This article navigates through the journey of the swastika, shedding light on its positive connotations while addressing its controversial modern associations. Explore the profound history of the swastika, a symbol embedded in diverse cultures, with a special focus on its significance in Armenia. Delve into the origins, meanings, and the oldest use of the swastika, also known as "arevakhach" in Armenian, symbolizing eternity. < Back The History of Swastika and its Role In Armenian Culture This article navigates through the journey of the swastika, shedding light on its positive connotations while addressing its controversial modern associations. Explore the profound history of the swastika, a symbol embedded in diverse cultures, with a special focus on its significance in Armenia. Delve into the origins, meanings, and the oldest use of the swastika, also known as "arevakhach" in Armenian, symbolizing eternity. The swastika is an ancient symbol that has been used by various cultures and religions for thousands of years. It is a cross-like shape with four arms that are bent at right angles, forming a loop or a spiral. The word swastika comes from the Sanskrit language, meaning “conducive to well-being” or “good fortune.” The swastika has different meanings and interpretations depending on the context and orientation. In Hinduism, Buddhism, and Jainism, the swastika represents the sun, prosperity, good luck, spiritual teachers, or the Buddha’s footsteps. It is often drawn on doors, thresholds, vehicles, scriptures, or temples as a sign of welcome or blessing. It is also used in ceremonies and festivals to mark auspicious occasions. In some Indo-European religions, such as Greek, Roman, Germanic, and Norse mythology, the swastika symbolizes lightning bolts or thunder gods. It is associated with power, strength, victory, or protection. It can also signify the four elements (earth, water, fire, air), the four seasons (spring, summer, autumn, winter), or the four directions (north, south, east, west). The swastika was also found in ancient civilizations such as Egypt, Armenia, Mesopotamia, China, and India. The flag of the National Socialist German Workers' Party (1920–1945) features a swastika However, the swastika’s popularity declined in Europe after World War I when it was adopted by some far-right groups as a symbol of antisemitism and racial supremacy. The most notorious example was Adolf Hitler’s Nazi Party in Germany, who used the swastika as their emblem from 1920 to 1945. They claimed that the swastika represented their Aryan race and their ideology of Nazism. They also distorted its original meaning by associating it with violence and hatred. As a result of their atrocities during World War II and the Holocaust, many countries banned or restricted the use of the swastika in public places. Today, the swastika is still considered a hateful symbol by most people, especially those who suffered under Nazi oppression. Swastika sign on the fortress wall of medieval Armenian capital Ani However, the swastika is not universally rejected or condemned. In some Asian countries, such as Nepal, India, Thailand, Mongolia, Sri Lanka, China, and Japan, the swastika remains a sacred symbol of Hinduism, Buddhism, and Jainism. It is still used for religious purposes, such as weddings, festivals, and pilgrimages. Swastika in Armenia - The Symbol of Eternity In Armenia, starting from ancient times, the swastika or arevakhach (from the words sun and cross) was a symbol of eternity, an ancient national symbol, and a symbol of the national identity of the Armenian people. The sign symbolizes good wishes, sun, life, fire, lightning, fertility, and childbirth, progress and development. Right and left rotations are assigned active and passive meanings and can be used to indicate these meanings. For example, a baby crib decorated with the symbol of eternity on the right rotation is intended for boys, and on the left rotation, for girls. One of the oldest known uses of the swastika can be traced in Armenia. A jar with the swastika sign was excavated in Shamkhor (historical Armenian land), dating back to 16th-15th centuries BC. The swastika sign can be traced among petroglyphs in Geghama mountains. Image Credits: Karen Tokhatyan In the modern-day territory of Armenia, the swastika sign can be traced among petroglyphs in the Geghama mountains, dating back to 8,000 – 5,000 BC. It represents one of the earliest uses of this mysterious symbol. In Armenia and its historical territories, the sign of eternity is found everywhere: on architectural pillars and elements, on the walls of churches, altars and frescoes, in miniatures, on khachkars, carpets, jewelry, clothes, household items and objects, in symbols of state, public, private and religious structures. Swastika sign can be also traced in Armenian rug weaving traditions! On this 17th century Armenian rug, in the center, we can see swastika sign. Today, for the Armenian people, the swastika still has a part especially in art and spiritual symbolic culture, the sign of eternity is an integral part and is universally distributed as a symbol of Armenian identity. A recent scandal involving the usage of the swastika: Kanye West, the rapper formerly known as Ye, was suspended from Twitter for violating the platform’s rules against incitement to violence. He posted an image of a swastika blended with a Star of David, a symbol of Judaism, on Thursday night (Dec 1, 2022). The tweet was quickly deleted. An image posted by Kanye West to Twitter before his suspension, December 1, 2022. The swastika’s history shows that it is not just one simple shape but a complex and diverse symbol that has been interpreted in different ways by different cultures and times. It reflects both positive and negative aspects of human civilization. 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

I’m Suren, a professional urbexer who has turned his passion into a career, guiding tourists through abandoned places and supporting a unique lifestyle. I do this full-time and, over the years, have become a specialist in this field. In recent years, urbex (urban exploration) has gained massive popularity, especially on social media. Soviet-era sites across post-Soviet countries have become hotspots for adventurers, photographers, and history enthusiasts. One of the most popular destinations in Armenia is the ROT54 Radio-Optical Telescope, perched at 1,700 meters above sea level on the southern slopes of Mount Aragats — the country’s highest peak. This tour invites you to join me as your private guide to explore this Soviet-era scientific marvel. < Back Urbex Tour to ROT54 – Explore Armenia’s Most Fascinating Abandoned Place I’m Suren, a professional urbexer who has turned his passion into a career, guiding tourists through abandoned places and supporting a unique lifestyle. I do this full-time and, over the years, have become a specialist in this field. In recent years, urbex (urban exploration) has gained massive popularity, especially on social media. Soviet-era sites across post-Soviet countries have become hotspots for adventurers, photographers, and history enthusiasts. One of the most popular destinations in Armenia is the ROT54 Radio-Optical Telescope, perched at 1,700 meters above sea level on the southern slopes of Mount Aragats — the country’s highest peak. This tour invites you to join me as your private guide to explore this Soviet-era scientific marvel. ROT54 and the Tour Experience This urban explorer tour gives you a rare chance to visit one of the most popular and mysterious scientific sites of the Soviet legacy: the Herouni United Space Center in the village of Orgov. Hidden in the peaceful hills of Orgov lies ROT54 , an enormous and now-abandoned scientific structure. Built between 1975 and 1985 , this telescope features a massive 54-meter (177 ft) dish and was once among the most advanced radio-optical telescopes in the world. The project was the brainchild of Paris Herouni — a radio astronomer, physicist, and engineer — a determined Armenian scientist who spent years convincing Soviet authorities to approve its construction in Armenia. Aerial photo of ROT54 The telescope operated from 1986 until it stopped in 1990. In the mid-1990s, plans were made to restore it. From 1995 to 2010, it was partially modernized with new control computers and equipment, and observations resumed with help from the Astronomical Society of Russia and the National Technical University of Athens. But in 2012, a control arm failed, disabling the secondary mirror and stopping operations again. The Armenian government couldn’t afford repairs, and the facility was mothballed. To restart it, the control systems need major upgrades, old analog sensors must be replaced with digital ones, and the data systems must be modernized. Experts estimate the cost at around $25 million. In the control room of ROT54 Today, the dish stands silent. Inside the control room, everything remains as if time simply froze — a perfect set piece for any urban explorer. Arev: The Forgotten Solar Power Station Just a short walk from ROT54 lies Arev , an unfinished solar thermal power station designed by Paris Herouni during Armenia’s 1990s energy and economic crisis, when even the country’s most important strategic facility, the Metsamor Nuclear Power Plant, was shut down. It was protected by nine patents and boasted higher efficiency than similar international projects. Despite attracting interest from foreign investors, particularly from Great Britain, the project was never completed. When construction was close to completion, the investors attempted to acquire Herouni’s patents, which ultimately brought the project to a halt. Now, the skeletal remains of Arev resemble something from a science fiction film — a raw monument to Soviet ambition, lost in time. A visit to "Orbita" antenna During this tour, we will also have a unique opportunity to see the massive “Orbita” antenna. The Orbita (Орбита) system was the world’s first national satellite television network, launched by the Soviet Union in 1967. Covering the vast territory of the USSR, 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. In 1967, the first 20 Orbita stations were put into operation. The system expanded rapidly. By 1970, there were already more than 50 stations, and by 1984, the network had grown to over 100 stations, including more than 10 transmit-and-receive stations. Armenia was also part of this network and had several Orbita antennas. According to available information, the Orbita station in Armenia became operational in November 1977, although 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. Tour Highlights Walk around the legendary ROT-54 antenna Explore the iconic control room with its original panels, perfectly preserved Visit abandoned buildings, including a unique anechoic chamber Get up close to — or even climb — the futuristic Arev solar power station Climb the observation tower for stunning panoramic views of the area See the giant "Orbita" antenna More details… For groups larger than 4, please contact me via Telegram or WhatsApp. The number is listed at the bottom of the website. Transfer to and from your address in Yerevan Guide services Flexible schedule: time for photos, rest, and exploration Distance from Yerevan — about 40 km (approximately 50 minutes by car) Total tour duration — 4 to 5 hours The tour is conducted in a well-maintained Mitsubishi Pajero 4 P.S. This tour can be combined with a visit to the Byurakan Astrophysical Observatory, where you can see either the iconic ZTA‑2.6 telescope or the 1‑meter Schmidt telescope , a true scientific landmark. For more details, feel free to contact me directly via WhatsApp or Telegram for a quick response! Project Gallery You May Also Like A Unique Tour to Armenia’s Hidden Cold War Radio Center From Yerevan to Mount Aragats Tour to Armenia’s Particle Accelerator Climb Mount Artanish & Explore Sevanavank Monastery Urbex Tour to the Trophy 1m Schmidt Telescope at Byurakan Observatory Hiking from Lake Parz to Gosh Village Urbex Tour to ROT54 – Explore Armenia’s Most Fascinating Abandoned Place Hike Armenia by choosing the popular Smbataberd trail Previous Next

While on an urbex mission in the Aragatsotn region, Armenia, we visited this village to see their culture house! It didn’t disappoint, as inside, we saw a huge fresco! < Back We saw a huge fresco inside this culture house While on an urbex mission in the Aragatsotn region, Armenia, we visited this village to see their culture house! It didn’t disappoint, as inside, we saw a huge fresco! Despite the bad weather, I drove my sedan along the old asphalt road, carefully avoiding deep bumps at every turn, until I reached the village at 1,720 meters above sea level. The door of the culture house was locked, but through the glass we caught a glimpse of a huge fresco. The facade of the building Nearby, at a small shop owned by Sasun, he kindly called a villager to bring the keys. We entered with excitement, and there it was — a giant fresco right before our eyes. Its scale and presence were striking, and I could feel the energy it radiated. The central part of the fresco depicts military commander Andranik Ozanian with his small group of militants. Although one should read the fresco from left to right, I guess... In the right corner, we see an Armenian church, a symbol of Christianity and belief. Next to it, we see Armenian girls, one of them with a newly born child. New life… Then, a child with a dagger hanging from his waist looks at Andranik and his friends with an inspired look. Following that, we see women and men dancing, while musicians playing. Behind them, Armenian landscapes and Mount Ararat are depicted. Luckily, the artists left their names and the date of creation on the fresco: A. Grigoryan and G. Azizyan, 1978. The library, though in poor condition and badly in need of renovation, had its books neatly arranged according to the catalog, thanks to the two women who worked there. Local kids had access not only to Armenian authors but also to foreign classics. 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

Finding boots that fit my size 48 feet has always been a challenge. After an extensive search, I finally discovered the Garmont Scarponi Pinnacle GTX boots in size 48. Here is my quick review of these boots. < Back Garmont Boots Review: My Experience and Thoughts Finding boots that fit my size 48 feet has always been a challenge. After an extensive search, I finally discovered the Garmont Scarponi Pinnacle GTX boots in size 48. Here is my quick review of these boots. Hiking Experience I typically use lightweight Quechua hiking shoes, but they lack waterproof capabilities. I needed high-quality boots for hiking in conditions where melting snow could lead to wet feet. The Garmont Scarponi Pinnacle GTX boots met my needs perfectly. Although they are slightly heavy, they performed exceptionally well in waterproofing tests and, most importantly, provided a comfortable fit. Unboxing my new GARMONT boots The company describes these boots as, “Designed for the expert hiker who also uses a heavy backpack. Extremely versatile for challenging backpacking and mixed routes.” Features Equipped with a Vibram® Titus sole with semi-solid heel and toe, these boots perform well on hard surfaces and are non-slip on wet stones. The concave profile of the heel increases the braking effect during descents. While I expected better quality from the insoles, Garmont states, “Ultra-light insole, in nylon and fiberglass, with air chambers for lightness and better insulation capacity.” They may be effective, but it is visually challenging to distinguish this. After 1 year of use they look really very fresh Specifications by Garmont Protection: 5/5 Lightness: 3/5 Support: 4/5 Stiffness: 4/5 Fit: Alpine Technologies ADD® Technology FROM THE GROUND, UP! What I loved most, apart from the perfect fit, is the waterproof quality. According to Garmont, these boots are designed with GORE-TEX® Performance Comfort product technology, ideal for outdoor activities in moderate temperatures. They offer long-term waterproofing with optimal breathability, thanks to their innovative construction, making them suitable for a wide range of outdoor activities and changing weather conditions. The insole length is 32 centimeters for size 48. For hiking, these boots are relatively heavy: a single size 42 boot weighs 858 grams, while a single size 48 boot weighs 1080 grams. Overall, I am very pleased with these boots and plan to purchase walking shoes from this brand in the future. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

Explore the rich history and unique properties of tuff, a volcanic rock, through our article. Discover why Armenians consider it a national stone, widely used in construction and crafting khachkars. Learn how tuff buildings, especially in Yerevan, the "pink city," offer natural ventilation and temperature stability. Uncover the diverse colors of Armenian tuff and its significant role in shaping iconic structures. < Back Tuff Stone and Armenian Architecture Explore the rich history and unique properties of tuff, a volcanic rock, through our article. Discover why Armenians consider it a national stone, widely used in construction and crafting khachkars. Learn how tuff buildings, especially in Yerevan, the "pink city," offer natural ventilation and temperature stability. Uncover the diverse colors of Armenian tuff and its significant role in shaping iconic structures. Tuff is a type of rock formed from volcanic ash that is expelled during a volcanic eruption. After the ash is ejected and settles, it becomes compacted and solidifies into rock. When a rock contains more than 75% volcanic ash, it is classified as tuff. If it contains between 25% and 75% ash, it is called tuffaceous, such as tuffaceous sandstone. Additionally, tuff made up of sandy volcanic material is sometimes referred to as volcanic sandstone. The stone is lightweight, strong, and has low thermal conductivity, making it an excellent building material. Tuff is easy to cut, and sculpting figures on it is straightforward. It is an excellent material for crafting khachkars or bas-reliefs. The entrance to the Sardarapat Memorial Complex features two bulls crafted from red tuff. Tuff buildings provide natural ventilation due to the pores in the stones. The stone's ability to breathe helps maintain a stable temperature in cold winters and hot summers. Tuff stone is classified based on its composition, the nature of its fragments, and fragment size. Chemically, tuff can be categorized as liparitic, dacitic, andesitic, or basaltic. Types of Tuff Stone in Armenia The Armenian Highland is a rich source of tuff, available in various colors like pink, purple, black, red, orange, and brown. Armenians have utilized tuff for centuries, considering it a national stone extensively used in construction throughout Armenia. Tuff deposits are predominantly found across the Armenian volcanic plateau, including the Aragats Massif, Kars Plateau, Syunik, Byurakan, Javakhk Plateaus, Kotayk, Yeghvard Plateaus, Shirak Plain, Ararat Valley foothills, and the Akhuryan and Pambak river valleys. Notable Armenian volcanic tuffs include Artik (pink), Ani (yellow), Yerevan-Gyumri (black and red), Geghakar (from the Gegharkunik region, in light pink and flesh tones), Metsavan (dark pink, reddish, and yellowish hues), and Dzoraget (from the Lori region, in brick-red and reddish shades). The Pink City: Yerevan Yerevan, the capital of Armenia, is famously known as the "Pink City" due to the widespread use of pink tuff stone in its architecture. The stone's unique color gives the city a warm and welcoming atmosphere, especially under the sunlight, where the pink hues seem to glow. The pink tuff used in Yerevan's buildings comes primarily from quarries in the nearby regions of Ararat and Vayots Dzor. From government buildings and theaters to residential homes, the stone is everywhere in Yerevan, giving the city a cohesive and distinctive character. The use of pink tuff is not just a modern phenomenon; it has been a key feature of Yerevan's architecture since its founding, and it continues to be a symbol of the city's identity. The Black City: Gyumri In contrast to Yerevan's pink tuff, Gyumri is known as the "Black City" because of the extensive use of black tuff in its construction. The stone's dark color gives the city a more austere and historic feel, reflective of its resilience in the face of past earthquakes and hardships. The Black Fortress in Gyumri, constructed from black tuff stone Gyumri, Armenia's second-largest city, has a rich architectural heritage, with many buildings constructed from black tuff stone. The use of this material is not just a stylistic choice but also a nod to the region's natural resources. The black tuff provides a striking contrast to the surrounding landscapes and the bright, open skies above. Yererouk Basilica is constructed from fine and durable red tuff stone This versatile stone plays a dominant role in Armenian architecture, particularly in Yerevan, known as the "pink city" due to its extensive use of tuff. Armenian tuff, with its unique properties, contributes to the creation of some of the most beautiful and iconic structures in the country. In 1946, a small village in Armenia was renamed Tufashen, literally meaning "village built of Tuff." Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

In this article, I’ve collected notable examples of Soviet Modernist architecture from across the former Soviet Union countries. These iconic structures embody the era's distinctive style, merging functionality with bold, innovative designs. From towering buildings to communal spaces, Soviet Modernism left a lasting imprint on the architectural landscape. < Back Modernist architecture in the Soviet Union In this article, I’ve collected notable examples of Soviet Modernist architecture from across the former Soviet Union countries. These iconic structures embody the era's distinctive style, merging functionality with bold, innovative designs. From towering buildings to communal spaces, Soviet Modernism left a lasting imprint on the architectural landscape. Modernist architecture emerged in the early 20th century as a bold departure from tradition, emphasizing function, simplicity, and the expressive potential of new materials like concrete, glass, and steel. In the Soviet Union, this movement took on a unique character, evolving significantly after the ornate excesses of Stalinist neoclassicism in the 1930s and 1940s. By the mid-1950s, under Nikita Khrushchev’s push for mass housing and utilitarian design, Soviet architects embraced modernism to meet the needs of a rapidly industrializing society. This shift birthed a distinct architectural language—often called Soviet modernism—marked by geometric forms, experimental structures, and a blend of local cultural influences with the ideological drive for progress. Across the vast expanse of the USSR, from the Baltic states to Central Asia, modernist buildings became symbols of a forward-looking socialist utopia, though their legacy today is a mix of admiration, neglect, and rediscovery. Armenia Earlier, I wrote about Soviet modernist buildings in Armenia —you can check out the link for more details. In this article, I will highlight three of my favorite examples, one of which has unfortunately been demolished. Zvartnots Airport Zvartnots Airport, Terminal 1 in Soviet times Zvartnots Airport, particularly Terminal 1—now known as the Old Terminal—stands as one of the most prestigious architectural achievements of the Soviet era. Its futuristic design, reminiscent of a monolithic space city from science fiction, remains a testament to the bold vision of its creators. In 1970, an open competition for architectural proposals was held, awarding first prize to a team of architects, including Artur Tarkhanyan, Spartak Khachikyan, Zhorzh Shkhiyan, Sergey Baghdasaryan, and Levon Cherkezyan. The project was later refined with contributions from A. Tigranyan and A. Meschyan. Constructed in an impressively short timeframe, the airport was officially inaugurated on February 10, 1982, with great ceremony. Recognized for its innovative architectural design, the team behind Zvartnots was honored with the Armenian SSR State Prize in 1985. The establishment of the airport marked a major milestone for Armenia, transforming it into a key transportation hub. Its runways, meeting international standards, placed Zvartnots among the most advanced airports in the Soviet Union—comparable only to those in Moscow and Kyiv. The terminal’s design was groundbreaking: a circular structure with a truncated cone shape, spanning a 200-meter diameter. At its center, a mushroom-shaped tower housed a panoramic restaurant. Surrounding the main terminal were seven mini-terminals, each capable of handling 300 passengers per hour, along with 14 aircraft stands designed for TU-154 aircraft, or 7 stands for larger Airbus IL-82 planes. In 2004, construction began on a new terminal, a $100 million project covering 19,200 m², designed to accommodate 2 million passengers annually. Under a new airport administration contract, the arrivals hall opened on September 14, 2006, followed by the international departures hall on June 1, 2007. With the completion of the new terminal, Terminal 1 ceased operations in 2011. Youth Palace: A Lost Architectural Icon of Yerevan The Youth Palace in Yerevan. Photo: Vladimir Vyatkin The Youth Palace, colloquially known as "Kukuruznik" due to its resemblance to an ear of corn, was a landmark hotel and cultural complex in Yerevan. As part of the 50th anniversary celebrations of the USSR's founding, Soviet authorities initiated the construction of Youth Palaces in the capitals of all Soviet republics. In Yerevan, the site was strategically chosen on Kanaker Heights, at the northern end of Abovyan Street, where Alexander Tamanyan’s master plan for the city concluded. The project was financed by Moscow with the aim of creating a space where young people from across the Soviet republics could gather, engage in cultural exchange, organize symposia and festivals, participate in sports, and reside in the palace’s on-site hotel. In the mid-1970s, the head of the Armenian Komsomol, Stepan Poghosyan, commissioned renowned architects Hrachya Poghosyan, Artur Tarkhanyan, and Spartak Khachikyan to design the structure. A notable feature of the Youth Palace was its 1,000-seat stage hall, which was completed later. The top floor housed a café with a rotating floor, offering visitors a 360-degree panoramic view of Yerevan. This made it the second rotating structure in the Soviet Union, following the Ostankino TV Tower in Moscow. The Youth Palace officially opened in 1979, operating as a state enterprise under the Intourist system. Adjacent to Abovyan Park, it became a key venue for cultural and social events. However, in 2005, under demolition permit No. 40 issued by the Yerevan Municipality, the structure was deemed unsafe based on assessments from Hayseismshin and KPAH, signed by Yerevan’s Chief Architect, Samvel Danielyan. Over the next two years, the building was completely demolished. Today, the former Youth Palace site has been transformed into a large active quarry, marking the loss of one of Yerevan’s most distinctive Soviet-era architectural landmarks. Sevan Writer's Rest House Perched on the Sevan Peninsula along the shores of Lake Sevan, the Sevan Writers' Rest House stands as a striking example of Soviet-era modernist architecture, continuing to attract visitors from around the world. Constructed primarily from concrete, the complex consists of two distinct structures: the Residence Hall and the Lounge Building , built at different stages of the Soviet period. Designed by architects Gevorg Kochar and Mikayel Mazmanyan, the Residence Hall was initially conceived in 1932 and completed in 1935. In 1963, Kochar was commissioned to renovate and expand the resort, adding an additional floor and a spacious terrace to the Residence Hall, refining its original aesthetic. As part of the expansion, Kochar also designed the new Lounge Building. While architecturally distinct from the Residence Hall, the two structures blend seamlessly with the surrounding landscape and the historic Sevan Monastery nearby. Together, they form an enduring testament to post-Stalinist Soviet modernism, embodying both innovation and harmony with their environment. Belarus Belexpo - The Pavilion of International Exhibitions The Pavilion of International Exhibitions, also known as "Belexpo," is a notable architectural structure in Minsk, Belarus. It was constructed in the 1980s, with its design credited to architects Leonard Moskalevich, Galina Laskavaya, and Viktor Kopylov. This building exemplifies Soviet-era architecture, characterized by its bold, monumental style and functional design, intended to host large-scale exhibitions and events. Located in the heart of Minsk, it remains a significant venue for trade shows and cultural gatherings, reflecting the city's history and its role as a hub of activity during the late Soviet period. Estonia Hotel Viru: Tallinn’s Soviet-Era Skyscraper and KGB Listening Post The Hotel Viru, an iconic establishment in Tallinn, Estonia, was designed by architects Henno Sepmann and Mart Port. The interior design was crafted by Vello Asi, Väino Tamm, and Loomet Raudsepp. Construction commenced in July 1969 under the Finnish company Repo Oy, but after a fire in December 1969, the project was completed by another Finnish firm, Haka Oy, and the hotel officially opened on May 5, 1972. While the hotel's official structure comprised 22 floors, a hidden 23rd floor housed a KGB radio center. The floor remained a secret until 1991, when, amidst the Soviet collapse, KGB operatives abandoned their posts overnight. Sixty rooms were bugged with hidden microphones in walls, telephones, ashtrays, and even flowerpots. Restaurant tables, saunas, and corridors were under constant surveillance. Guests, including journalists and Estonian exiles, were closely monitored. The unspoken rule: say aloud in your room that you need soap, and it would arrive instantly—proof someone was always listening. Despite its espionage legacy, Hotel Viru was a hub of Soviet nightlife, hosting celebrities like Elizabeth Taylor and Neil Armstrong. The lavish restaurant and exclusive “Currency Bar” catered to foreign guests, ensuring they never had to leave the KGB-controlled space. Today, the abandoned 23rd floor remains a chilling time capsule, preserved as the KGB Museum, where visitors can glimpse remnants of Cold War surveillance operations in the heart of Tallinn. Tallinn TV Tower The Tallinn TV Tower, standing at 314 meters, is the tallest building in Estonia and a prime example of Soviet Modernist architecture. Construction commenced on September 30, 1975, and the tower was officially inaugurated on July 11, 1980, in time for the 1980 Moscow Summer Olympics. Designed by architects David Baziladze and Juri Sinis, with engineers Vladimir Obydov and Yevgeny Ignatov, the tower was built to enhance telecommunication services for the Olympic regatta events held in Tallinn. The observation deck, located 170 meters above ground, offers panoramic views of the city and the Gulf of Finland. After renovations, the tower reopened to visitors on April 5, 2012, and now serves as a cultural and leisure center. Georgia Soviet modernism, particularly from the 1950s onwards, marked a shift from the ornate Stalinist architecture to more functional, minimalist designs. In Georgia, this period saw architects leveraging local materials and cultural motifs, creating buildings that stood out for their uniqueness. The country's hilly terrain and seismic activity also influenced designs, requiring innovative solutions that often resulted in striking, futuristic forms. In this article, I have excluded the Ministry of Highway Construction of the Georgian SSR and the Wedding Palace (Palace of Rituals) in Tbilisi, Georgia, as they are more accurately categorized under Brutalist architecture. For more information on these structures, please check out the following article, "Brutalist Architecture in the Soviet Union." Tbilisi Skybridge (Nutsubidze Skybridge) The Nutsubidze Skybridge, also known as the Tbilisi Skybridge, is a notable example of Soviet-era modernist architecture located in Tbilisi, Georgia. Designed by Georgian architects Otar 'Toni' Kalandarishvili and Gizo Potskhishvili, the complex was constructed between 1974 and 1976. It comprises three residential towers interconnected by elevated walkways, creating a distinctive silhouette against the city's landscape. The design incorporates elements of Brutalism, characterized by raw concrete structures, while also reflecting Georgian architectural motifs, such as horseshoe-shaped façade elements inspired by traditional Tbilisi balconies. These elevated bridges not only serve as physical connections between the buildings but also symbolize the ambitious urban planning ideals of the Soviet period. Tbilisi Chess Palace and Alpine Club (1973-1976) – Tbilisi The Tbilisi Chess Palace and Alpine Club, inaugurated in 1973, stands as a testament to late Soviet Modernist architecture in Georgia. Designed by architects Vladimir Aleksi-Meskhishvili and Germane Ghudushauri, the facility is nestled within Tbilisi's Vera Park (formerly Kirov Park). The establishment is dedicated to Nona Gaprindashvili, a five-time world chess champion, and mountaineer Alexandra Japaridze, reflecting its dual purpose of promoting both chess and alpine sports. Architecturally, the three-story building harmoniously integrates with the park's sloping terrain. The structure features an amphitheater-style main hall accommodating 520 spectators, with movable panels on the third floor allowing natural light to permeate the space. The use of local materials, such as beige Eklar stone and extensive glass elements, ensures a seamless blend with the surrounding landscape. In 2019, the Georgian government designated the Tbilisi Chess Palace and Alpine Club as a cultural heritage monument, underscoring its architectural and historical significance. Today, the building continues to serve its original functions, housing the Georgian Chess Federation on the second floor and the Alpine Club on the first floor, thereby remaining a vibrant center for both chess enthusiasts and mountaineers. Tbilisi State Philharmonic Hall: A Cultural Landmark of Georgia The Tbilisi State Philharmonic Hall is one of Georgia’s most prominent concert venues, located at 36/1 Merab Kostava Street in Tbilisi. Serving as a major cultural and architectural landmark, it has played a crucial role in the development of Georgian music and performing arts The Tbilisi Philharmonic Hall was constructed between 1971 and 1976 under the direction of architect Irakli Chkhankeli. Designed in the Soviet modernist style, the building features a distinctive circular structure with a spacious foyer that seamlessly integrates with the surrounding cityscape. The hall remains one of Tbilisi’s most remarkable architectural works from the late Soviet period. The venue boasts a main concert hall with a capacity of 2,500 seats and a smaller hall accommodating 750 guests. The spacious circular foyer enhances the building’s accessibility and connection with its urban surroundings. In front of the concert hall, a bronze sculpture titled "The Muse" by sculptor Merab Berdzenishvili and architect Irakli Chkhankeli serves as an artistic focal point. Today, the Tbilisi State Philharmonic Hall continues to be a leading venue for concerts, festivals, and cultural events, attracting both local and international performers. The hall's extensive renovation in the early 21st century has helped preserve its architectural integrity while modernizing its facilities. Kazakhstan Hotel Kazakhstan Built in 1977 with a capacity of 1,000 guests, the Kazakhstan Hotel is an architectural landmark. Designed by architects L. Ukhobotov, Yu. Ratushny, A. Anchugov, and V. Kashtanov, with structural engineers A. Deev and N. Matviets, engineer A. Tatygulov, and artists M. Kenbaev and N. Tsivchinsky, the building earned its creators the State Prize of the Kazakh SSR named after Chokan Valikhanov in 1980. Standing at 102 meters, it was the tallest building in Almaty from 1977 to 2008 and continues to host approximately 300,000 guests annually. For the first time in the Soviet Union, a 25-story building was constructed in a high-risk seismic zone (rated at nine on the seismic scale) without traditional scaffolding. Instead, a sliding formwork method was used, supported by hydraulic lifts. The reinforced concrete core of the building was set on a massive 40×60-meter foundation slab, 180 cm thick, with all floors effectively "threaded" onto this core. Shortly before completion, the structure underwent rigorous seismic testing. A special machine installed at the top of the building simulated earthquake tremors, while sensors on various floors recorded the vibrations. The building’s earthquake resistance was confirmed in 1979 when it withstood a magnitude 5 earthquake without damage. Arasan Bathhouse Complex Arasan (translated from Kazakh as "warm spring") is a wellness complex in Almaty. Built between 1979 and 1982 under the supervision of a team of architects and engineers (V. T. Khvan, M. K. Ospanov, V. V. Chechelev, K. R. Tulebaev, and others), it was constructed on the site of the 1935 bathhouses on Gogol Street. The Arasan complex includes Eastern, Russian, and Finnish baths, a hydrotherapy center, a shower pavilion, and a children's section. Located in the city's prestigious "Golden Square" district, Arasan was not built due to a "critical shortage of bathhouses" but rather in response to the opening of a magnificent bathhouse complex in Tashkent in 1977, designed by Moscow architect Andrey Kosinsky. However, compared to that facility, Arasan is reminiscent of the ancient Baths of Caracalla. It was the largest bathhouse in the USSR, covering an area of 19,000 square meters with a daily capacity of 3,200 visitors. Unlike the lavishly decorated Tashkent bathhouses, Arasan's architectural beauty lies in its form. The domes set the visual theme, causing the walls to flow in smooth curves. The interiors, however, are far more luxurious, particularly the "temples" of the pools, where nearly the entire floor is covered with water. The Eastern Hall, resembling an ancient tepidarium, stands out as the most striking and elegant space in the complex. The House of Services in Astana The House of Services in Astana, built in the 1970s in the style of Soviet modernism, remained a striking example of its era’s architecture for many years. In 2012, plans for its renovation were announced. The reconstruction, carried out in 2014–2015, radically transformed the building’s appearance, making it more modern but stripping it of its former uniqueness. Today, the building is hardly recognizable: its facade, now featuring tinted glass, only vaguely resembles the original vision of its creators. Kyrgyzstan National Historical and Archaeological Museum Complex Sulayman The National Historical and Archaeological Museum Complex Sulayman, located in Osh, Kyrgyzstan, is a notable example of Soviet-era architecture. Constructed in 1978 to mark the 3,000th anniversary of Osh, the National Historical and Archaeological Museum Complex Sulayman is seamlessly integrated into the iconic Sulayman Mountain. Its striking design, highlighted by a sophisticated glassed concrete arch at the entrance, exemplifies Soviet-era architectural innovation. In 2009, the site earned prestigious recognition as a UNESCO World Heritage Site, affirming its global cultural and historical significance. While some sources describe the museum's design as Brutalist, characterized by its bold use of concrete and geometric forms, others highlight its modernist elements. The integration of the structure into the mountain and the use of glass and concrete align with modernist architectural principles. Therefore, the museum can be seen as embodying both Brutalist and modernist architectural styles. Kyrgyz State Historical Museum The Kyrgyz State Historical Museum in Bishkek stands as a quintessential example of modernist architecture, completed in 1984 during the waning years of Soviet influence in Central Asia. Designed with a bold cubic form and unadorned surfaces, the building embodies the minimalist design principles of the modernist movement, prioritizing simplicity, functionality, and structural clarity. This aesthetic, characteristic of late Soviet architectural trends, reflects a deliberate shift toward rationalism and efficiency, hallmarks of the era’s urban development initiatives across the region. The museum’s design transcends mere utility, aligning seamlessly with modernist ideals by eschewing ornamental excess in favor of a stripped-down elegance that underscores its role as a premier cultural institution. Its clean lines and geometric precision create an unobtrusive backdrop, allowing the rich historical and ethnographic exhibits—spanning Kyrgyzstan’s ancient nomadic heritage to its Soviet past—to take center stage. Spanning approximately 8,000 square meters, the structure integrates open interior spaces that enhance visitor engagement, a testament to its thoughtful balance of form and purpose. Recognized as one of Bishkek’s architectural landmarks, the Kyrgyz State Historical Museum not only preserves the nation’s legacy but also serves as a enduring symbol of modernist innovation in the late 20th century. Latvia Dailes Theatre in Riga The Dailes Theatre in Riga, Latvia, stands as a prominent example of Soviet modernist architecture. In 1959, architect Marta Staņa won a competition to design a new building for the theatre. Construction commenced in 1966 and concluded in 1976, with the theatre officially opening its doors at Brīvības Street 75. Staņa's design is celebrated for its functionalism, characterized by clean lines and a minimalist aesthetic. The building features a glassed viewer's lobby stretching along Brīvības Street, contrasting dark brick elements with bright concrete and glass surfaces. A notable feature is the stylized flame relief adorning the upper facade, interpreted by sculptor Ojārs Feldbergs. The project involved architects M. Staņa, I. Jakobsons, H. Kanders, structural engineer A. Briedis, and sculptors O. Feldbergs and I. Muravskis. The interior design was created by architects M. Staņa and A. Vecsiliš, designer A. Ramats, and artist A. Vilbergs. In the final stages, Latvian architects V. Saviško and I. Akolov, as well as specialists from Moscow and Leningrad, joined the team. The theatre houses three halls: Large Hall: Accommodates up to 980 seats, suitable for a wide range of performances, including dramas, comedies, tragedies, musical performances, children's shows, and concerts. Small Hall: Seats up to 197 guests, often used for experimental productions and close-up psychological studies. Chamber Hall: Offers an intimate setting with up to 83 seats, ideal for experimental and avant-garde performances. In recent years, the theatre's square underwent refurbishment by MADE arhitekti, earning the Latvian Architecture Award 2023 Grand Prix. The project preserved the landscaping principles and materials characteristic of the original modernist design while enhancing accessibility and creating a welcoming environment for all visitors. World Trade Centre Riga The World Trade Center Riga, originally constructed in 1974, served as the headquarters for the Central Committee of the Communist Party of Latvia during the Soviet era. This building is a notable example of Soviet modernist architecture, reflecting the design principles prevalent in that period. The building was designed by a team of Latvian architects: J. Vilciņš, A. Ūdris, G. Asaris, and A. Staņislavskis. The structure embodies the functional and minimalist aesthetics typical of Soviet modernism, characterized by clean lines, geometric forms, and the use of materials such as concrete and glass. Following Latvia's independence, the building was repurposed as the World Trade Center Riga, aligning with the country's integration into global economic networks. This transition reflects a broader trend of adapting Soviet-era structures for new functions in the post-Soviet period. Press House (Riga) The Press House (Preses nams in Latvian) is one of the first high-rise buildings in Riga, the capital of Latvia. Originally constructed to house editorial offices of Latvian newspapers and magazines, it is located on Ķīpsala Island. Built between 1973 and 1978, the project cost approximately 20 million rubles. The building was constructed using a monolithic concrete frame and consists of 20 functional floors, with two additional technical floors at the top. Notably, it was the first building in Latvia to incorporate slipform construction, a technique that required specialized equipment and hydraulic jacks manufactured in Minsk. The core of the 26-story tower (from the basement to the technical floor) was erected at an unprecedented pace—in just 35 days. The project was led by Elena Ageevna Pozharskaya, head of SU-55 of the "RigaPromStroy" trust. The construction process included a reinforced concrete framework, with columns installed into sockets and rigid walls assembled. At peak efficiency, up to four floors were installed per day. However, the project faced delays of six years due to labor-intensive techniques such as bathtub welding and the casting of shock concrete panels, which required expensive custom equipment and significantly increased both time and cost. The Press House stands 75 meters tall. Adjacent to the high-rise was a large two-story printing facility, which covered a significant area despite its lower height. The building included a bomb shelter for 250 people. Its exterior finish featured concrete panels, natural marble, and granite, while the conference hall was adorned with wood paneling for a refined interior. Lithuania Lazdynai: A Visionary Approach to Soviet Urban Planning In the 1950s, the Baltic states faced rapid population growth and severe housing shortages. Soviet leader Nikita Khrushchev introduced a mass housing program relying on prefabricated panel buildings, known as Khrushchovkas. However, these uniform structures threatened the historic character of Vilnius, prompting a group of architects to resist their spread into the city center. As an alternative, the architects were assigned the task of designing a new residential district outside Vilnius. The chosen location was near the Polish village of Leszczyniaki, known in Lithuanian as Lazdynai. Instead of following Soviet architectural norms, the team drew inspiration from Finnish urban planning, focusing on harmonizing buildings with the natural landscape. This was a modernist approach to urban planning within the Soviet context. Unlike typical Soviet khrushchovkas, which followed a rigid and utilitarian layout, Lazdynai was inspired by Finnish modernist architecture, emphasizing: Terraced layouts that followed the natural landscape More open spaces and greenery compared to typical Soviet microdistricts Better integration with nature, avoiding the monotonous grid-like planning of standard panel housing Initially met with skepticism by Soviet authorities, the project was eventually embraced. In 1974, its leading architects—Vytautas Čekanauskas, Vytautas Brėdikis, Vytautas Balčiūnas, and Gediminas Valiuškis, along with engineers Algimantas Kleinotas and Vincentas Šileika—were honored with the Lenin Prize in Architecture for their innovative approach. Lithuanian National Opera and Ballet Theatre (Vilnius) The Lithuanian National Opera and Ballet Theatre (LNOBT) is one of the most significant cultural institutions in Lithuania, renowned for its world-class opera and ballet performances. Located in Vilnius, the theatre stands as a prime example of Soviet modernist architecture, blending monumental forms with functionality. The theatre, designed by renowned Lithuanian architect Elena Nijolė Bučiūtė and completed in 1974, is a striking example of late Soviet modernist architecture. Defined by clean geometric lines, a monumental façade, and an emphasis on verticality, the building embodies both elegance and functionality. Expansive glass panels create a sense of openness, while sculptural reliefs add depth and artistic refinement to its exterior. The main auditorium of the theatre is celebrated for its excellent acoustics and can accommodate over 1,000 spectators. The interior features wood, marble, and chandeliers, creating an elegant and sophisticated atmosphere. Additionally, the theatre features a smaller Chamber Hall with a capacity of 250 seats, used for more intimate performances or events. The theatre complex also includes rehearsal rooms, costume workshops, and technical facilities, making it a fully equipped performing arts center. Moldova Chisinau State Circus: A Monument of Soviet-Era Entertainment The Chisinau State Circus, an architectural and cultural landmark, was built in 1981 by architects Ala Kirichenko and Simion Shoyhet. At the time of its opening, it was one of the most advanced circus venues in the Soviet Union, featuring state-of-the-art equipment, dedicated rehearsal spaces, and facilities for animals and veterinary care. In 1988, the entrance was adorned with a sculptural ensemble by renowned artist Matvey Levinson, depicting two smiling acrobat-clowns, warmly welcoming visitors With a seating capacity of 1,900 and a 40-foot-wide performance ring, it was the largest auditorium in Moldova. The venue attracted world-class circus artists from Belarus, China, Finland, Germany, Russia, Ukraine, and beyond, establishing itself as a premier destination for live entertainment. At its peak, the Chisinau Circus was a record-breaking institution, hosting up to 57 performances per year, significantly surpassing other circuses in the Soviet bloc, which averaged around 14 shows annually. With a dedicated staff of about 60 people, it became a cultural hub for both local and international performers. Following the collapse of the Soviet Union, the circus experienced a decline in activity. By 2004, it ceased operations due to urgent renovation needs. In 2006, a decree by the Ministry of Culture and Tourism led to its listing on the stock market, marking a significant shift in its status. Despite its current inactivity, the Chisinau State Circus remains an iconic symbol of Moldova’s rich cultural and entertainment history, awaiting restoration to its former glory. The "Romanita" Collective Housing Tower (Chisinau) In the mid-1970s, to address growing housing needs, local authorities initiated the construction of a residential tower for small family units. Designed and built between 1978 and 1986 by architect O. Vronski and engineer A. Marian, in collaboration with O. Blogu, S. Crani, N. Rebenko, and P. Feldman, the project was a remarkable structural achievement of its time. The 16 residential floors were designed with cantilevered units, giving the building a distinctive slender appearance—an uncommon feature in that era. Standing approximately 77 meters tall, the "Romanita" tower was once the tallest building in Chisinau. It comprises two basement levels, a ground floor, and 22 above-ground stories. Designed as a collective housing complex, its circular form and vertical orientation were influenced by its proximity to Valea Trandafirilor Park. The structure includes four floors dedicated to utilities such as laundry, drying rooms, and other household facilities, while the two underground levels house technical areas. The tower's residential design followed the socialist-era model, where housing units were strictly standardized. Each unit consisted of two rooms for two occupants, along with a hall and a bathroom. Shared kitchens, recreation rooms, and technical spaces were available on each floor. The layout typically included eight two-room units per level, linked by a circular corridor with communal spaces illuminated by natural light. Modifications to living spaces required official approval, reflecting the rigid regulations of the period. Following privatization in the 1990s, the tower transitioned from social housing to private apartments. Residents, seeking to expand their limited living spaces, added makeshift balconies, significantly altering the building’s original design. Over time, these unauthorized modifications distorted its architectural integrity. Cosmos Hotel (Chișinău) The Cosmos Hotel was built between 1974 and 1983, designed by architects B. Banykin and Irina Kolbayeva. Located near Chișinău’s central railway and bus stations, and just 11 km from the international airport, it was one of the largest hotels in Moldova during the Soviet era. The 19-story structure was constructed using reinforced concrete and prefabricated elements, reflecting the architectural style of its time. During the 1980s, Moldova was a popular travel destination within the Soviet Union, and the hotel boasted an impressive 90% occupancy rate in summer, reaching 100% from September to November. However, after the political changes of 1990, tourism declined sharply, and the hotel’s business model had to adapt. To maximize its use, management began leasing rooms as office spaces and repurposed the lobby for commercial activities. Between 1997 and 2004, investments were made to improve economic performance and service quality, elevating the hotel’s status from two to three stars. However, today, the Cosmos Hotel operates at reduced capacity. Many rooms have deteriorated, with worn-out finishes, damaged tiles, and aging sanitary facilities, while public areas on the ground floor and mezzanine remain in better condition. Russia The Presidium of the Academy of Science or “Golden Brains” The Presidium of the Russian Academy of Sciences, often called the “Golden Brains,” is one of Moscow’s most striking architectural landmarks. Designed by Yuri Platonov, the construction of the Presidium of the Russian Academy of Sciences began in 1974. However, due to technical difficulties and delays, it was not completed until the early 1990s. The project was an ambitious attempt to create a high-tech structure beyond the technological limits of its time. The construction was initially delayed due to unstable ground conditions, prompting engineer Levenshtein to design deep underground volumes, the exact depth of which remains shrouded in mystery. The marble cladding was meticulously quartered by Sergey Kisselev, later a key post-Soviet architect. Most of the construction relied on Yugoslavian materials and labor, making later renovations challenging, as many of the original components are now unavailable. The structure combines precast concrete, steel, and ceramic cement panels clad in marble. Its golden-tinted glass and anodized aluminum elements shift hues depending on the light. The most recognizable feature is the intricate metal structures atop the building, designed by Mstislav Keldysh to echo Moscow’s golden domes while concealing rooftop utilities. The central golden clock, though decorative, adds to the futuristic aesthetic. Completed just as the Soviet Union collapsed, the building stands as a monument to an era of grand scientific ambition—and its abrupt decline. Tajikistan The Tajikistan Hotel, Dushanbe, 1977 The Tajikistan Hotel, designed by architect A. Onishchenko, featured 498 rooms, each equipped with contemporary furnishings, a radio, telephone, and television—luxuries of its time. The complex also included its own telephone exchange, radio station, and electrical substation. The name “Tajikistan” set high expectations, which is why the hotel’s artistic design involved renowned Tajik monumental artists and folk masters such as S. Nuriddinov (woodcarver), V. Sabzaliev (ceramicist), S. Sharipov, V. Odinaev, and D. Abdusamatov (tapestries). Turkmenistan Turkmen State Circus in Ashgabat The Turkmen State Circus (Turkmen: Türkmenistanyň Döwlet Sirki) is located on Magtymguly Avenue in Ashgabat. The circus hall has a seating capacity of 1,700. The building was constructed between 1979 and 1984, designed by architect Arif Zeynalov. What makes this structure unique is its column-free design and a scaly roof that can withstand earthquakes of up to 9 on the Richter scale. This innovative approach was developed by young Turkmen scientist Annageldi Bazarov, based on his PhD dissertation defended in 1975. The same design was later used for circuses in Bishkek (Kyrgyzstan) and Dushanbe (Tajikistan). Ukraine Hotel Salyut in Kyiv Hotel Salyut is a landmark of Soviet modernist architecture, standing out with its unique design. Built in 1984 based on the project by architect Avraam Miletsky, this seven-story hotel is located in the Pechersk district of Kyiv, on Slava Square, near a park and not far from the Kyiv Pechersk Lavra. The original plan envisioned an 18-story building, but after official approvals, the project was unexpectedly modified, reducing the height to eight floors, with only five being residential. The architectural concept is based on a central circular core that supports the suspended residential floors. The top section, resembling a "cap," was initially designed to house a summer restaurant with a panoramic view of the Dnipro River. The hotel has 100 rooms, including 90 single rooms and 10 two-room suites. As a three-star hotel, Salyut offers basic amenities for a comfortable stay. The construction of the hotel sparked controversy, especially among preservationists concerned about Kyiv’s historical skyline. Its proximity to the Kyiv Pechersk Lavra raised concerns about the impact on the monastery's visual integrity. However, over time, Salyut became an integral part of the cityscape and a prime example of late Soviet modernist architecture. Today, Hotel Salyut remains an important architectural landmark in Kyiv, attracting not only tourists but also enthusiasts of urban design. Lviv Bus Station Lviv Bus Station is a major terminal for intercity and international bus transportation in Lviv, Ukraine. It is located at 109 Stryiska Street and serves as an important gateway for travelers heading to various destinations, including the Carpathians and other regions via the city’s ring road. The station was built between 1976 and 1980, designed by architects V. Sagaidakovskyi and M. Stolyarov, with engineers V. Boikiv and A. Yefremov. It was planned as part of Lviv’s general urban development strategy, placing the bus station on the southern outskirts of the city to facilitate easy departures. The terminal is designed to handle up to 800 passengers per hour. Its spatial composition resembles a three-leaf structure, dividing the station into three functional zones: a forecourt facing the city’s highway, an arrival zone, and a departure zone for buses. Facing Stryiska Street, the building has three floors and features an extended, complexly designed canopy supported by reinforced concrete struts near the main entrance, adding to its distinctive modernist appearance. Today, Lviv Bus Station continues to be a key transportation hub, providing connectivity for both local and international travelers. Uzbekistan Tashkent TV Tower: The Tallest Observation Deck in Central Asia The Tashkent TV Tower is a prominent landmark in Uzbekistan’s capital, serving as a television and radio broadcasting hub. Standing at an impressive 375 meters, it is the tallest structure in Central Asia that features a publicly accessible observation deck. The tower ranks as the second tallest structure in the region, following the 420-meter chimney of the Ekibastuz GRES-2 power station. Construction of the tower began in 1978 and took six years to complete. On January 15, 1985, it officially commenced operations. The architectural vision behind this impressive structure was realized by Yuri Semashko and N. G. Terziev-Tsarkov, while engineers E. P. Morozov and M. D. Musheev handled the structural design. Its unique design ensures stability and durability, crucial for seismic activity common in the region. The tower’s framework consists of a combination of reinforced concrete and steel, contributing to its ability to withstand strong winds and earthquakes. One of the tower’s main attractions is its observation deck, which provides breathtaking panoramic views of Tashkent. Visitors can also enjoy a meal at the revolving restaurant located within the tower, offering a unique dining experience with ever-changing views of the city skyline. 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Experience the unique traditions of Armenia through this captivating article. Explore the intriguing Red Apple ritual, revealing a cultural perspective on virginity. Delve into the Salty Cookie tradition of St. Sargis feast day, intertwining hope and culinary art. Immerse yourself in Trndez, a festival marking the end of winter with fire rituals and communal celebrations. Lastly, discover Vardavar, Armenia's vibrant water festival rooted in pagan history. Gain insight into Armenia's rich cultural heritage with these engaging narratives. < Back Strange Armenian Traditions Experience the unique traditions of Armenia through this captivating article. Explore the intriguing Red Apple ritual, revealing a cultural perspective on virginity. Delve into the Salty Cookie tradition of St. Sargis feast day, intertwining hope and culinary art. Immerse yourself in Trndez, a festival marking the end of winter with fire rituals and communal celebrations. Lastly, discover Vardavar, Armenia's vibrant water festival rooted in pagan history. Gain insight into Armenia's rich cultural heritage with these engaging narratives. The Red Apple: The Symbol of Purity The Red Apple, or “Karmir Khndzor” in Armenian, is a centuries-old tradition that has its roots in the cultural fabric of Armenia. This tradition, while not as widely practiced today, continues to be a topic of interest due to its unique and somewhat controversial nature. The Red Apple tradition is a ritual that aims to confirm a woman’s virginity on her wedding night. After the wedding night if the bride’s virginity is confirmed, a ceremony is performed. Several married women from the groom’s relatives prepare a bowl of red apples and take it to the bride’s parents’ house. This visit is a sign of respect towards the bride’s parents for raising a dignified daughter! While it may seem controversial from a modern perspective, understanding such traditions provides valuable insights into the evolution of societal norms and values. As Armenia continues to evolve, so too will its traditions, reflecting the dynamic nature of culture and society. An AI generated image of Red Apple Aghi Blit: The Salty Cookie of Armenia Aghi Blit, also known as the Salty Cookie, is a unique Armenian tradition that is deeply intertwined with the celebration of St. Sargis feast day. This tradition, while intriguing, is not widely known outside of Armenia. The tradition of Aghi Blit revolves around the feast day of St. Sargis, the patron saint of youth and love in the Armenian Apostolic Church. On the eve of the feast, young people eat salty cookies, hoping that their future bride or groom will appear in their dreams to offer them water. The process of making Aghi Blit is simple yet meaningful. The ingredients needed are flour, salt, and water. The flour and salt are mixed together, and then water is added to form a solid dough. The dough is then shaped into pellets, flattened with a rolling pin, and baked in the oven until they turn pink. The consumption of Aghi Blit is more than just a culinary tradition; it’s a ritual filled with symbolism and hope. The saltiness of the cookies is believed to induce thirst, which in turn triggers dreams of water. It is believed that the person who offers water in the dream is destined to be the dreamer’s future spouse. In conclusion, Aghi Blit is a fascinating tradition that offers a glimpse into the cultural practices of Armenia. Whether you’re an Armenian youth awaiting a dream or a curious outsider, the Salty Cookie tradition is sure to leave a lasting impression. This is how AI sees Armenian girl making salty cookie Trndez: A Celebration of Purification and Renewal Trndez, a significant celebration in the Armenian Apostolic Church, is observed 40 days after the birth of Jesus Christ, marking it as a feast of purification. The festival has its origins in sun and fire worship in ancient pre-Christian Armenia. The term ‘Trndez’ translates to “towards God”. This celebration symbolizes the end of the cold season and the arrival of spring and fertility. On February 13, communities across Armenia celebrate Trndez. The festival begins with church ceremonies, followed by the lighting of a fire. Newlyweds receive blessings and, along with other members of the community, jump over the lit fire. This act is believed to bring good luck and is a highlight of the festival. In addition to the fire rituals, candles play a significant role in the Trndez celebrations. The clergyman lights the candles on the church table, symbolizing the welcoming of Joseph, Mary, and baby Jesus. Despite its ancient origins, Trndez remains a vibrant part of Armenian culture. It not only marks a religious event but also brings communities together in a joyful celebration of life and renewal. As such, Trndez serves as a powerful reminder of Armenia’s rich cultural heritage and the enduring appeal of its traditions. This is how AI imagines Trndez Vardavar: Armenia’s Joyous Water Festival Vardavar is a unique and vibrant festival celebrated in Armenia, where people drench each other with water. This tradition, which dates back to pagan times, is deeply rooted in Armenian culture and continues to be a significant event today. Vardavar’s history is intertwined with the worship of Astghik, the ancient Armenian goddess of water, beauty, love, and fertility. The festival was originally associated with Astghik and was named “Vardavar” because Armenians offered her roses as a celebration (in Armenian, ‘vard’ means ‘rose’ and ‘var’ means ‘to burn/be burning’). Celebration of Vardavar. Image: Yuri Semenkov After the Christianization of Armenia, the Armenian Apostolic Church linked the rose with the transfiguration of Jesus, and Vardavar continued to be celebrated along with the Feast of the Transfiguration. Some believe the tradition dates back to Noah, who commanded his descendants to sprinkle water on each other and release doves as a symbol of remembrance of the Flood. Vardavar is celebrated 98 days (14 weeks) after Easter. The festival begins with church ceremonies, followed by the main event where people of all ages drench each other with water. It is common to see people pouring buckets of water from balconies onto unsuspecting passersby below. This water festival is particularly popular among children, as it is one day where they can get away with pulling pranks. Vardavar It is not just a religious event, but also a community celebration that brings people together in a joyous and refreshing way, especially during the hot and dry summer days of July or late June. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

This abandoned hotel hides one of the most amazing mosaics one can see in Armenia! A paradise for art lovers and urbex photographers! < Back Exploring an Abandoned Hotel This abandoned hotel hides one of the most amazing mosaics one can see in Armenia! A paradise for art lovers and urbex photographers! The first time I saw this mosaic was in G. Mattu’s post, and he was the one who guided me there. I was so happy to finally visit this place and see the magical mosaic by Armenian painter, Honored Artist of the USSR (1983), Garnik Smbatyan (1929—2003). An old road led us closer, and finally we spotted the hidden complex, surrounded by trees on the shore of the lake. Architect: Vache Atadjanyan Structural Engineer: Karlen Kazaryan The complex consists of two three-story residential buildings with 116 beds each, a nine-story residential building with a capacity of 320 beds, and a club-canteen building. All structures are connected by a reception and administrative block located on the ground floor of the nine-story building. The load-bearing structures of the three-story buildings are transverse walls, while the remaining buildings are based on a prefabricated reinforced-concrete frame. The façades are clad with tiles and stone made of felsite and local tuff. The project was developed in 1968. Construction was carried out between 1970 and 1981. The abandoned hotel was an architectural marvel... From time to time, guards are present, but that day there was no one around. Getting in was easy; early explorers (hopefully not looters) had made a way in. We sneaked in, and I saw the magic! The gigantic mosaic left me speechless. This is what I look for during my explorations. Some are looking for old machinery, documents, but what drives me is her majesty art. The Birth of Astghik, a mosaic by artists Garnik Smbatyan, Araqel Araqelyan, Mikael Gyurjyan, Rouben Hovnatanyan, and Yuri Babayan. Year 1982 In pagan Armenia, Astghik was originally the goddess of the creation of heaven and earth. Over time, her image evolved, and she became primarily associated with love, beauty, and fertility. In the mosaic, the moment of Astghik’s birth is shown: she stands nude, while nymphs approach her with a cloth to cover her nakedness. The Birth of Venus by Sandro Botticelli Smbatyan was a prolific and talented painter whose works are exhibited in the National Gallery of Armenia and can be found in private collections in Armenia and abroad. The artist was inspired by The Birth of Venus, a painting by the Italian artist Sandro Botticelli, probably executed in the mid-1480s. It depicts the goddess Venus arriving at the shore after her birth, when she had emerged from the sea fully-grown (called Venus Anadyomene and often depicted in art). A fresco copy of Ivan Aivazovsky’s View of Constantinople by Moonlight on the wall of the hotel For comparison here is the original painting! Ivan Aivazovsky "View of Constantinople by moonlight" We moved forward, exploring further, and found ourselves in the cinema hall, but there was nothing left behind. On each floor, when going up the stairs, one could see murals, copies of famous paintings. 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

From the towering peaks of ancient volcanoes to the forgotten relics of its Soviet past, Armenia is a paradise for adventurers who seek both natural beauty and the thrill of discovery. This article will guide you through some of the most exciting adventure tours in Armenia, including mountain climbs and urban exploration, also known as urbex. < Back Adventure Tours in Armenia: From Mountain Climbs to Urbex Explorations From the towering peaks of ancient volcanoes to the forgotten relics of its Soviet past, Armenia is a paradise for adventurers who seek both natural beauty and the thrill of discovery. This article will guide you through some of the most exciting adventure tours in Armenia, including mountain climbs and urban exploration, also known as urbex. 1. Mountain Climbing in Armenia Mount Aragats: The highest mountain in Armenia Mount Aragats is Armenia's highest peak and a dream destination for mountaineers. This dormant stratovolcano has four summits, with the Northern summit being the highest at 4,090 meters (13,419 feet). The Southern summit, at 3,888 meters (12,756 feet), is the most accessible and popular among hikers and climbers. At the top of Mount Aragats (Southern Summit) Climbing Aragats offers breathtaking views of the surrounding landscapes, including a view of biblical Mount Ararat. The climb to the Southern summit is manageable for most hikers, especially during the summer months. The route begins at Lake Kari, a picturesque alpine lake at 3,200 meters (10,500 feet) above sea level, and takes about 2.5 to 3 hours to reach the top. For those seeking a more formidable challenge, the Northern summit presents a rigorous climb that requires experience and better physical fitness. The reward, however, is an unparalleled view from Armenia's highest point. Mount Azhdahak: A Hiker's Delight Another popular destination for climbers is Mount Azhdahak, a dormant volcano in the Geghama Mountains. Standing at 3,597 meters (11,801 feet), Azhdahak is known for its stunning crater lake, which forms from melting snow in the summer months. The trek to Azhdahak is a journey through volcanic landscapes, dotted with ancient petroglyphs that tell the story of Armenia’s distant past. At the top of Mount Azhdahak The hike to the summit is relatively moderate, making it accessible to most hikers with a decent level of fitness. The trail offers panoramic views of the surrounding mountains, Lake Akna, Lake Sevan, and the distant Aragats massif. Azhdahak is also a place of cultural significance, as it is linked to Armenian mythology and ancient traditions. 2. Hiking and Trekking Adventures Dilijan National Park: Armenia’s Little Switzerland Dilijan National Park, often referred to as Armenia’s “Little Switzerland,” is a must-visit for hikers and nature lovers. The park is known for its lush forests, tranquil lakes, and ancient monasteries. The Transcaucasian Trail, which passes through Dilijan, offers some of the best hiking in Armenia, with well-marked trails that cater to all levels of experience. Lake Parz Popular hikes include the trail to Lake Parz – Gosh village or Lake Gosh, a serene spot for a picnic or a paddle in a rowboat, and the trek to the Dimats mountains, which has become a very popular destination in recent years. The park’s diverse flora and fauna, combined with its cultural heritage sites, make it a rewarding destination for those who love both nature and history. Tatev Monastery, Old Khot Village, and the Tatev Desert The hike to the Tatev Desert from Tatev Monastery or Satan’s Bridge offers a thrilling adventure through rugged terrain, providing breathtaking views of the canyon and surrounding mountains. Nestled deep within a gorge and shrouded by dense forest, the Tatev Desert offers an unparalleled opportunity to connect with nature and experience the profound tranquility of this remote location. Tatev Desert A highlight of this area is the Wings of Tatev, the world’s longest reversible aerial tramway, which stretches 5.7 kilometers (3.5 miles) across the canyon. This cable car ride provides not only stunning panoramic views but also a unique perspective of the landscape, making it an unforgettable part of any visit to Tatev. Exploring Old Khot village Another captivating destination is the Old Khot Village, often referred to as the "Armenian Machu Picchu." Perched on the slope of a gorge, this abandoned village offers a hauntingly beautiful glimpse into the past. Discovering this remote site, seemingly in the middle of nowhere, evokes the feeling of stepping into a cinematic experience—where history, mystery, and nature converge in a setting that feels almost surreal. 3. Urban Exploration (Urbex) in Armenia Soviet Relics: Discovering Armenia’s Abandoned Places For those interested in urban exploration, Armenia’s Soviet-era relics offer a fascinating glimpse into the country’s recent past. After the collapse of the Soviet Union, many industrial plants, hotels, pioneer camps, and cultural houses were abandoned, left to decay and be reclaimed by nature. These sites have since become popular destinations for urbex enthusiasts who are drawn to their eerie beauty and historical significance. Abandoned Cable Car Station Exploring Abandoned Factories and Mines One of the most intriguing urbex destinations in Armenia is Orgov village, where the ROT54 telescope is located. Once a scientific center, today it lies in ruins in a preserved state but still attracts thousands of tourists from around the world. The view from there, the size of the telescope, and the control room are things that everyone loves. Inside an abandoned copper tunnel North of Armenia is a Haven for Urbexers Once thriving industrial hubs, the northern cities of Armenia now stand as poignant reminders of their former glory. For urban exploration enthusiasts, these cities are a treasure trove of discovery. Abandoned cable car stations, pioneer camps, deserted factories, and copper mines offer countless opportunities to delve into the past. Additionally, nearby hiking trails, such as those leading to Kayan Fortress or the Horomayr Monastic Complex, provide stunning panoramic views of the majestic Lori Gorge. 4. Combining Adventure and Culture One of the unique aspects of adventure tours in Armenia is the opportunity to combine outdoor activities with cultural experiences. Many of Armenia’s hiking trails and urbex sites are located near historical landmarks, allowing visitors to immerse themselves in the country’s rich heritage while satisfying their thirst for adventure. Me on the shore of lake Nazeli, Geghama mountains For example, a hike in the Geghama Mountains can easily be combined with a visit to the ancient Geghard Monastery, a UNESCO World Heritage site carved into the mountainside, or a visit to pagan Garni Temple. Similarly, a tour of Armenia’s abandoned Soviet-era sites can include visits to nearby cultural attractions, such as the Mikoyan Brothers’ Museum in Sanahin or the medieval Akhtala Monastery. 5. Practical Tips for Adventure Travelers in Armenia Best Time to Visit: The best time for adventure tours in Armenia is from late spring to early autumn when the weather is mild and the trails are accessible. Guided Tours: Hiring a local guide is highly recommended, especially for challenging hikes and urbex explorations. Guides can provide valuable insights into the history and significance of the sites, as well as ensure your safety. What to Pack: For hiking and climbing, be sure to pack sturdy footwear, layers for changing weather conditions, and plenty of water. For urbex tours, bring a flashlight, gloves, and a camera to capture the unique atmosphere of the abandoned sites. Conclusion Armenia’s diverse landscapes and rich history make it an ideal destination for adventure travelers. Whether you’re climbing the towering peaks of Mount Aragats, trekking through the lush forests of Dilijan, or exploring the eerie remains of the Soviet era, Armenia offers a wealth of experiences that are sure to satisfy your sense of adventure. So pack your bags, lace up your hiking boots, and get ready to discover the hidden gems of this fascinating country. 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

Following the 2020 Second Nagorno-Karabakh War and subsequent escalations, many visitors planning a trip to Armenia have questioned the safety of traveling to the country. This brief article aims to shed light on this topic. < Back Armenia is among top 10 safest countries Following the 2020 Second Nagorno-Karabakh War and subsequent escalations, many visitors planning a trip to Armenia have questioned the safety of traveling to the country. This brief article aims to shed light on this topic. According to the World Population Review in 2023, Armenia boasts the ninth-lowest crime rate globally, measuring at 22.79 per 100,000 citizens. The Crime Index categorizes this as a very low crime rate. The country maintains a relatively low level of crime, with an even lower impact on tourists. (By the way, the Crime Index is an estimate of the overall crime rate in a given city or country. The organization considers crime rates below 20 to be very low, crime rates from 20 to 40 as low, crime rates from 40 to 60 as moderate, crime rates from 60 to 80 as high, and finally crime rates above 80 as very high.) Addressing the recent escalations with Azerbaijan, it's crucial to note that areas of armed conflict are primarily near the border. However, popular tourist destinations, including sightseeing spots and hiking trails, are situated far from these regions. The likelihood of endangering your trip due to such incidents is very low. Overall, travelers have reported positive experiences exploring Armenia's rich cultural heritage. As in any other country, it is advisable to follow safety instructions: remain vigilant when crossing streets, especially during late hours and in restricted areas, avoid large crowds and demonstrations, and adhere to the advice and instructions of local authorities. 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 301 AD, Armenia became the first nation to officially adopt Christianity as its state religion, a momentous decision influenced by King Tiridates III's conversion under the guidance of St. Gregory the Illuminator. This article provides a concise overview of Armenian religion for those seeking quick insights. < Back Armenian Religion In 301 AD, Armenia became the first nation to officially adopt Christianity as its state religion, a momentous decision influenced by King Tiridates III's conversion under the guidance of St. Gregory the Illuminator. This article provides a concise overview of Armenian religion for those seeking quick insights. Armenia boasts a rich history, culture, and identity, with religion serving as a pivotal aspect. Let's delve into the main features of religion in Armenia, its historical context, and its societal role. The vast majority of Armenians, approximately 97%, adhere to Christianity, particularly the Armenian Apostolic Church—one of the world's oldest Christian denominations. Established in the 1st century AD by apostles Bartholomew and Thaddeus, who introduced Christianity to Armenia, it aligns with the Oriental Orthodox communion. This means it does not accept the Council of Chalcedon (451), which defined the doctrine of two natures in one person in Christ. Instead, the Armenian Apostolic Church adheres to miaphysitism, affirming that Christ possesses one divine and one human nature. Geghard or The Holy Lance, also known as the Lance of Longinus (Roman soldier who stabbed the crucified Christ in the side with a lance to check whether he was dead. Since Christ had already died, water and blood came out of his wound (John 19:34)), the Spear of Destiny, or the Holy Spear, is the lance that is alleged to have pierced the side of Jesus as he hung on the cross during his crucifixion. Since that day, the weapon of death, (Armenian: Գեղարդ - Geghard) has become a sacred relic for Christians. According to the tradition of the Armenian Church, 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. There are memories, according to which, in Armenia or neighboring countries, Geghard was used to bless the country and the people, to free them from war and disasters. Now it is displayed in the Echmiadzin treasury. His Holiness Karekin II, Supreme Patriarch and Catholicos of All Armenians and Pope Francis, the Pope of the Roman Catholic Church, accompanied by their delegations visiting popular pilgrimage site Khor Virap (2016).The notability of Khor Virap as a monastery and pilgrimage site is attributed to the fact that Gregory the Illuminator was initially imprisoned here for 13 years by King Tiridates III of Armenia. Saint Gregory subsequently became the king's religious mentor, and together, they led proselytizing activities in the country. Image credits: wdacna.com Armenia officially adopted Christianity as its state religion in the year 301 AD, making it the first country to do so. This significant event took place under the rule of King Tiridates III, who converted to Christianity with the influence of St. Gregory the Illuminator. The spiritual center of the Armenian Apostolic Church is the Etchmiadzin Cathedral, where the Catholicos, Garegin II, currently resides. The mother church of the Armenian Apostolic Church - Etchmiadzin Cathedral The church boasts a rich and diverse liturgy, culture, and history. It utilizes an ancient alphabet devised by Mesrop Mashtots in the 5th century AD and features numerous translations of scriptures into Armenian from various languages. Statues of Mesrop Mashtots and his student Koryun in front of Matenadaran The Armenian Apostolic Church observes a vibrant calendar of festivals and holidays, reflecting its profound history, traditions, and unwavering faith. Some noteworthy celebrations include: Christmas (January 6): Commemorated with Nativity liturgies, candlelit processions, and familial gatherings. Easter (Variable Date): A joyous celebration involving church services, traditional meals, and festive egg painting. Transfiguration of Jesus (Variable Date): Celebrated with the Vardavar Water Festival, characterized by joyful water-splashing and communal gatherings. Assumption of the Holy Mother of God (August 15): Marked with grape blessing ceremonies and special feasts. Feast of St. Sargis (February 14): Observed as Lovers' Day, featuring romantic traditions and special church services. Trndez (February 21): A bonfire festival symbolizing purification, with young people leaping over flames. Feast of St. Gregory the Illuminator (September 30): Honors the Armenian Church's founder, celebrated with special liturgies and festivities. Feast of the Holy Translators (October 1): Commemorates Bible translators into Armenian, accompanied by church services and cultural events. 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During a conversation with G. Mattu, an expert in Soviet Armenian public and fine art, I asked him which monument was his favorite. He replied, "The unreachable one." He was referring to Mother Armenia, also known as Arevik (Sun), a striking statue located on the Armenia-Azerbaijan border within Armenian territory. < Back The Unreachable Mother Armenia During a conversation with G. Mattu, an expert in Soviet Armenian public and fine art, I asked him which monument was his favorite. He replied, "The unreachable one." He was referring to Mother Armenia, also known as Arevik (Sun), a striking statue located on the Armenia-Azerbaijan border within Armenian territory. In 1976, the 10-meter (some sources claim 17-meter) aluminum sculpture of Mother Armenia, also known as Arevik, was created by Adibek Grigoryan and placed near the Kayan district of Aygehovit village in Armenia's Tavush region, along the road connecting Azerbaijan and Armenia. This statue was an earlier version of the Arevik figure, originally intended for placement in one of the Central Asian republics. However, it was rejected for allegedly accentuating the female form too much. The statue was later revised and installed under the name Mother Armenia at the border. The scale model of Arevik, or Mother Armenia, along with sculptor Adibek Grigoryan! In this image, we can see the earlier design, where she holds a jar in her left arm The monument, depicting an Armenian woman with outstretched arms framed by sun-like rays, once symbolized Armenia’s welcoming spirit, greeting visitors from Russia, Georgia, and Azerbaijan. Today, the area where it stands is part of the village of Aygehovit in Tavush region. Unfortunately, on the night of September 28-29, 2014, a strong wind caused the edging frame, resembling the 'rays of the sun,' to fall from the statue, but Mother Armenia remains standing tall. Mother Armenia back in Soviet times Now situated within a minefield, the statue is impossible to approach, adding to its mystique and inaccessibility. While researching this monument, I came across an insightful article by Maya Khachatryan, published in Independent Reporting. Below is an excerpt from her interview with Aygehovit resident, former village head, and agriculturalist Henrik Hovsepyan: “Back in the Soviet years, Azerbaijanis installed a monument symbolizing the three countries of the region, which had an obvious political meaning. They portrayed themselves very big, as if they were dominating over Armenia and Georgia. In response, our regional leadership installed the 'Arevik' monument. The position of the monument was such that it could be seen from every house in that Azerbaijani settlement. Our 17-meter beauty became a mandatory stop for tourists visiting Armenia, where they would get out, take photos by the monument, and then continue their journey. Mother Armenia, as seen by Yulia Grigoryants after 2014, when the edging frame had already been damaged by the wind Approaching 'Arevik' is now prohibited; it can only be viewed from a distance, as the entire area is heavily mined. The monument is located directly across from Azerbaijani military positions, which is why nearly every shot fired has hit the statue. The area around 'Arevik' is under the control of our soldiers. During Soviet times, there was also a police outpost and a government reception house here, where South Caucasian leaders often shook hands. Aygehovit residents remember that during the times of Demirchyan and Kochinyan, many guests from neighboring republics were received here, including former Azerbaijani President Ayaz Mutallibov and former Georgian President Zviad Gamsakhurdia". 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