SEARCH RESULTS

Shifts in ideological paradigms, political caprice, the desire to break away from a totalitarian past, and acts of vandalism led to the dismantling or destruction of many monuments associated with communist ideology and beyond. This process accelerated after the collapse of the Soviet Union in 1991. In this article, we will explore the statues that once adorned Armenia, only to be lost to history. < Back The Destroyed Statues of Armenia Shifts in ideological paradigms, political caprice, the desire to break away from a totalitarian past, and acts of vandalism led to the dismantling or destruction of many monuments associated with communist ideology and beyond. This process accelerated after the collapse of the Soviet Union in 1991. In this article, we will explore the statues that once adorned Armenia, only to be lost to history. The practice of dismantling monuments is not unique to the post-Soviet space. After the October Revolution of 1917, the Bolsheviks actively demolished monuments tied to the tsarist regime as part of the so-called "Lenin's Plan of Monumental Propaganda." This underscores that a change in political systems is often accompanied by a revision of the symbolic landscape and the removal of monuments from the previous era. Thus, the destruction of monuments during and after the collapse of the USSR was driven by a mix of ideological shifts, a desire to reevaluate historical heritage, and public sentiment, often expressed through acts of vandalism, particularly as many statues were made of valuable materials like bronze, copper, and others. Joseph Stalin's statue was considered a masterpiece by the sculptor Sergey Merkurov. The pedestal was designed by architect Rafayel Israyelian. The statue of Stalin was unveiled in Yerevan on October 29, 1950. Designed by architect Rafael Israelyan and sculpted by Sergey Merkurov, the bronze figure stood 17 meters tall. With its imposing 33-meter pedestal, the monument reached a total height of 50 meters, making it the tallest Stalin statue of its time. In 1952, a monumental statue of Joseph Stalin, standing 24 meters tall, was erected at the Volga–Don Canal in Stalingrad (now Volgograd). The pedestal added an additional 30 meters, bringing the total height to 54 meters. As a result, it became the tallest Stalin statue in the Soviet Union, a record that was never surpassed. Yesterday... today... In 1962, the statue was dismantled, and in 1967, the "Mother Armenia" monument, created by sculptor Ara Harutyunyan, was erected in its place, utilizing the original pedestal. The statue of Joseph Stalin by Ara Sargsyan Another notable statue dedicated to Joseph Stalin was created by renowned artist Ara Sargsyan and was once located in Gavar (formerly Nor Bayazet until 1994). The statue's current fate remains unknown. Lenin's Statue in the Republic Square (Lenin Square in Soviet times) of Yerevan! Its body now resides in the courtyard of the National Gallery of Armenia, while the head is kept in storage Lenin’s image was omnipresent during Soviet times, dominating central squares, schools, cultural halls, and workplaces. The most iconic of these was the Lenin statue in Yerevan, erected in Republic Square—then known as Lenin Square—in 1940 to mark the 20th anniversary of Soviet rule in Armenia. Crafted by renowned sculptor Sergey Merkurov, with artistic contributions from architects Natalya Paremuzova and Levon Vardanov, the monument depicted Lenin addressing a crowd, symbolizing his leadership and revolutionary ideals. It served as the focal point for public events, military parades, and political gatherings for decades. Following Armenia’s independence in 1991, the statue was dismantled. Today, its body rests in the courtyard of the National Gallery of Armenia, while the head remains in storage. The pedestal was removed in 1996 and is currently housed in a Yerevan Municipality warehouse in Charbakh. For now, I will refrain from publishing additional photos of the destroyed statues of Lenin and Stalin, as there are countless examples, particularly in the case of Lenin. Instead, I plan to publish separate articles on this subject in the future. Sasuntsi Davit (David of Sassoun) Statue by Yervand Kochar In 1939, Yerevan was preparing to celebrate the 1000th anniversary of the epic poem Sasna Tsrer (Daredevils of Sassoun) with grand festivities. The celebrations were set for October, and during the summer months, it was decided that the event would be incomplete without a statue of the epic's central hero. A competition was announced, inviting Armenian artists to submit designs for a statue of David of Sassoun. However, some sculptors argued that the task would take 1–2 years, while others were preoccupied with other commissions. At this juncture, Yervand Kochar, who had recently returned from Paris, took on the challenge. He required only a few assistants to complete the work. Kochar’s plaster statue of David of Sassoun, mounted on a wooden pedestal several meters high, was completed in just 18 days. The statue was installed in the square near the station and stood there for about two years until Kochar’s arrest. One of the charges leveled against him was that the figure of the rider, with a drawn sword, appeared to be rushing toward "friendly" Turkey. He was accused of formalism, a charge that equated to being labeled an “enemy of the people.” As a result, he was imprisoned, and the statue was destroyed. After spending 2 years and 2 months in prison, Kochar was released due to a lack of evidence. In 1957, by then recognized and respected by artists, art lovers, and both the public and the ruling elite, he was commissioned once again by the Supreme Soviet to create a statue of David of Sassoun. The statue Kochar crafted remains on display in the same square today and is one of the most beloved and renowned monuments in the country. Glory to Labor or Worker's statue by Ara Harutyunyan The "Glory to Labor" monument (better known as the "Worker's Statue") is located in the Shengavit administrative district of Yerevan. It is one of the notable works by Ara Harutyunyan, a People's Artist of the Armenian SSR, Honored Artist of the Arts, and a renowned sculptor. This monument represents one of Harutyunyan's last monumental works. Unveiled in 1982, it was positioned in the square adjacent to the "Gortsaranayin" metro station in the Shengavit district. Over time, the square became popularly known as "Worker's Statue Square," and even after the statue was dismantled, it continued to carry this name. The cast iron statue was designed to portray an Armenian worker walking towards Western Armenia. Its artistic and volumetric solutions were unique for the time. In 1997, the 11-meter statue, widely known as the "worker's statue," was dismantled and dismembered. Seven years later, in 2004, a group of individuals began searching for the statue, which had gone missing. After some time, the dismembered statue was discovered at one of the factories in Shengavit. Subsequently, the statue's parts were moved to private property under unclear circumstances. The head, hands, fist, legs, shoes, and the back of the torso were all preserved from the original statue. On June 1, 2022, the "Worker's Statue: Post Scriptum" exhibition opened at the National Gallery of Armenia, where the head and fist of the statue were displayed for the first time. Sergei Kirov by Ara Sargsyan The statue of Bolshevik leader Sergei Kirov, created by sculptor Ara Sargsyan in 1942 from basalt, was installed in 1950 at Kirov Square in Kirovakan, now known as Vanadzor. Not long after the collapse of the Soviet Union, the statue was removed, and its fate remains unknown. The bust of Kirov in Yerevan The bust of Sergei Kirov, created in 1936, was displayed in the courtyard of the Kirov Chemical Factory, now Nairit, in Yerevan. Ara Sargsyan’s "Lightning" Among Armenia’s vanished artistic treasures, one of the most striking is "Lightning", a decorative sculpture by renowned sculptor Ara Sargsyan, created in 1934. This three-meter-high masterpiece, crafted from concrete, once adorned the facade of the Yerevan Central Post Office. Characterized by expressive classicist forms, "Lightning" was a bold and dynamic addition to the architectural landscape of Yerevan. Unfortunately, during a later renovation of the building, the sculpture was removed and was not preserved. Size: Height: 300 cm Width: 250 cm Depth: 60 cm The statue of Ghukas Ghukasyan The monument to Bolshevik revolutionary Ghukas Ghukasyan was located in the Student Park, at the heart of Yerevan, between Abovyan and Teryan streets. Created from basalt, the statue was designed by sculptor Suren Stepanyan, with architectural contributions by Hayk Asatryan. In 1990, under cover of night, unknown individuals detonated the statue of the Bolshevik revolutionary and party figure. In December 2009, a new sculpture of the renowned astronomer Viktor Hambardzumyan was installed in the same park, where Ghukasyan’s statue once stood. The Stocking Woman by Frid Soghoyan The Monument to the Stocking Woman, created in 1964 by artist Frid Soghoyan, stood 5 meters tall and was made of aluminum. Located in Gyumri (formerly Leninakan), Armenia, the statue was an iconic piece of public art. Unfortunately, it was either destroyed or stolen under unknown circumstances during the 1990s. Harvest Festival by Suren Nazaryan The "Harvest Festival" statue, created in 1968 by sculptor Suren Nazaryan, was located in Yerevan. Sometime in 2011, a part of the statue—a man—was stolen, most likely by metal scavengers looking to sell it as scrap. While I was writing this article, G. Mattu reached out to Suren Nazaryan's son Arshak Nazaryan for more information about the statue. Here’s what he said: "I took this picture myself in 2011. It was vandalized sometime after—one of the figures was broken and stolen. The rest of the statue was taken down and stored in the Nor Nork city storage. I don’t know its current status!" While researching old Soviet Armenian magazines, G. Mattu came across a page featuring a statue that remains unidentified. To this day, its creator, location, and fate remain a mystery. The small image depicts Akhtamar, perched high on the cliffs above the Sevan highway. While reviewing old Soviet magazines, G. Mattu uncovered another intriguing monument that was previously unknown to us and for which we have been unable to find any information. The article mentions, accompanied by an image, that a monument dedicated to bakers was unveiled at the Yerevan Bread Factory No. 3. The fate of this monument remains unclear. The bust of Karl Marx. Sculptor: Artashes Hovsepyan, 1962 The bust of Karl Marx stood in front of the Polytechnic Institute in Yerevan named after him. After the collapse of the Soviet Union, the bust was removed, and the university was renamed the State Engineering University of Armenia. In November 2014, by decision of the Armenian government, it was renamed the National Polytechnic University of Armenia. In 1968, at the entrance of Vardenis city, Armenia, a unique monument was erected. It consisted of a bull statue and a sculptured monument. The authors of the monument were the sculptor Rafael Yekmalyan and architect Rafael Israelyan. Unfortunately, the monument has not survived. According to sculptor Harutyun Yekmalyan, son of Rafael Yekmalyan, it was destroyed by Azerbaijanis. The bull statue was severely damaged and, by some accounts, buried by Azerbaijanis in the 1980s. Efforts to restore the monument were once blocked under the pretext of avoiding heightened tensions with Azerbaijan. The remnants of the monument today Another lost masterpiece is Ruzan Kyurkchyan's statue "Family." Once standing at the intersection of Sayat-Nova and Abovyan streets in Yerevan, the sculpture has since disappeared, and its fate remains unknown. "Family" by Ruzan Kyurkchyan Another statue that did not withstand the test of time was located in Yerevan's Youth Palace, which was demolished in 2006. Spring by Tadevos Gevorgyan Before the Youth Palace was demolished in 2006, Tadevos Gevorgian's statue Spring disappeared, and its fate remains unknown. An unrecognized statue in front of the former 'October' Cinema in Yerevan Another statue once stood in front of the former "October" Cinema in Yerevan, right where the Komitas Pantheon is now. What happened to that monument—and even who created it—remains a mystery to this day. I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . Project Gallery You May Also Like Inside the Eerie Corridors of an Abandoned Russian Fortress Soviet Bus Stops in Armenia Urbex Tours in Armenia – Photo Gallery The 53 cm Schmidt Telescope at Byurakan Astrophysical Observatory Exploring an Abandoned Rest House with Impressive Bas-Reliefs A Spaceship on Earth: The Soviet-Armenian Echo of the Futuro House Destroyed Soviet Mosaics and Frescoes in Armenia The Chayka Monument That Angered Nikita Khrushchev During His 1961 Visit to Armenia Previous Next

Gleb Leontievich Travin (1902-1979) was a Soviet traveler who, between 1928 and 1931, undertook an extraordinary journey cycling around the perimeter of the Soviet Union, including the Arctic coast. Covering over 85,000 kilometers, this epic adventure was accomplished in an era when bicycles were far less comfortable and reliable than they are today. < Back Gleb Travin - The Badass Cyclist Who Crossed 85,000 km In 3 Years Gleb Leontievich Travin (1902-1979) was a Soviet traveler who, between 1928 and 1931, undertook an extraordinary journey cycling around the perimeter of the Soviet Union, including the Arctic coast. Covering over 85,000 kilometers, this epic adventure was accomplished in an era when bicycles were far less comfortable and reliable than they are today. Born on April 28, 1902, in the village of Kasievo, Pskov uyezd, Gleb Travin acquired vital survival skills from his father, a forester. Travin's interest in extended bicycle journeys started in 1923 when he met Dutch cyclist Adolf de Groot in Pskov. De Groot had recently finished a bicycle race across Europe. Motivated by this encounter, Travin conceived a more ambitious undertaking — circumnavigating the globe by bicycle. Gleb Travin's route map In 1925 Travin joined the army. He served in the Leningrad region not far from his native places. A competent and physically developed guy quickly became an excellent student in military training and a platoon commander. And during demobilization, his adventurous spirit came into play - those who served in the army had the right to free travel to their place of residence, which Travin took advantage of. In Pskov, he was registered on Petropavlovskaya Street, and by simple manipulation of the not very competent army bureaucracy, the street turned into a city - the capital of distant Kamchatka. It was Petropavlovsk-Kamchatsky and the alluring Far East that seemed to young Gleb Travin as an excellent place to start a cycling trip. In Petropavlovsk at that time there were less than three hundred houses, and Travin quickly found his place among the builders of the first power plant in Kamchatka - literate people with skilled hands were then in short supply. In his free time, he trained on the Leitner army folding bicycle, manufactured in Riga at the Alexander Leitner factory. The power plant was operational by the spring of 1928, and with the bonus for his hard work, Travin bought a new Japanese bicycle - in Kamchatka during the NEP, imported goods from Japan and America were almost freely traded. Gleb Travin and his bicycle During this time, Travin began planning his bike trip. He selected ideology as the driving force behind his journey, aiming to promote physical culture and secure permission to travel globally. Recognizing that the Soviet authorities would likely deny him the opportunity to venture outside the country and circumnavigate the world, he devised and obtained approval for a route along the borders of the USSR. For his bicycle trip, Travin received from the Kamchatka City Executive Committee an American road bicycle Princeton model 404 red in color with white arrows on the frame (this bicycle was specially brought to Petropavlovsk-Kamchatsky for Travin). For the trip, he (at his own expense) purchased a Japanese Kodak camera (the camera he ordered was delivered the same ferry). In addition to a bicycle and a camera, his luggage included a registration book, clothes (including winter clothes), medicines and tools. As food for the journey, he took seven pounds of pressed biscuits and a kilogram of chocolate. He also took a small amount of money. Travin did not forget such a characteristic detail as a supply of business cards. "Tourist Around the World" cards were handed out at stops and overnight stays. The fully loaded bicycle weighed 80 kg, the same weight as the athlete. An article about Gleb Travin in Soviet geographic magazine "Around the World" Travin’s planned daily routine during the trip: 10 hours in the saddle, minimum daily riding time is 8 hours; Eating twice a day - at six o'clock in the morning and at six o'clock in the evening; Sleep in the open air. On the cyclist’s sleeve there was a green Dynamo armband with the inscription that amazed everyone he met: “Bicycle traveler Gleb Travin.” Having started the journey, Travin made a vow not to cut his hair until he completed it. He put a patent leather strap on his head. During the trip, Travin kept a diary, which in the 1930s was destroyed by his relatives along with the original photographs for fear that they would be repressed following Travin's biographer Vivian Itin. On October 10, 1928, Gleb Travin left Petropavlovsk-Kamchatsky with a bicycle and went to Vladivostok by ship. The bike ride started from the capital of Primorye on October 23. From there he rode the bicycle along the Trans-Siberian Railway through Khabarovsk to Lake Baikal. Travin crossed Lake Baikal on the ice on the advice of the lighthouse keeper. Later, he also crossed rivers and lakes on ice. Gleb Travin Along the Trans-Siberian Railway, Travin reached Novosibirsk, from which he turned south, to the Cossack Autonomous Soviet Socialist Republic, then to the Central Asian republics of the USSR - the Uzbek Soviet Socialist Republic, including the Tajik Autonomous Soviet Socialist Republic, then to the Turkmen Soviet Socialist Republic. In May 1929, the traveler reached Dushanbe, where the editorial office of the local newspaper, at his request, translated the inscription “Bicycle Traveler Gleb Travin” into Tajik for his armband. Since the word “bicycle” was absent in Tajik, as a result the inscription in Tajik had the meaning “traveler on a shaitan-arb”, that is, literally, “traveler on a damn cart”. Travin traveled from Central Asia to the Caucasus via the Caspian Sea by ferry. From the Caucasus in the summer of 1929, Travin traveled through the European part of the country and in November 1929 reached Murmansk, from where his winter Arctic part of the journey began along the coast of the Arctic Ocean, during which he traveled most of the way on ice. Gleb Travin during his travels In one of the polar northern villages, Travin got hold of a fur jumpsuit, which allowed him to sleep comfortably in the snow, buried in a snowdrift. The hunters taught the traveler how to catch seals, walruses, polar bears, arctic foxes and deer. He taught himself to fish using a bicycle spoke in cracks in the ice. As a result, the main components of Travin’s diet in the North were raw meat and raw fish - fresh and frozen (stroganina). In the area of Dolgiy Island, a serious problem occurred with Travin. Waking up after another night in the snow, he discovered that his boots and overalls were frozen in the ice, into which the snow that protected him from frost had turned overnight - at night, near him, the ice cracked and sea water came out of the crack. With the help of a knife, the traveler was able to get out, but at the same time severely damaged his clothes and shoes. Then he had to travel with his legs exposed to the frost and in torn overalls. The traveler came across a deer trail and, already frostbitten, reached the dwelling (plague) of Nenets reindeer herders, his journey in torn clothes and shoes took about a day, Travin overcame the last part of the journey to the camp crawling due to his legs giving out. Gleb Travin's registration book After undressing and warming up, Travin discovered signs of fatal damage to his toes. To prevent gangrene, he decided to partially amputate them, cutting off the dead skin as if removing a sock. This led the women who witnessed the act to believe he was a cannibal spirit named Keli. Following this incident, Travin earned the nickname "the devil on the iron deer" from the northern inhabitants, as the bend of the steering wheel reminded them of deer antlers. This nickname later inspired a book title. In the 1960s, Alexander Kharitonovsky published a book about Travin titled "The Man with the Iron Deer: The Tale of a Forgotten Feat," which underwent several reprints. After this, with his legs still not healed, Travin got on the icebreaker “Lenin” of the Kara Marine Expedition, where he communicated with its leader, Professor N.I. Evgenov, a hydrographer. The professor doubted the possibility of reaching Chukotka alone on a bicycle and was surprised by the traveler’s assurances about the convenience of riding on ice. On the day of Travin’s departure from the Kara expedition, pilot Chukhnovsky took his photograph, which has survived to this day. Before the Taimyr peninsula, Travin fell through the ice, got out and spent a long time drying his soaking wet clothes - first he tried to dry them in the cold in the wind (while burying himself in a snowdrift), then he got dressed and dried them on himself, actively moving. During this run, he found a pile of deer carcasses dumped by local hunters, climbed into it and slept well, having the opportunity to rest in the warmth. Gleb Travin's bicycle on display in Pskov State Museum-Reserve On the Pyasina River, Travin again fell through the ice and almost died. After this, on the way to Chukotka, Travin came across a mammoth cemetery and took with him one tusk, which he managed to pull out of the frozen soil. In the small town of Russkoe Ustye on Indigirka, Travin worked as a geography teacher. At the end of the journey, Travin reached Chukotka. One of the Chukchi craftsmen made plates from mammoth ivory and on one of them carved a seal, a walrus, a whale and the inscription “Bicycle traveler Gleb Travin”. In July 1931, Travin reached Cape Dezhnev, where he again tried to obtain permission to leave the USSR for the purpose of traveling around the world along the route: the western coast of North and South America, Tierra del Fuego, the African coast, the Sahara, the Arabian Peninsula, India, China, Tibet, Mongolia , USSR. Having received a refusal and an offer to board a ship to Kamchatka, he sailed to Petropavlovsk-Kamchatsky, where he finally completed his journey. Gleb Travin doesn't look like a man from the 1930s! Could he have been a time traveler? After the trip to Petropavlovsk-Kamchatsky, Travin was presented with a GTO badge and a pennant with a memorable inscription: “Kamchatka Regional Council of Physical Education to an active striker of the physical education movement of Kamchatka”. Many publications, starting with newspaper notes published during Travin’s travels, indicate unrealistically large distances traveled by him, which do not correspond to the route entries in the traveler’s registration book. Thus, in the book “The Man with the Iron Deer,” Kharitanovsky indicated the length of the route as 85 thousand kilometers, which contradicts the entries in the route book (exceeds the route indicated in it). Moreover, in a note published on October 13, 1929, the newspaper “Pskov Alarm” reported that 80 thousand kilometers had already been covered then, despite the fact that this was only a third of the route planned by Travin. In that publication, the distance traveled was clearly overestimated. According to realistic estimates, the length of the longest (northern) part of the route, that is, the route along the Arctic Circle, is estimated at 10-13 thousand kilometers. Gleb Travin's knife According to the entries in Travin’s record book, stored in the Pskov State Museum-Reserve, he covered five sections of the route by ship: from October 10 to October 23, 1928, the Petropavlovsk-Kamchatsky - Vladivostok section, 2600 km long; from July 26 to July 28, 1929: Krasnovodsk - Baku - 280 km; from August 22 to August 26, 1929: Rostov-on-Don - Yalta - 580 km; from August 20 to September 11, 1930: Vaygach Island - Dikson Island - 850 km; from September 30 to October 17, 1931: Gulf of Lawrence - Ust-Kamchatsk - 1900 km. Section of the route covered with dogs: In Russian Ustye, where Travin appeared in January 1931 and stayed for more than two months, residents presented the traveler with sleds with dogs and persuaded him to continue his journey on a dog sled. According to eyewitnesses, Travin was seen riding a bicycle on a sled pulled by dogs, traveling from Russky Ustye through Krestovsky Island and Chetyrekhstolbovoy Island, where Yakuts also saw him. They reported that the traveler continued towards Chukotka, specifically Shelagsky Cape. However, after Chetyrekh Stolbovoy, there is no evidence that he utilized dog sleds. After completing his extensive journey, Travin settled in Kamchatka, where he trained cyclists, motorcyclists, and motorists. During the Great Patriotic War, he served as a teacher of military affairs at the Kamchatka Marine and Fishery Technical School. Only in 1962 Travin returned to Pskov. Gleb Travin's compass A quarter of a century after Travin’s polar “bike trip”, journalist Alexander Kharitanovsky ended up in Chukotka. Quite by chance, from local residents, he heard a story about a strange cyclist that struck him. Bicycle in Chukotka?! The journalist didn’t believe it, but decided to figure out the origin of such an amazing “anecdote.” The notes and brochures of the 1930s were long forgotten; no one remembered the name of Gleb Travin. However, Kharitanovsky conducted a real journalistic investigation, looked up archives, found eyewitnesses - to his amazement, he discovered an extraordinary and completely forgotten feat. It was the end of the 50s, the era had changed dramatically. The forgotten hero turned out to be completely in the style of the new time - in those years, the heyday of camping and tourist romance began in the USSR. In Petropavlovsk-Kamchatsky, journalist Kharitanovsky found a modest teacher at the nautical school - Gleb Travin himself. And the former “tourist on a bicycle around the world” took out for the guest a “passport-recorder” carefully hidden since the late 30s, documentary evidence of a unique trip. Thus was born the story “The Man with the Iron Deer” - a romanticized, slightly embellished, but sincere story about the life and exploits of a unique cyclist. The story has gone through many editions in the country and abroad. Even in France a brochure based on it appeared. Unfortunately, his dream never came true, as the Soviet authorities didn't grant him permission to embark on a bicycle journey around the globe. In 1969, Travin and Kamchatka journalist N. Ilyushev flew by plane along part of Travin’s travel route from Arkhangelsk to Petropavlovsk-Kamchatsky with stops in Anderma, Tiksi, Chersky and Pevek. The registry book was stamped on its pages with the seals of all the authorities and postal stations he passed by Among lovers of tourism and cycling, the name of Gleb Travin literally thundered. He immediately turned into a living legend, a true idol with an unsurpassed achievement. Dozens of cycling clubs “named after Travin” appeared throughout the USSR. And in East Germany, after the German translation of the book “The Man with the Iron Deer,” several cycling clubs named after him arose. The last years of life Travin spent time in Pskov, where he organized a home museum and introduced everyone to the materials of his travels. The words from his registration notebook remain relevant: “I survive because I don’t fight against nature, but try to live according to its laws.” Today a separate exhibition about him is featured in the local history museum of his native Pskov, showcasing his bicycle, registry book, and other items. Gleb Travin died on October 19, 1979 in Pskov. Gallery You May Also Like 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 Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Guide in Armenia

During one of my many visits to Byurakan Astrophysical Observatory—where I regularly guide visitors—I asked Henrik Sargsyan, the observatory’s oldest staff member, to show us the 53 cm Schmidt telescope. Sargsyan has worked at BAO since 1958. Warm, generous, and deeply devoted to science, he gladly agreed. Seeing yet another instrument that shaped modern astronomy was pure joy. < Back The 53 cm Schmidt Telescope at Byurakan Astrophysical Observatory During one of my many visits to Byurakan Astrophysical Observatory—where I regularly guide visitors—I asked Henrik Sargsyan, the observatory’s oldest staff member, to show us the 53 cm Schmidt telescope. Sargsyan has worked at BAO since 1958. Warm, generous, and deeply devoted to science, he gladly agreed. Seeing yet another instrument that shaped modern astronomy was pure joy. Byurakan is home to several major telescopes, including the ZTA-2.6 and the famous 1-meter Schmidt telescope , which I have already covered in detail. This time, the focus is on the 53 cm Schmidt telescope—smaller in size, but no less important in its scientific impact. The building that houses the 53 cm Schmidt telescope The telescope is installed at an altitude of 1,398 meters. It features a 53 cm (21-inch) correcting lens and a mirror of the same diameter. The focal length is 180 cm (71 inches), with a fast focal ratio of f/3.4. Its wide field of view—25 square degrees (5° × 5°)—made it especially suitable for survey work, with a plate scale of 114.6 arcseconds per millimeter. This instrument played a key role in studies of nearby galaxies, particularly in assessing the compactness of their nuclei. In the 1970s and 1980s, it was extensively used to search for flare stars in star clusters and stellar associations. Some of the earliest projects carried out with this telescope focused on detailed colorimetric observations of galaxies, including investigations of color distribution in nearby systems. Main Observing Programs Polarization of cometary nebula NGC 2261 Nuclei of nearby Sa and Sb galaxies Nuclei of nearby Sc galaxies Search for flare stars in Pleiades Search for flare stars in Orion Search for flare stars in NGC 7000 (Cygnus) Search for flare stars in Praesepe Search for flare stars in Taurus Dark Clouds Variability of Markarian galaxies Monitoring of extragalactic supernovae in certain areas Quietly working in the shadow of larger instruments, the 53 cm Schmidt telescope has left a solid scientific legacy—and remains an essential part of Byurakan’s astronomical history. I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . Project Gallery You May Also Like Inside the Eerie Corridors of an Abandoned Russian Fortress Soviet Bus Stops in Armenia Urbex Tours in Armenia – Photo Gallery The 53 cm Schmidt Telescope at Byurakan Astrophysical Observatory Exploring an Abandoned Rest House with Impressive Bas-Reliefs A Spaceship on Earth: The Soviet-Armenian Echo of the Futuro House Destroyed Soviet Mosaics and Frescoes in Armenia The Chayka Monument That Angered Nikita Khrushchev During His 1961 Visit to Armenia Previous Next

This is a culture house from Soviet period which every urban explorer should see! A great relic for those who want to explore the "abandoned side of Armenia" and love artworks! < Back An abandoned culture house in Armenia with wonderful frescoes This is a culture house from Soviet period which every urban explorer should see! A great relic for those who want to explore the "abandoned side of Armenia" and love artworks! There are urban explorers who are interested in machinery, some even hunt ghosts, lol! But I am different, I love art! Thanks to avarathewanderer I learned about this place (should definitely write a separate post about him) and it was he who guided me there! Unfortunately there is not much information about the building, failed even learn the artist’s name, but at least I got a huge aesthetic pleasure and took lots of photos to share with you! Enjoy... I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . Project Gallery You May Also Like Inside the Eerie Corridors of an Abandoned Russian Fortress Soviet Bus Stops in Armenia Urbex Tours in Armenia – Photo Gallery The 53 cm Schmidt Telescope at Byurakan Astrophysical Observatory Exploring an Abandoned Rest House with Impressive Bas-Reliefs A Spaceship on Earth: The Soviet-Armenian Echo of the Futuro House Destroyed Soviet Mosaics and Frescoes in Armenia The Chayka Monument That Angered Nikita Khrushchev During His 1961 Visit to Armenia Previous Next

This abandoned Soviet-era factory in Armenia had a lot to offer! Two notable things we discovered during this urbex tour were a unique fresco and a 'Lenin, Engels, Marx' mosaic. < Back Exploring an abandoned chemical factory in Armenia This abandoned Soviet-era factory in Armenia had a lot to offer! Two notable things we discovered during this urbex tour were a unique fresco and a 'Lenin, Engels, Marx' mosaic. I wanted to get inside this abandoned factory in Armenia for a long time, and the time finally came! We had a vague information that there is a fresco in this factory and went to check it out. After wandering around for a while we finally spotted the fresco from outside and got inside the building! Glory to the Komsomol! My heart started to beat happily… the fresco was amazing! So far it is the only Soviet fresco that I found in Armenia with a Russian inscription on it: Слава комсомолу! Glory to the Komsomol! DETEKCNI TRUBICE We went on exploring further and got inside a room with lots of boxes called “Detekcni Trubice”! A quick google research said that: “Detekcni Trubice - UH - V detection tubes are intended for the determination of hydrocarbons and the lower explosive limit of solvent vapors in the air. The detection tube KT - 1 serves to determine the direction of air flow. Detection tubes are intended for single use.” We moved forward… suddenly my friend called “Hurry up! Look what I found”. With a smile on my face I am posing for a photo ... I entered a large room and saw on the wall a big mosaic of Lenin, Engels and Marx! It left a strong impression on me—a piece of history that may soon vanish… Needless to say that we also saw countless warning posters on the walls … For more check out the gallery below... I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . Project Gallery You May Also Like Inside the Eerie Corridors of an Abandoned Russian Fortress Soviet Bus Stops in Armenia Urbex Tours in Armenia – Photo Gallery The 53 cm Schmidt Telescope at Byurakan Astrophysical Observatory Exploring an Abandoned Rest House with Impressive Bas-Reliefs A Spaceship on Earth: The Soviet-Armenian Echo of the Futuro House Destroyed Soviet Mosaics and Frescoes in Armenia The Chayka Monument That Angered Nikita Khrushchev During His 1961 Visit to Armenia Previous Next

This narrative takes you on an urban exploration mission to a Soviet-era intercontinental radio station in Armenia, intertwined with an unexpected discussion about the Duga radar. Discover the site’s historical significance, its role in Cold War-era broadcasts, and its current enigmatic state. < Back From Duga Radars to Intercontinental Radio Rebroadcasting Station in Armenia This narrative takes you on an urban exploration mission to a Soviet-era intercontinental radio station in Armenia, intertwined with an unexpected discussion about the Duga radar. Discover the site’s historical significance, its role in Cold War-era broadcasts, and its current enigmatic state. I still vividly recall the day I first stepped into this place. Although I had known about it, my habit of procrastination kept me away until now. On this urbex mission with a French photographer Damien, I found myself unexpectedly drawn into a conversation about the Duga radar. For those unfamiliar, the Duga radar , also known as the " Russian Woodpecker, " was a Soviet over-the-horizon radar system from the Cold War, designed for early missile detection and intelligence gathering. Built in the 1970s near Chernobyl, Ukraine, the massive structure stood approximately 150 meters tall and 700 meters long, emitting a distinctive tapping sound on shortwave frequencies that earned it its nickname. In the territory of the Intercontinental Radio Station When Damien was telling about Duga, in the distance, the towering antennas of an intercontinental radio station were visible. I asked Demien, "Why did you suddenly start talking about Duga? Did you see something similar?" He replied, “No… What should I see?” Pointing towards the horizon, I showed him the antennas. "Wait, what's that?" he asked. I replied, "Man, it’s no coincidence you remembered Duga. Let's check this out!" The entire territory was densely covered with a complex network of antennas We soon found ourselves exploring this remarkable site, partially active and filled with control boards of otherworldly design. This intercontinental radio station, established in 1965, once rebroadcast to the Middle East, Turkey, the Caucasus, and Central Asia using high-power 1000 kW transmitters with directional and omnidirectional antennas. The control rooms were a true paradise—a dream destination for every urban explorer. During Soviet times, this station jammed Western broadcasts such as “The Voice of America” while propagating communist ideology across the Middle East and Afghanistan. Even today, the radio center continues to transmit unknown content to other countries, with its massive tube equipment still running hot, a testament to its enduring presence and mysterious purpose. I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . Project Gallery You May Also Like Inside the Eerie Corridors of an Abandoned Russian Fortress Soviet Bus Stops in Armenia Urbex Tours in Armenia – Photo Gallery The 53 cm Schmidt Telescope at Byurakan Astrophysical Observatory Exploring an Abandoned Rest House with Impressive Bas-Reliefs A Spaceship on Earth: The Soviet-Armenian Echo of the Futuro House Destroyed Soviet Mosaics and Frescoes in Armenia The Chayka Monument That Angered Nikita Khrushchev During His 1961 Visit to Armenia Previous Next

Shvanidzor is located about 400 km from Yerevan and 11 km northeast of Meghri, just a kilometer from the Arax River, at an altitude of 600–700 meters. Once home to around a thousand people, it now has roughly 280 residents, and the local school teaches only 20 children. Time seems to stand still in this village, where historic buildings quietly bear witness to the past. Today, we’ll explore one of these architectural gems: a 19th-century house in the village. < Back Exploring a 19th-Century Abandoned House in Armenia Shvanidzor is located about 400 km from Yerevan and 11 km northeast of Meghri, just a kilometer from the Arax River, at an altitude of 600–700 meters. Once home to around a thousand people, it now has roughly 280 residents, and the local school teaches only 20 children. Time seems to stand still in this village, where historic buildings quietly bear witness to the past. Today, we’ll explore one of these architectural gems: a 19th-century house in the village. Despite its modest size, Shvanidzor holds an impressive historical legacy. Medieval kahrezes — old qanat-style water channels — still run beneath the village. Centuries-old churches such as Gyumerants and St. Stepanos (17th–19th centuries) still stand here, along with the older Berdikar Church from the 12th–13th centuries. There’s also a 16th-century aqueduct, a 17th-century stone bridge, and many historical buildings scattered around. Inside Shvanidzor culture house I’ve written before about the iconic Shvanidzor culture house. Today, with the little information available, I want to shed some light on another remarkable site — a 19th-century house I’ve known about for over ten years but somehow never managed to visit. In the summer of 2025, I finally did. …and then, high on the steep hillside, I saw the building After visiting the culture house, we continued uphill. The narrow road took us past several old buildings with typical local architecture. Then, on a steep slope, the two-story house came into view — perched above the village, with its distinctive white façade, three arches, and a balcony. Built in 1890, it was once considered one of Shvanidzor’s finest homes. Unfortunately, I still don’t have clear details about who lived there or what stories it carries. For now, I’ll let the photos speak for themselves. I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . Project Gallery You May Also Like Inside the Eerie Corridors of an Abandoned Russian Fortress Soviet Bus Stops in Armenia Urbex Tours in Armenia – Photo Gallery The 53 cm Schmidt Telescope at Byurakan Astrophysical Observatory Exploring an Abandoned Rest House with Impressive Bas-Reliefs A Spaceship on Earth: The Soviet-Armenian Echo of the Futuro House Destroyed Soviet Mosaics and Frescoes in Armenia The Chayka Monument That Angered Nikita Khrushchev During His 1961 Visit to Armenia Previous Next

If you're wondering, "Are Decathlon hiking shoes any good?" or searching for honest Quechua hiking shoe reviews, this article has you covered. I’ll share my personal experience from over 9 years of wearing various Quechua hiking boots — including an in-depth review of my favorite, the Quechua MH100 — to help you decide if they’re the best budget hiking shoes for you. < Back Decathlon Quechua Hiking Shoes Review If you're wondering, "Are Decathlon hiking shoes any good?" or searching for honest Quechua hiking shoe reviews, this article has you covered. I’ll share my personal experience from over 9 years of wearing various Quechua hiking boots — including an in-depth review of my favorite, the Quechua MH100 — to help you decide if they’re the best budget hiking shoes for you. These Quechua Forclaz Flex 3 hiking shoes marked the beginning of my journey, and they've proven to be incredibly durable. A gift received in 2015, they have endured the test of time. Lacking rubber protective sides, I reserved them for lighter hikes to avoid rugged terrains. Overall, I appreciate them, but they offer minimal protection against moisture—walking through wet grass leaves your feet instantly damp. They are no longer on sale! Quechua Forclaz Flex 3 Quechua Forclaz 500 Next in line were my second pair of Quechua Forclaz 500 hiking shoes, a vintage and somewhat militaristic-looking pair with sturdy performance. Unfortunately, the rubber toe shield deteriorated quickly, in particular cracks appeared, signaling the beginning of the end. In later models, it seems like Quechua improved the rubber quality and the rubber shield lasts longer, for example in case of MH100. I wore them for 3 years and all in all I am satisfied with them. I miss these discontinued shoes and wish they were still available in stores. Quechua Arpenaz 500 Revival The Quechua Arpenaz 500 Revival is another pair in my collection, though I didn't wear them much due to sizing issues. Ending at size 46 while I usually wear 47, they caused ankle discomfort. Despite this, the soft and springy outsole provided a pleasant walking experience. They are still on sale and larger sizes are already available! Quechua Forclaz Trek 100 Unfortunately, the next pair (Quechua Forclaz Trek 100), while visually appealing, fell short in terms of fit. The narrow design around the feet and smaller size compared to the MH100 model caused discomfort during hikes. So 47 which usually fits me well, fell short! The waterproofing was not that good (you can't expect much from boots of this price range) but they seem to be durable overall. For hikes in a dry season these can be perfect budget boots! Quechua MH900 The Quechua MH900 pair turned out to be a disappointment, as the rubber toe protector quickly tore away from the leather. Moreover during a summer hike, while attempting to ascend a snowy slope, I began creating ladders by hitting the snow, and the outsole also started to rip off. Despite being comfortable and offering freedom of movement (it also fit well), their lack of waterproofing (like on the level of Forclaz Trek 100 although Trek 100 is way more durable) and poor quality ultimately led me to send them into a garbage can. Quechua MH 100 MH 100 hiking shoes was not only narrow but also too small. A size 47 fit poorly, causing pain in my thumbs when navigating slopes. Nowadays, I reserve them for casual walks in the park due to their lack of water protection (or no protection at all). Quechua MH100 Finally, the MH100 has become my favorite among the Quechua lineup. I own several pairs in different colors, and they stand out for their price, comfort, and durability. While the outer insole can wear out from extensive use, the shoes can still hold up well. The waterproofing is satisfactory (similar to the Forclaz Trek 100 level), making them reliable for walks in wet grass or light rain. If Quechua could enhance these shoes by adding a rubber band for additional protection on the sides, they would truly become the perfect hiking shoes considering their price and quality. I strongly recommend them! Gallery You May Also Like 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 Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Guide in Armenia

Explore the rich history and cultural significance of the Armenian eternity symbol, also known as "arevakhach." Uncover the origins and meanings embedded in this ancient emblem that has transcended time, serving as a symbol of identity for the Armenian people. From its early appearances in petroglyphs to its prevalence in architecture, khachkars, and even Armenian rug weaving, discover how this enduring symbol continues to play a vital role in art and spiritual culture, reflecting the timeless heritage of Armenia. < Back Armenian Eternity Symbol Explore the rich history and cultural significance of the Armenian eternity symbol, also known as "arevakhach." Uncover the origins and meanings embedded in this ancient emblem that has transcended time, serving as a symbol of identity for the Armenian people. From its early appearances in petroglyphs to its prevalence in architecture, khachkars, and even Armenian rug weaving, discover how this enduring symbol continues to play a vital role in art and spiritual culture, reflecting the timeless heritage of Armenia. Starting from ancient times, the swastika, or arevakhach (derived from the words sun and cross), held profound meaning for the Armenian people. It symbolized eternity, serving as an ancient national emblem and representing the identity of Armenians. It is represented as a curved image with arms rotating either to the right or left, originating from a central point. One of the earliest depictions were discovered in the rock paintings of the Armenian Highland, depicting the Sun in the form of a wheel or a swastika (single or multi-winged scroll). The symbol conveyed positive wishes, embodying concepts such as the sun, life, fire, lightning, fertility, childbirth, progress, and development. The directional rotations of the swastika carried active and passive meanings. For instance, a baby crib adorned with the symbol rotating to the right was intended for boys, while a left rotation symbolized cribs for girls. One of the earliest known instances of the eternity symbol, the swastika, dates back to the 16th-15th centuries BC, discovered in excavations in Shamkhor, a historical Armenian region. Throughout Armenia and its historical territories, the eternity symbol can be traced on architectural pillars, church walls, altars, frescoes, miniatures, khachkars, carpets, jewelry, clothes, household items, and state, public, private, and religious structures. In medieval Armenian culture, the symbol represented the idea of eternity, particularly in heavenly life. From the 5th century, it became prevalent on Armenian memorial stones and evolved into a widespread symbol of Khachkar. By the 8th century, the eternity symbol was firmly embedded in national iconography, retaining its practical significance to the present day. The Geghama mountains in the modern-day territory of Armenia reveal petroglyphs featuring the swastika, dating back to 8,000 – 5,000 BC, marking one of the earliest uses of this enigmatic symbol. As a fundamental element in khachkars, the symbol adorned church walls, tombstones, and architectural elements, including prominent churches like Mashtots Hayrapet Church in Garni, Horomayr Monastery, Nor Varagavank, Tsitsernavank, and many others. Today, the swastika continues to be an integral part of Armenian identity, prominently featured in art and spiritual symbolism, universally embraced by the Armenian people as a timeless symbol of their heritage. Even in Armenian rug weaving traditions, Armenian eternity symbol (swastika) finds a place, as seen in a 17th-century Armenian rug where it is prominently featured at the center. This WWII memorial in Vardenut village features a large Armenian eternity symbol at the base of its metal sculpture Gallery You May Also Like 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 Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Guide in Armenia

The 1977 robbery of the State Bank of the Armenian SSR remains one of the most audacious and infamous crimes in Soviet history. This heist, carried out by cousins Nikolai Sarkisovich Kalachyan and Felix Kalachyan, resulted in the theft of 1.5 million Soviet rubles—equivalent to roughly two million U.S. dollars at the time. It was not only the largest theft from a state institution in Soviet history but also a crime that captured the public’s imagination with its high stakes and dramatic resolution. Ultimately, both cousins were sentenced to death for their roles in the crime. < Back The Biggest Bank Robbery in the Soviet Union The 1977 robbery of the State Bank of the Armenian SSR remains one of the most audacious and infamous crimes in Soviet history. This heist, carried out by cousins Nikolai Sarkisovich Kalachyan and Felix Kalachyan, resulted in the theft of 1.5 million Soviet rubles—equivalent to roughly two million U.S. dollars at the time. It was not only the largest theft from a state institution in Soviet history but also a crime that captured the public’s imagination with its high stakes and dramatic resolution. Ultimately, both cousins were sentenced to death for their roles in the crime. Nikolai Kalachyan, born in 1951 in Borodino, Krasnoyarsk Krai, had a troubled upbringing. His family’s financial difficulties, primarily due to his father’s illness, left them destitute. Nikolai’s early years were marked by instability—he ran away to join a gypsy camp, dabbled in drug trafficking, and worked as a trash collector. With only a basic education and training as a turner, Nikolai turned to crime. His first successful robbery involved breaking into a savings bank by creating a hole in the wall. The crime went unsolved, and the stolen money was quickly squandered. Brothers Felix and Nikolai Kalachian Felix Kalachyan, on the other hand, was born in the village of Kazanchi in the Ashotsk district. After finishing school, he moved to Leninakan (now Gyumri), where he married and became a father of two. Working as a janitor, Felix struggled to provide for his family. Despite his humble profession, Felix had an athletic background—he was a skilled gymnast with the title of Candidate for Master of Sports. Nikolai convinced Felix to join him in a life of crime, and together they robbed an electronics store by dismantling a wall. They sold the stolen goods for 15,000 rubles, some of which Felix sent to his family, while the rest was spent on a spree in Moscow. Meanwhile, the director of the store from which the Kalachyans stole the tape recorders, for some reason, did not go to the police: the brothers got away with this crime. According to Nikolai, the director's silence was explained by the fact that the stolen tape recorders were unaccounted goods and were intended for illegal sale. Yerevan branch of the State Bank of the USSR Their next target was far more ambitious: the State Bank of the Armenian SSR in Yerevan. Nikolai’s plan relied on insider information provided by a bank employee and close associate, Zaven Bagdasaryan, who had direct access to the vault during routine inspections. Zaven, a member of the commission tasked with recounting the money stored in the Yerevan branch of the State Bank, was deeply impressed by the enormous sums he encountered in the vault. He informed the Kalachyan brothers that approximately 100 million rubles were stored at the branch and proposed a bold plan: to steal it. Bagdasaryan described the setup in detail. The cash was stacked on several shelves inside a small room on the second floor. The bank itself was housed in a three-story building dating back to the 1930s, constructed by prisoners using volcanic tuff—a relatively fragile material. This architectural vulnerability made breaking into the vault plausible. Initially, the Kalachyan brothers hesitated, deeming the risk too great. However, after three months of deliberation, they decided to proceed. The operation, to be executed by the nimble Felix, took several additional months of meticulous planning. Bagdasaryan even sketched detailed blueprints of the bank’s layout, including the walls, floors, and alarm systems, to aid in the preparations. The open window of the bank through which Felix entered Disguised as an artist, Nikolai began frequenting the streets near the bank. He casually passed by the branch repeatedly, observing every detail of its operations. During his surveillance, he noted that the bank shared its ground floor with a police station. However, his observations revealed that only a couple of officers were on duty during weekends, prompting the brothers to schedule the heist for a summer weekend. By early August, the plan had been refined to the smallest detail. Felix was tasked with breaking through the wall on the third floor, which adjoined a residential building, and gaining access to the bank employees' break room. From there, he intended to drill a hole in the floor and descend directly into the vault where the money was stored. Every aspect of the operation was meticulously planned—even down to bringing three bottles of mineral water so Felix could stay hydrated in the summer heat and cool the drills. A seemingly ordinary item—a simple umbrella—was crucial to their plan. According to Nikolai’s design, Felix was to drill a small hole in the floor, insert the umbrella through it, open it, and continue drilling. This would catch falling debris, muffling the sound and minimizing mess. However, shortly before the heist, Nikolai was involved in a car accident and hospitalized. Despite this setback, he remained undeterred. After consulting with Felix, Nikolai decided to proceed with the plan and coordinated the robbery from his hospital bed. The hand drill used by Felix Kalachyan On the appointed day, Felix set out with a large hiking backpack containing all the necessary tools: a hand drill, various bits, rope, a crowbar, a hacksaw, a chisel, a hammer, a flashlight, and, of course, the umbrella. Upon reaching the third floor of the residential building, he began drilling the wall. He worked all night, but could not break through the partition. Frustrated but determined, Felix returned the next evening to reassess the situation and devise a backup plan on the spot. Climbing onto the roof of the apartment building, Felix noticed that the recreation room window of the State Bank employees was not secured. Ongoing renovations had left the window slightly ajar, covered only by a polyethylene sheet to allow paint fumes to dissipate. Additionally, the bank’s caretaker had forgotten to properly close it. Felix initially tried throwing a rope with a weighted end through the window but repeatedly missed his target. Realizing he needed a bold move, he sprinted and leapt from the roof, miraculously landing inside the third-floor window. The second phase of the plan went flawlessly. Felix drilled a 34-centimeter hole in the floor and used a rope secured to a steel bar to lower himself into the vault. There, he retrieved two bags of cash totaling 1.5 million rubles—equivalent to approximately 100 million rubles today. Carefully packing the money into a backpack, which ultimately weighed around 32 kilograms, Felix climbed out through the break room window, descended the rope, and slipped away unnoticed as dawn broke on Sunday morning. All the tools were left behind at the scene. A 34-centimeter-diameter hole in the floor of the rest room, made by Felix Kalachyan Felix’s first stop was the hospital to meet his brother. Overjoyed by the success, Nikolai discharged himself the same day. The brothers then retreated to a rented apartment where they hid the loot. While examining the cash, Nikolai noticed a critical detail: most of the 100-ruble notes bore the same serial series—AI. Recognizing the potential for these notes to trace back to them, Nikolai instructed Felix and Zaven not to spend the AI-series bills. His caution proved prescient. Meanwhile the investigators quickly established the method by which the thief had entered the bank building: the trick of jumping through a window, under which a tarpaulin was stretched for safety, was repeated by the detectives themselves. Despite this breakthrough, the investigation soon hit a dead end, leaving the case at a standstill. Felix Kalachian during investigative experiments Upon learning of the audacious heist, General Secretary Leonid Brezhnev took personal interest in the case and ordered a nationwide alert. Directives were sent to all savings banks across the Soviet Union, instructing staff to report any transactions involving AI-series 100-ruble notes. Following the robbery, the cousins fled to Moscow. Kalachyan brothers spent all the small bills rather quickly and began to think about what to do with packs of hundred-ruble notes. Nikolai found a way out: he suggested buying three-percent government loan bonds with them, for which they could then get “normal” money. However, the thieves were not going to go to the savings banks themselves. Nikolai Kalachian during investigative experiments There, Nikolai met Ludmila Viktorovna Aksyonova, whose brother, Vladimir Kuznetsov, was a taxi driver. Vladimir was unwittingly drawn into their scheme, tasked with purchasing bonds using stolen 100-ruble notes. To avoid suspicion, Nikolai claimed he needed the bonds to fund an elaborate wedding to Ludmila. Vladimir, unaware of the robbery, agreed to help. However, the stolen money bore a critical flaw: most of the 100-ruble notes shared the same serial series, "AI." Soviet authorities had issued a nationwide alert to all savings banks, instructing employees to report any transactions involving such notes. Kuznetsov agreed to help his future relative. He bought the first batch of securities in several trips in Tashkent, spending about 24 thousand rubles. To the delight of the criminals, Vladimir came across inattentive savings bank employees. Because of this, the criminal investigation officers did not immediately find out that the AI series banknotes had surfaced in the Uzbek SSR. By the time investigators reached Tashkent, Kuznetsov had already fled the country. Meanwhile, the Kalachyan brothers decided to relocate to Sochi. Nikolai purchased a used green Zhiguli (some sources suggest it was a Moskvich) for 13,000 rubles at the market near Moscow's Southern River Port. To maintain their cover, he registered the car under Lyudmila's name. Vladimir’s downfall came when he attempted to purchase 6,000 rubles’ worth of bonds in a Moscow savings bank. The cashier, suspicious of the large sum, pretended to retrieve additional bonds from the vault but instead contacted the police. Spooked, Vladimir fled, but the cashier had already noted his appearance and the license plate of his green Zhiguli car. Police tracked the vehicle to an apartment building on Leninsky Prospekt, where the Kalachyans were staying. On the night of June 7, 1978, law enforcement arrested Nikolai, Felix, and Vladimir. More than 800 thousand rubles of the money stolen from the Yerevan bank were found in the dismantled wheel. The criminals buried the remaining 100 thousand rubles under a house in Leninakan. By then, the criminals had already spent 600,000 rubles of the stolen money. The trial was swift, and the sentence was harsh. Nikolai and Felix Kalachyan were sentenced to death, while Zaven Bagdasaryan received 11 years in a maximum-security prison. Vladimir Kuznetsov, who played a secondary role, received a lighter sentence. Nikolai's mother, who had barely survived the death of her husband, never learned the court's verdict: upon hearing the charges against her son, she fell gravely ill and soon passed away. But the death penalty for two young men, one of whom was a father of two children, seemed excessive to the Chairman of the Presidium of the Supreme Soviet of the Armenian SSR Babken Sarkisov. The official appealed to the Supreme Soviet of the USSR with a request to pardon the brothers: they considered Sarkisov's arguments reasonable and granted the request. However, the papers that could have saved the Kalachyans arrived in Yerevan with a fatal delay. By the time the documents finally reached the prison, it was discovered that Felix and Nikolai had been executed the day before. Gallery You May Also Like 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 Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Guide in Armenia

Together with G. Mattu, with this article, we aimed to compile and document the destroyed bas-reliefs in Armenia, created by monumental artists during the Soviet era. Once integral parts of the country's cultural and architectural landscape, these works of art have been lost to time, metal scavengers, vandalism and neglect. Through this collection, we hope to preserve their memory and reflect on their historical and artistic significance. < Back Destroyed Bas-Reliefs of Armenia Together with G. Mattu, with this article, we aimed to compile and document the destroyed bas-reliefs in Armenia, created by monumental artists during the Soviet era. Once integral parts of the country's cultural and architectural landscape, these works of art have been lost to time, metal scavengers, vandalism and neglect. Through this collection, we hope to preserve their memory and reflect on their historical and artistic significance. Bas-reliefs in the Soviet Union were used both as a powerful artistic form and as a tool for ideological expression. They served as a means to communicate Soviet values, promote political ideals, and glorify historical figures and events. These artworks were often integrated into public buildings, monuments, and institutions, reinforcing the narrative of the Soviet state and its achievements. This metal bas-relief once adorned the walls of the Automatics Plant in Vanadzor, a significant site in Armenia’s industrial heritage. Sadly, it vanished a few years ago, and its fate remains unknown. Notably, it was one of the rare bas-reliefs dedicated to a cosmic theme. Founded in 1956, the Automatics Plant played a crucial role in the instrument-making industry of both the USSR and Armenia, releasing its first products in 1959. Specializing in electrical measuring instruments for monitoring and regulating technological processes, the plant supplied its products across the Soviet Union and exported them to 25 countries worldwide. An identical bas-relief featuring two cosmonauts once decorated the entrance of the former Kosmos Kindergarten. The fate of this artwork remains unknown. This bas-relief once graced the lobby of the Central Post Office in Vanadzor, created between 1977 and 1978. Vahagn’s Battle with the Dragon – Kapan, 1966 Chiseled aluminum | Height: 1100 cm Sculptor: A. Harutyunyan | Architect: R. Israelyan Ara Harutyunyan’s Spring – 1963 Material: Aluminum | Location: Sayat-Nova Avenue Harutyunyan’s daughter, Susanna, recounts the fate of this monument: It was installed on Sayat-Nova Avenue, on the sidewalk in front of the old Academy (that building was later demolished), where his parental home once stood. However, the monument was destroyed in a car accident and was never restored. "Masquerade" Ceramic Bas-Relief 1983 – Inside the restaurant of the former actor's house, now the French Embassy. Sculptor: Eduard Beroyan After the building was repurposed and renovated, the bas-relief was destroyed. Another bas-relief by the prolific ceramist Eduard Beroyan once adorned the interior of the ArmElectro factory. Unfortunately, it no longer exists. The nursery of the Spitak textile factory once featured a bas-relief on the wall of its swimming pool, depicting what appeared to be a fairy. The building and the artwork were destroyed during the 1988 earthquake. Installed in 1968 at the entrance of Charentsavan, in Armenia’s Kotayk Province, this bas relief (front side) was created by renowned Armenian sculptor Tereza Mirzoyan (1922–2016) in collaboration with sculptor Suren Nazaryan (1929–1999). The back side of the same monument at the Entrance to Charentsavan city. Vladimir Atanyan was one of the artists whose bas-reliefs suffered the most, two of which were located inside the Dvin Hotel and disappeared after its renovation. Ceramic Bas-Relief – "Dvin – Old Town" (1979) Size: 3m × 6m × 75cm Location: Restaurant of the Dvin Hotel Artist: Vladimir Atanyan "Eternity" Bas-Relief – 1979 Dimensions: 4 x 2 meters Location: First floor, Dvin Hotel Interior, Yerevan Created by: Vladimir Atanyan “Generation” 1983/84 by Vladamir Atanyan. A large ceramic relief framed by mosaics, Generation once adorned the lobby of the Scientific Institute of Avan. Sometime between 2005 and 2010, the entire building was demolished, and the fate of the artwork remains unknown. Presumably, it was destroyed along with the building. A rare photo of the bas-relief "Generation", as seen in an old magazine Another work by Vladimir Atanyan decorated the wall of the restaurant in Ani Hotel. Created in 1986, it was later destroyed. Another artist whose works were significantly lost over time is Hmayak Bdeyan. Below are several examples. Institute of Winemaking – Bas-relief (Destroyed) – Artist Hmayak Bdeyan, 1967 (Size: 240 cm × 600 cm) On November 11, 2006, the first building of the "Rossia" commercial and cultural center was turned into a cafe and shopping halls. Unfortunately, the sculptures and paintings by Yervand Gojabashyan, Henry Elibekyan, Ohan Petrosyan, and Hmayak Bdeyan were later removed and up to this day their fate is unknown. The partition walls by Hmayak Bdeyan adorned the interior spaces of the Rossiya cinema. In total, they were 10 meters long and 3.5 meters high. This is how Bdeyan describes the creation of partitions inside the Rossiya cinema: “I faced a rather challenging task: to create partition walls that would separate one functional space from another without, as much as possible, dissecting the interior volumes of the building. I proposed assembling them from openwork cubic cells coated with glaze. These partitions, in my opinion, do not disrupt the scale of the space and are perceived as movable grids. I embedded large theatrical masks into them.” This photo shows the destroyed partition wall by Hmayak Bdeyan, lying on the ground. The fate of the sculptures remains unknown. In this old image, one can see a bas-relief inside the Rossiya Cinema. The artist remains unidentified, though it is believed to be Hmayak Bdeyan. Further verification is required. Hmayak Bdeyan's ceramic compositions adorned the Argishti Cafe on Mashtots Avenue, formerly Lenin Avenue. Their fate is unknown. Armenfilm, also known as Hayfilm, is an Armenian film studio located in Yerevan. The facade of Armenfilm’s main entrance once featured a metal bas-relief inspired by Yervand Kochar’s iconic Sasuntsi Davit statue. It disappeared long ago, and its fate is still a mystery. The image of Sasuntsi Davit also served as the studio’s production logo, appearing at the beginning of every film — much like the iconic studio logos seen in other film industries. In this old photo, two bas-reliefs are visible on the wall of the “Vahagn” Teahouse. Their fate remains unknown. Special thanks to Gurdeep Mattu for co-authoring this article. I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . Project Gallery You May Also Like Inside the Eerie Corridors of an Abandoned Russian Fortress Soviet Bus Stops in Armenia Urbex Tours in Armenia – Photo Gallery The 53 cm Schmidt Telescope at Byurakan Astrophysical Observatory Exploring an Abandoned Rest House with Impressive Bas-Reliefs A Spaceship on Earth: The Soviet-Armenian Echo of the Futuro House Destroyed Soviet Mosaics and Frescoes in Armenia The Chayka Monument That Angered Nikita Khrushchev During His 1961 Visit to Armenia Previous Next

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