoes in Armenia 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 Previous Next

The historic Alaverdi train station stands out not only for its unique architectural design but also for the remarkable frescoes painted in the 1960s by Rudolf Khachatryan. These artworks have become a cultural attraction, drawing visitors from around the world. Today, the station is also a fascinating site for urban exploration and a prime spot for urbex photography. < Back A visit to Alaverdi train station The historic Alaverdi train station stands out not only for its unique architectural design but also for the remarkable frescoes painted in the 1960s by Rudolf Khachatryan. These artworks have become a cultural attraction, drawing visitors from around the world. Today, the station is also a fascinating site for urban exploration and a prime spot for urbex photography. Alaverdi Railway Station, located in the city of Alaverdi in Lori Province, stands on the left bank of the Debed River. The station was first opened in 1899, while its current building was constructed in the 1940s–1950s. The station complex includes a three-story main building, two low platforms, and five railway tracks. Since 2011, passenger trains no longer stop at the station, but the worker on duty can be asked to open the door. The pink tuff building is an example of Soviet-Armenian Neoclassicism with a typical arched entrance and windows on the main facade. Architect: Baghdasaryan Lenmur The most striking feature of the building is undoubtedly the frescoes that adorn the station’s waiting hall. Painted in the early 1960s, they represent the only known monumental work of Rudolf Khachatryan (1937–2007), who later gained wide recognition in the 1970s and 1980s for his large-scale hyperrealistic portraits of Soviet cultural figures. Painted in vivid colors and with remarkable skill, the frescoes instantly capture attention. These two frescoes depict scenes from the poem "Anoush" and the short story "Gikor", one of the most notable works of renowned Armenian writer Hovhannes Tumanyan, which have long since become an integral part of Armenian public culture. Other murals depict the miners' revolt during the Bolshevik Revolution and a portrait of a proudly posing foundry worker with Alaverdi copper factory buildings and mountains in the background. These frescoes are a daring attempt to crystallize the allure of the region. They are brought into life in the juicy colors and bold contours that are typical to post-war Armenian painting. 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 The Forgotten 50 cm Cassegrain Telescope of Byurakan Observatory Destroyed Soviet Mosaics and Frescoes in Armenia 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 Previous Next

Dervla Murphy, the intrepid Irish touring cyclist and acclaimed travel writer, left an indelible mark on the world with her daring adventures. Born on November 28, 1931, in Lismore, County Waterford, she spent over 50 years chronicling her remarkable journeys across continents. Let’s delve into the captivating life and travels of this extraordinary woman. < Back Dervla Murphy - A Fearless Explorer on Two Wheels Dervla Murphy, the intrepid Irish touring cyclist and acclaimed travel writer, left an indelible mark on the world with her daring adventures. Born on November 28, 1931, in Lismore, County Waterford, she spent over 50 years chronicling her remarkable journeys across continents. Let’s delve into the captivating life and travels of this extraordinary woman. Born and raised in Lismore, County Waterford, Murphy's childhood dream of traveling was sparked by a second-hand bicycle and an atlas received on her tenth birthday. Her determination to cycle to India one day was crystallized on a steep hill near Lismore. Despite leaving secondary school at 14 to care for her disabled mother, Murphy undertook various short trips in her youth and published travel articles in journals like Hibernia and the Irish Independent. The death of her first lover, Godfrey, in 1958, followed by the illnesses and deaths of her father and mother in 1961 and 1962, respectively, marked a turning point. Freed from domestic responsibilities, Murphy embarked on the extended journey she had long envisioned. Dervla Murphy with her bike in India in 1963 In 1963, armed with determination and her trusty bicycle, Dervla embarked on an audacious expedition. Her mission? To pedal from her home in Ireland all the way to India. Taking a pistol along with other equipment aboard her Armstrong Cadet men's bicycle (named Rozinante in allusion to Don Quixote's steed, and always known as Roz), she passed through Europe during one of the worst winters in years. In Yugoslavia, Murphy began to write a journal instead of mailing letters. In Iran she used her gun to frighten off a group of thieves, and "used unprintable tactics" to escape from an attempted rapist at a police station. She received her worst injury of the journey on a bus in Afghanistan, when a rifle butt hit her and fractured three ribs; however, this only delayed her for a short while. She wrote appreciatively about the landscape and people of Afghanistan, calling herself "Afghanatical" and claiming that the Afghan "is a man after my own heart." Full Tilt: Ireland to India with a Bicycle by Dervla Murphy In Pakistan, she visited Swat (where she was a guest of the last wali, Miangul Aurangzeb) and the mountain area of Gilgit. The final leg of her trip took her through the Punjab region and over the border to India towards Delhi. Dervla’s book, “Full Tilt: Ireland to India with a Bicycle,” published in 1965, immortalized this epic journey. Through her vivid prose, readers rode alongside her, feeling the wind in their hair and the thrill of the open road. She captured the essence of adventure—the raw beauty of landscapes, the kindness of strangers, and the resilience required to conquer the unknown. Post-Delhi, Murphy engaged in volunteer work with Tibetan refugees, contributing to the Save the Children organization. Her experiences in Dharamsala and the Kullu Valley were captured in "Tibetan Foothold." Further travels led her to Africa in 1966, where she walked with a pack mule in Ethiopia, detailed in "In Ethiopia with a Mule." Murphy's daughter, Rachel, became her travel companion at the age of five, accompanying her on journeys to India, Peru, Madagascar, and Cameroon. Their adventures challenged traditional gender roles, with Dervla often mistaken for Rachel's husband. She surmised that this misgendering occurred not only because of her physique but also because the idea of women traveling so far without a man was inconceivable. Not confined to conventional travel narratives, Murphy delved into political issues. Her book "A Place Apart" (1978) focused on Northern Ireland, winning the 1979 Christopher Ewart-Biggs Memorial Prize. Subsequent works addressed global concerns, including apartheid, the Rwandan genocide, and post-war reconstruction in the Balkans. In her later years, Murphy continued to push boundaries. At 71, she planned to cycle in eastern Russia but, following injuries, documented her journey around Siberia by train, boat, and bus in "Through Siberia by Accident." A unique figure in travel writing, Murphy's outspoken views extended beyond her adventures. She was anti-globalization, critical of international institutions, and a vocal advocate against nuclear power and climate change. Through Siberia by Accident by Dervla Murphy Dervla Murphy passed away on 22 May 2022, leaving behind a legacy that earned her recognition as the Inspiring Cyclist of the Year in 2019 and the Royal Geographical Society's Ness Award for the popularization of geography through travel literature. Her contribution to writing, particularly travel writing, was celebrated by the President of Ireland, Michael D. Higgins, who acknowledged her unique commitment to the value of human experience in all its diversity. Dervla’s journeys were not for the faint-hearted. She danced with danger, surviving encounters with wolves in Bulgaria, threats from soldiers in Ethiopia, and even a robbery in Siberia. Yet, she considered tripping over cats at home and shattering her left arm as her worst incident—a testament to her resilience and perspective. Dervla Murphy’s legacy extends beyond her books. She inspired countless travelers to embrace the road less traveled, to seek connections with people, and to cherish the unpredictable. Her spirit lives on in those who dare to pedal, hike, and explore—those who understand that the journey itself is the greatest reward. So, let us raise our imaginary glasses to Dervla Murphy—the woman who pedaled her way into our hearts, leaving tire tracks of courage. 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

The hammer and sickle, a symbol that defined the Soviet Union and became synonymous with communism, carries a powerful historical and ideological meaning. This iconic image, consisting of a crossed hammer and sickle, represents the unity of industrial workers and agricultural laborers, embodying the vision of a classless society built on collective labor. Its appearance on flags, public buildings, and monuments reinforced the Soviet state’s identity and spread its influence globally. < Back Hammer and Sickle: The Most Iconic Soviet Symbol The hammer and sickle, a symbol that defined the Soviet Union and became synonymous with communism, carries a powerful historical and ideological meaning. This iconic image, consisting of a crossed hammer and sickle, represents the unity of industrial workers and agricultural laborers, embodying the vision of a classless society built on collective labor. Its appearance on flags, public buildings, and monuments reinforced the Soviet state’s identity and spread its influence globally. Origins of the Hammer and Sickle The hammer and sickle emblem was established by a government decision in late March to early April 1918 and approved by the V Congress of Soviets on July 10, 1918. It was first depicted on the state seal of the Council of People's Commissars of the RSFSR on July 26, 1918. The artist E. I. Kamzolkin was the first to propose the hammer and sickle symbol for the decoration of the Zamoskvoretsky District of Moscow for the May Day celebrations in 1918. Before that, the "plow and hammer" emblem was used. The hammer and sickle symbol In this context, the hammer represented the working class, the industrial proletariat that toiled in factories, while the sickle symbolized the peasantry—those who labored in the fields. By crossing these two tools, the image represented the unity between workers and peasants, a fundamental principle of Marxist ideology. It was more than just a logo; it was a visual manifestation of the Soviet Union's communist ideals and its promise to liberate workers worldwide from capitalist oppression. A rare hammer and sickle monument still preserved in Armenia Together with the red star, the hammer and sickle appeared on the flag of the USSR in 1923, and in 1924, the symbol was written into the constitution. The hammer and sickle were also placed on the flags and coats of arms of the Soviet republics. The iconic red background, symbolizing revolution and the blood of workers, combined with the golden hammer and sickle, conveyed the message of a worker’s state. Above the hammer and sickle, the five-pointed star represented the global spread of communism. The Hammer and Sickle in Soviet Armenia The Armenian SSR emblem, designed by Martiros Saryan and Hakob Kojoyan, was adopted in 1937. The State Emblem of the Armenian Soviet Socialist Republic consisted of the image of Greater and Lesser Ararat, with a hammer and sickle on a five-pointed star surrounded by rays at the top. At the foot of the mountains was a vineyard bush with vines and leaves, and ears of wheat to the right and left. Emblem of the Armenian Soviet Socialist Republic on the top of the stage of Arshaluys culture house Around the emblem, on the margins, was the inscription in Armenian, "Armenian Soviet Socialist Republic." Below, on a red background, was the inscription in Armenian and Russian, "Workers of the world, unite!" Emblem of the Armenian SSR There is a diplomatic apocrypha according to which Turkey allegedly expressed protest, asking why Armenia put a mountain on its coat of arms that does not belong to it. To this, the then People's Commissar of Foreign Affairs, Chicherin, responded: "And why is there a crescent moon on the flag of Turkey? The moon does not belong to it either." In the Soviet Union, the hammer and sickle were more than just a political symbol; they were integrated into everyday life. The emblem became a common decorative feature on buildings, monuments, and state facilities, particularly during the era of Stalinist architecture. Hammer and sickle on the façade of the building of Vanadzor Municipality Today, while walking around Armenia, a meticulous eye can still notice traces of that emblem. Notable examples include the façades of the Government House, the Public Radio of Armenia, and the Vanadzor Municipality, all featuring hammer and sickle bas-reliefs. Moreover, during my urban exploration missions, I also saw a monument shaped like a hammer and sickle. An original Soviet-era flag with the emblem of the Armenian SSR that we saw in an abandoned shoe factory The hammer and sickle remain one of the most recognizable symbols of the 20th century, representing a significant era in global politics. Its widespread use on flags, facades, and monuments across the Soviet Union and beyond reflected the ideological battle between capitalism and communism. While the Soviet Union collapsed in 1991, the hammer and sickle still hold powerful historical and cultural connotations, often evoking both nostalgia and controversy in former communist countries and among left-wing political groups worldwide. 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 The Forgotten 50 cm Cassegrain Telescope of Byurakan Observatory Destroyed Soviet Mosaics and Frescoes in Armenia 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 Previous Next

Late on a rainy day, I set out to explore one of the most iconic structures in Armenia’s second-largest city, Gyumri. Pushing through tall grass and slippery terrain, I made my way up to the fortress—only to find the entrance locked. Luckily, a narrow window offered a way in. Inside, I stepped into maze-like, eerie corridors where history, decay, and silence create one of the most atmospheric urbex experiences in Armenia. I was inside the Horseshoe-Shaped fortress. < Back Inside the Eerie Corridors of an Abandoned Russian Fortress Late on a rainy day, I set out to explore one of the most iconic structures in Armenia’s second-largest city, Gyumri. Pushing through tall grass and slippery terrain, I made my way up to the fortress—only to find the entrance locked. Luckily, a narrow window offered a way in. Inside, I stepped into maze-like, eerie corridors where history, decay, and silence create one of the most atmospheric urbex experiences in Armenia. I was inside the Horseshoe-Shaped fortress. In the 19th century, Gyumri rapidly grew in importance, becoming a key political, military, and economic center of the Russian Empire. On June 2, 1834, Nicholas I of Russia issued a decree to design a new military fortress here. Construction lasted nearly a decade. Interestingly, it was the fortress—not the town—that was first renamed Alexandropol in 1836. Only a year later, in 1837, Gyumri received city status and was also renamed Alexandropol. On October 3, 1837, the emperor arrived in Gyumri via Akhaltsikhe. It was then that he ordered the construction of an Orthodox church within the fortress, later named Saint Alexandra. The Alexandropol Fortress is a nearly rectangular structure, oriented from north to east. Shaped by the surrounding terrain, it is fortified by defensive walls on only one side. The complex was vast and largely self-sufficient, with barracks designed for up to 15,000 soldiers, arsenals, supply depots, a three-story hospital, and numerous service buildings. The fortress contained 36 powder storage rooms, around 200 cannons, and significant reserves of wheat and barley. Today, the Russian 102nd military base is located on the territory of the Alexandropol Fortress. Built by local craftsmen, the fortress stands out among similar structures in the region. Its defensive network included key fortifications such as Sev Berd (Black Fortress), Karmir Berd (Red Fortress) and Paytadzev Amrots (Horseshoe-Shaped Fortress). While the first 2 are circular in design, the so-called Horseshoe-Shaped Fortress differs with its distinctive curved, semi-circular layout—giving it its name. Karmir Berd remains in use, and Sev Berd has been restored and opened to visitors. In contrast, the Horseshoe-Shaped Fortress is still abandoned—its entrances locked, access limited, and entry requiring some physical effort. All three fortresses were once connected by underground passages. Part of the tunnel is still visible today inside the Horseshoe Fortress, though the entrance is blocked with barbed wire. Arched corridors and a maze-like layout create a haunting atmosphere, giving the fortress its unmistakable eerie character. 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 The Forgotten 50 cm Cassegrain Telescope of Byurakan Observatory Destroyed Soviet Mosaics and Frescoes in Armenia 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 Previous Next