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Zvartnots Temple is a captivating historical site that anyone interested in Armenian culture and architecture should visit. This article sheds light on this magnificent Armenian architectural marvel, whose ruins stand as a testament to the architectural genius and faith of a bygone era. < Back Zvartnots Cathedral - UNESCO World Heritage Site in Armenia Zvartnots Temple is a captivating historical site that anyone interested in Armenian culture and architecture should visit. This article sheds light on this magnificent Armenian architectural marvel, whose ruins stand as a testament to the architectural genius and faith of a bygone era. Zvartnots Temple, also known as Zvartnots Cathedral, is a medieval Armenian temple near the city of Yerevan, the capital of Armenia. Catholicos Nerses III, the leader of the Armenian Church at that time, built it in the 7th century CE. The temple is renowned for its unique circular shape, a rarity in Armenian architecture. It features a large dome, four supporting piers for a multifloor structure, and various decorative elements like eagle capitals and vine scroll friezes. Dedicated to St. Gregory the Illuminator, who converted King Tiridates III to Christianity in the 4th century CE, the temple was a place where the king and St. Gregory discussed their faith and plans for Armenia's future. Nerses III and his successors used the temple as a patriarchal palace until it succumbed to either an earthquake or an Arab raid in the 10th century CE. Zvartnots stood for 320 years before collapsing in the tenth century. By the time historian Stepanos Taronetsi mentioned the church in his Universal History in the eleventh century, the cathedral was already in ruins. The reason for its collapse is debated, with theories suggesting an earthquake or attacks from repeated Arab raids. Despite being well-engineered, the most accepted explanation is an earthquake collapse. A model of the Zvartnots Cathedral in the Zvartnots Cultural Museum Rediscovered in the early 20th century, the ruins were excavated and studied by archaeologists. The original appearance is still debated, with many scholars accepting Toros Toramanian's 1905 reconstruction, proposing that the building had three floors. This temple is considered one of the most important monuments of medieval Armenia and a symbol of its cultural heritage. It has been a UNESCO World Heritage Site since 2000. Today, tourists can visit Zvartnots Temple to admire its beauty and learn about its history. Offering stunning views of Mount Ararat from various angles, Zvartnots, though a fallen giant, continues to inspire us to reach for the stars and leave our mark on the world. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

The Yeghishe Charents Monument in Yerevan honors the celebrated Armenian poet. Created in 1985, this bronze sculpture symbolizes his life and legacy with 40 springs and a memorial column inscribed with lines from his poetry. < Back Yeghishe Charents Monument in Yerevan The Yeghishe Charents Monument in Yerevan honors the celebrated Armenian poet. Created in 1985, this bronze sculpture symbolizes his life and legacy with 40 springs and a memorial column inscribed with lines from his poetry. Yeghishe Charents (1897–1937), a prominent Armenian poet and writer, fell victim to the Yezhovshchina during Stalin’s Great Purge. Charged with “counterrevolutionary and nationalist activity,” he was imprisoned and died under mysterious circumstances, with his burial place remaining unknown. His books were banned, but many of his manuscripts were saved by his close friend, Regina Ghazaryan, who secretly preserved them. Yeghishe Charents monument in Yerevan The Yeghishe Charents Monument, erected in 1985, stands in Yerevan's Circular Park, opposite the Radio House. This 18.5-meter-tall bronze monument, created by architect Jim Torosyan and sculptor Nikoghayos Nikoghosyan, is a multi-figure composition. Nikoghayos Nikoghosyan working on the Yeghishe Charents monument, 1980 One side has 40 flowing springs representing Charents' years of life, while the other side rises as a memorial column crowned with an eternal flame. This column is inscribed with lines from Charents' poetry: «Ես եկել եմ դարերից ու գնում եմ հաղթական Դեպի դարերը նորից՝ դեպի վառվող Ապագան…»։ ("I have come from centuries and I am moving forward victoriously Toward the centuries again—toward the blazing 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

In the realm of Armenian art, the khachkar stands as an enduring symbol of spirituality, craftsmanship, and cultural identity. Carved with precision and adorned with intricate motifs, these memorial steles have weathered centuries, each telling a story etched in stone. From their humble beginnings in the 9th century to their recognition as UNESCO Intangible Cultural Heritage, the journey of khachkars is as captivating as the artistry itself. < Back Armenian Khachkar - From Cross to Culture In the realm of Armenian art, the khachkar stands as an enduring symbol of spirituality, craftsmanship, and cultural identity. Carved with precision and adorned with intricate motifs, these memorial steles have weathered centuries, each telling a story etched in stone. From their humble beginnings in the 9th century to their recognition as UNESCO Intangible Cultural Heritage, the journey of khachkars is as captivating as the artistry itself. A khachkar (also spelled as khatchkar) or Armenian cross-stone is a carved, memorial stele bearing a cross, and often with additional motifs such as rosettes, interlaces, and botanical motifs. The most common khachkar feature is a cross surmounting a rosette or a solar disc. The remainder of the stone face is typically filled with elaborate patterns of leaves, grapes, pomegranates, and bands of interlace. Some are crowned with biblical or saintly figures, showcasing a fusion of religious and artistic expression. Khachkars in Geghard Monastic Complex Originally erected for spiritual salvation or to commemorate events like military victories and church constructions, khachkars found their most common home in graveyards. The 9th-century revival marked the birth of true khachkars, with the oldest known example dedicated to Queen Katranide I. The peak of khachkar artistry flourished between the 12th and 14th centuries, waning during the Mongol invasion but resurging in the 16th and 17th centuries. Among 40 000 survived khachkars the following three are believed to be the finest examples of the art form: One in Geghard, carved in 1213, probably by master Timot and master Mkhitar The Holy Redeemer khachkar in Haghpat carved in 1273 by master Vahram A khachkar in Goshavank, carved in 1291 by master Poghos. Replicas of khachkars in Echmiadzin. The originals of these khachkars are located in the Saint David Monastery in the Aparan settlement of the Derjan province of Western Armenia. They were built in 1191 and 1194 under the vision of Father Sahak and the monk Hovhannes and have been preserved to this day. The largest number of khachkars were once located in the Armenian cemetery in Julfa, Nakhichevan. However, these Armenian lands, now part of modern Azerbaijan, were transferred to Azerbaijan under the Moscow Treaty of March 16, 1921, concluded between Soviet Russia and the newly formed Turkish Republic. The cemetery contained approximately 10,000 khachkars as of 1648. The number of khachkars dwindled over time through destruction of various causes until the only 2,700 khachkars remained in 1998, when the Azerbaijani government embarked on a systematic campaign destroying and leveling the entire medieval cemetery between 1998 and 2005. Copies of khachkars that were once in the Armenian cemetery in Old Jugha are now on display at the Geghard Monastic Complex In Armenia the largest collection, around 900 khachkars, resides at Noraduz cemetery which is a popular touristic destination! Despite challenges, the art of carving khachkars experienced a rebirth in the 20th century, becoming a symbol of Armenian culture. Memorializing the victims of the Armenian Genocide, khachkars are scattered worldwide, from Vatican Museums to Canterbury Cathedral's memorial garden, embodying the resilience and global significance of Armenian heritage. I am posing for a photo with khachkars at Tsaghats Kar Monastic Complex The story of Armenian khachkars is one of endurance, artistry, and cultural resilience. From their medieval origins to their contemporary global presence, khachkars remain a testament to the enduring spirit of Armenian identity. Since 2010, khachkars, along with their symbolism and craftsmanship, have been inscribed on the UNESCO list of Intangible Cultural Heritage. As these cross-stones continue to be revered, preserved, and celebrated, they carry forward a profound cultural legacy, inviting us to appreciate the profound beauty etched in stone. 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 cultural significance of the Armenian Alphabet, one of the world's oldest writing systems dating back to 405 AD. Learn about its creation by Mesrop Mashtots, delve into the traditional and reformed spellings, and understand its role in writing both Eastern and Western Armenian. < Back The Armenian Alphabet - Mesrop Mashtot's Masterpiece Explore the rich history and cultural significance of the Armenian Alphabet, one of the world's oldest writing systems dating back to 405 AD. Learn about its creation by Mesrop Mashtots, delve into the traditional and reformed spellings, and understand its role in writing both Eastern and Western Armenian. The Armenian Alphabet is a unique writing system developed for the Armenian language and culture. It stands as one of the oldest alphabets globally, dating back to 405 AD, credited to Mesrop Mashtots, an Armenian linguist and ecclesiastical leader. Medieval Armenian sources suggest Mashtots invented the Georgian and Caucasian Albanian alphabets around the same period. Statues of Mesrop Mashtots and his student Koryun in front of Matenadaran The Armenian alphabet is called "այբուբեն - aybuben". The name is derived from the first two letters, այբ (ayb). Traditionally, the first sentence written down in Armenian by Mashtots is said to be a phrase translated from Solomon's Book of Proverbs: Ճանաչել զիմաստութիւն եւ զխրատ, իմանալ զբանս հանճարոյ: To know wisdom and instruction; to perceive the words of understanding. — Book of Proverbs, 1:2. All 39 letters of the Armenian alphabet The number and order of letters have evolved over time. In the Middle Ages, two new letters (օ [o], ֆ [f]) were introduced to better represent foreign sounds, increasing the count from 36 to 38. From 1922 to 1924, Soviet Armenia implemented a reformed spelling, changing the digraph ու and the ligature և into two new letters. However, those outside the Soviet sphere, including Western Armenians and Eastern Armenians in Iran, rejected the reforms, sticking to traditional Armenian orthography. Armenian Alphabet Alley in winter. The monument includes sculptures of the 39 letters of the Armenian alphabet and monuments of Armenian greats Beyond being a means of communication, the Armenian Alphabet serves as a symbol of identity and heritage for Armenians, reflecting their history, culture, and spirituality. It is a beautiful and expressive writing system capable of conveying complex emotions and ideas with simplicity and elegance. 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 extraordinary life of Max Reisch, a pioneering travel writer and adventurer. From motorcycle odysseys across Africa and India in the 1930s to circumnavigating the globe in a Steyr 100, Reisch's legacy, filled with daring exploits, inspires wanderlust and exploration. < Back Max Reisch - Pioneering the First Overland Journey from Europe to India Explore the extraordinary life of Max Reisch, a pioneering travel writer and adventurer. From motorcycle odysseys across Africa and India in the 1930s to circumnavigating the globe in a Steyr 100, Reisch's legacy, filled with daring exploits, inspires wanderlust and exploration. Max Reisch, born on October 2, 1912, in Kufstein, Austria, left an indelible mark as a prominent travel writer, geographer, journalist, and oriental expert. His life's journey was characterized by an insatiable thirst for exploration and a relentless pursuit of adventure. Max Reisch's early life saw him attending school in Bozen and Kufstein, followed by studies in architecture and world trade in Vienna. In his youth, Max was an avid skier, motorsport athlete and mountaineer, foreshadowing the daring spirit that would define his future expeditions. 1932: To Africa with Motorcycle and Tent In the early 1930s, Max Reisch studied in Vienna. During the summer break of 1932, he embarked on an adventurous journey to North Africa with Alfred Schricker from Nuremberg. Riding a Puch 250 cm³ motorcycle, built in 1929, they traveled from Vienna via Spain, covering a route from west to east, Algiers to Tripoli. The journey included a detour into the Sahara. After a ship voyage from Tripoli to Syracuse on Sicily and then overland to Austria, they completed this remarkable expedition. Forging a path through the desert! Image by Herbert Tichy 1933: To India by Motorcycle The following year, in 1933, Max Reisch, again on the Puch-Type 250, with co-driver Herbert Tichy, embarked on another groundbreaking journey. The rear wheel was still without suspension. In addition to the two people, around 70 kg of equipment, spare parts, petrol and oil were also carried. Since this trip was again a kind of test ride as proof of the stability of the motorcycles of the time (like the Sahara trip), all essential parts of the machine were sealed. Covering 13,000 km over several months, they achieved the remarkable feat of being the first to reach India overland by motorcycle. The experiences of this journey were vividly documented in Max Reisch's book "Indien, lockende Ferne; 13,000 km Pionierfahrt mit Herbert Tichy nach Indien" ("India, tempting distances; 13,000 km pioneering journey with Herbert Tichy to India") published by Ulstein Verlag. In the 1970s he traveled on this route again - albeit with modern means of transport, comparing the conditions of the 1970s with his earlier journey, documenting the changes in his book "Karawanenstraßen Asiens" ("Caravan Roads of Asia"). Max Reisch on his 1932 Puch 250SL en route to India. Image by Herbert Tichy 1935-1936: Around the world in a Steyr 100 It was a special car, this Steyr 100 with 1,380 cm³ and 32 hp, built in 1934, and a special body made of sheet aluminum. Because on September 22, 1934, this vehicle was the first vehicle to drive, or rather rumble, over the almost completed Großglockner High Alpine Road summit section. At the wheel was the Salzburg state governor Dr. Franz Rehrl and next to him the road planner and executive engineer, Franz Friedrich Wallack. And it was with this vehicle, accompanied by Helmut Hahmann, technician and cameraman, that Reisch set off from Vienna on April 22, 1935 (in a later edition of the book, 1983, Max Reisch writes April 23 as the day of departure). The goal was - Vienna again, but this time it was supposed to go around the world. The journey went through the Middle East, Iraq, Iran, Afghanistan, Pakistan, India, Burma, Vietnam to China. They embarked in Shanghai and went first to Japan and from its eastern port of Yokohama on to North America, across the United States of America from Seattle via San Francisco to New York. The “Bremen” took the two of them and their car to Bremerhaven and from there they went to Vienna. Of course, Reisch also wrote a book about this trip: Mann und 32 PS, im Auto um die Erde "2 men and 32 horsepower, around the world in a car" Max Reisch's book cover Max Reisch's legacy extends beyond his expeditions. An avid traveler, author, and public speaker, he delivered over 700 lectures in 50 years, inspiring countless individuals. He gave his first slide lecture in the auditorium of the University of Vienna in 1934, and his last lecture in 1984 in his beloved hometown of Kufstein, true to his motto: "There are many continents and countries, but there is only one home." Max Reisch passed away on January 18, 1985, at the age of 72, leaving behind a rich tapestry of adventures and a legacy that continues to inspire wanderlust and exploration. He himself said: "I am satisfied because I have reached the age of 102. The years in the desert count twice!" 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Earlier, I dedicated several articles to destroyed bas-reliefs and statues in Armenia. These articles still attract strong interest, drive steady traffic to my website, and help bring forgotten masterpieces back into public view. Today’s article focuses on another crucial layer of Soviet monumental art: the destroyed mosaics and frescoes of Armenia. < Back Destroyed Soviet Mosaics and Frescoes in Armenia Earlier, I dedicated several articles to destroyed bas-reliefs and statues in Armenia. These articles still attract strong interest, drive steady traffic to my website, and help bring forgotten masterpieces back into public view. Today’s article focuses on another crucial layer of Soviet monumental art: the destroyed mosaics and frescoes of Armenia. Soviet mosaics, frescoes, and bas-reliefs are among the most striking visual legacies of the USSR. They transformed grey, industrial environments into open-air galleries. Their widespread presence was not accidental but the result of a deliberate state policy that combined ideological messaging with a practical solution to monotonous blank walls. Here, we must again refer to the 1955 decree “On the Elimination of Excesses in Design and Construction” (Об устранении излишеств в проектировании и строительстве), initiated by Nikita Khrushchev. Like bus stops and bas-reliefs, mosaics and frescoes became a kind of aesthetic loophole and were not classified as “architectural excess. One of the largest and finest mosaics was created in 1977 by Karapet Yeghiazaryan, Hrayr Karapetyan, Khachatur Gyulamiryán, Vaghinak Mandakuni, Aleksandr Azatyan. The architects of the building were Grigori Grigoryan and Armen Aghalyan. It decorated the façade of the USSR Institute of Telecommunications Research (ՀՍՍՀ Կապի Գիտահետազոտական ինստիտուտ). In the first half of 2023, the building was demolished and the mosaic dismantled, reportedly with plans to reinstall it after the new building is constructed. At the time of its destruction, the Beeline office was located inside the building. Photo Credits: Damien Hewetson BIG UPDATE I’m happy to share some good news and update this article. As of February 2026, the mosaic is being reinstalled on the newly built skyscraper, on the site of the previously demolished building. I have already visited the location twice to document the restoration work and take new photos. One of the key reasons for the sheer number of mosaics was a formal state requirement: 2–5% of the construction budget for any public building—factories, schools, institutes, hospitals, and even bus stops—had to be allocated to “artistic and decorative elements.” In Soviet planning, this was officially known as “Artistic-Decorative Finishing” (Художественно-декоративное оформление). The “Anahit” resort in Stepanavan once featured an impressive mosaic on the wall of its swimming pool. Although the resort still operates today, the mosaic is long gone. The Art Fund acted as a mandatory intermediary in this process. When a factory or public building was under construction, the building authority transferred the allocated “artistic percentage” to the Art Fund, which then: assigned an artist to the project; approved the sketch, ensuring ideological compliance; supplied materials such as smalt, ceramics, and cement. In Russian art history, this system is often described by the term “Sintez Iskusstv” (Синтез искусств — Synthesis of Arts): the idea that architecture and fine art should not exist separately, but merge into a single, unified expression of Soviet life. Before the modern Cascade was built, a mosaic adorned the Old Cascade Waterfall. The artist was the Armenian sculptor and Honored Artist of the Armenian SSR (1967), Derenik Danielyan. This policy created a vast and guaranteed market for artists. The Union of Artists of the USSR (Союз художников СССР) controlled the distribution of these commissions. For many artists, state orders became their main source of income, resulting in the creation of thousands of works across the Soviet Union, from Moscow to remote Siberian villages. Unlike murals, mosaics made of smalt (special colored glass) or ceramic tiles do not fade in the sun and can withstand harsh winters. Soviet authorities viewed mosaics as “art for eternity.” Yet even art meant to last forever is gradually disappearing. About frescoes... Soviet frescoes, while sharing the same ideological DNA as mosaics, occupied a different niche. If mosaics ruled the exterior, frescoes and other mural techniques dominated interiors. They adorned the foyers of Culture Houses, Culture Palaces, Pioneer Palaces, university lecture halls, and factory meeting halls. Their tone was academic and historical, focused on Soviet ideology and on the country’s history stretching back centuries, depicting key moments in its past. In Armenia, many frescoes have survived, perhaps thanks to the fact that they were created by renowned artists such as Minas Avetisyan or Hakob Hakobyan. Others, however—especially works by lesser-known or anonymous artists—have already vanished or are slowly fading away. The First Class (“Պեռվի կլաս”) restaurant at Gyumri Railway Station once featured a remarkable fresco named "Old Gyumri" by Eduard Edigaryan. A few low-quality images offer a glimpse of its original appearance. The central section of the mural portrays men dressed in traditional national costumes. In the background, the city of Leninakan is depicted, while the left and right panels of the triptych feature Armenian women turned toward the center. The door is usually kept closed; about a year ago, I asked a staff member to open it to check if the mural might be hidden behind a mirror or panel, but it appears the artwork is lost forever. From left a guest from Philadelphia, in the center Khachatur Vardparonyan, on the right Hakob Hakobyan. Image credits: Khachatur Vardparonyan (Խաչատուր Վարդպարոնյան), Facebook page. One of the finest frescoes that has not survived was painted by Khachatur Vardaparonyan and titled Rebirth («Վերածնունդ», 1979). It was located in Leninakan (present-day Gyumri) at the Sock Factory (գուլպա-նասկեղենի ֆաբրիկա), now the Millennium Restaurant. The fresco was not preserved and was destroyed in the early 2000s during renovations. The fresco discovered in Artik’s former Youth Palace in 2018 during reconstruction works. Photo credits: SHANTNEWS Initially, the fresco was thought to be the work of Khachatur Vardparonyan, but this attribution was later rejected by his grandson. It was eventually established that the author of the rediscovered fresco was Misha Sargsyan. The work was identified by his wife, Azatuhi Tadevosyan, for whom the discovery came as a complete surprise. According to her, the fresco had been painted more than 45 years earlier and had long faded from her husband’s memory. When I visited the site in 2024, I was shocked to see that the mural was gone and the building had been turned into a store selling toilets, sinks, and other plumbing fixtures. “The painting was created in 1967–1968. At that time, we had just gotten married. I suggested that he leave his signature beneath the work, but back then artists were not allowed to sign their paintings,” Azatuhi Tadevosyan told the SHANTNEWS correspondent. The Culture Palace in Vayk also featured a notable fresco, which was destroyed a few years ago. When I visited the site in 2022, the fresco was already gone, but fortunately, a local worker had a photo of it and kindly shared it with me. I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . Project Gallery You May Also Like 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

Join me for a guided hike to the highest summit of the Geghama Mountains and conquer Mount Azhdahak. Trek through breathtaking landscapes, meet nomadic Yazidi shepherds, and explore the ancient Azhdahak petroglyphs—mysterious rock carvings that have survived for thousands of years. With a moderate difficulty level, this hike is ideal for adventurous travelers seeking high-altitude trekking. For a longer adventure, it can be combined with a multi-day Geghama Mountains trek, including camping under the stars near Mount Azhdahak. < Back Climbing mount Azhdahak Join me for a guided hike to the highest summit of the Geghama Mountains and conquer Mount Azhdahak. Trek through breathtaking landscapes, meet nomadic Yazidi shepherds, and explore the ancient Azhdahak petroglyphs—mysterious rock carvings that have survived for thousands of years. With a moderate difficulty level, this hike is ideal for adventurous travelers seeking high-altitude trekking. For a longer adventure, it can be combined with a multi-day Geghama Mountains trek, including camping under the stars near Mount Azhdahak. The Geography of mount Azhdahak Mount Azhdahak is the highest peak of the Geghama Mountains and one of the most popular hiking destinations in Armenia. The Geghama Mountains (also known as the Geghama Ridge) stretch between Lake Sevan and the Ararat Plain, forming a vast volcanic highland about 70 km long and up to 48 km wide. Rising to 3,597 meters, the extinct volcano Mount Azhdahak is best known for its stunning crater lake at 3,512 meters. On clear days, the summit reveals wide panoramic views over Lake Sevan, Lake Akna, and Lake Vishapalich, surrounded by ancient vishap (dragon) stones. In the distance, both Mount Aragats and biblical Mount Ararat rise above the horizon, while the rolling peaks of the Geghama Mountains form a dramatic and breathtaking backdrop. The hike to mount Azhdahak During this hike, we follow the classic route starting from the foothills of Mount Paytasar at an elevation of 3,000 meters. The distance from Yerevan (Republic Square) to Geghard Village is 37 km and takes about one hour by car. From there, a 14 km off-road section begins. This is one of the roughest roads in Armenia—rocky and extremely bumpy—but it adds real character to the adventure. To keep the ride comfortable, we drive with the windows closed, the air conditioning on, and light music playing. After a challenging off-road drive, I parked my Mitsubishi Pajero 4 at the foot of Mount Azhdahak, and we’re now ready to start the hike. When tourists are not in top physical shape, instead of starting the hike from the foothills of Mount Paytasar and walking 5.5 km one way, I drive directly to the base of Mount Azhdahak, which significantly shortens the route. In this case, only a 40–50-minute hike remains to reach the summit. This is the breathtaking view that rewards you at the summit of Mount Azhdahak. From here the trail descends toward the crater lake, where you can enjoy a refreshing swim. Afterward from the edge of the crater we will see the site where a meteorite is believed to have fallen millions of years ago, take a circular route around the crater, and then begin our descent. The flora and fauna of Mount Azhdahak The ascent to Mount Azhdahak unveils a diverse tapestry of flora and fauna. Along the trails, you’ll encounter vibrant endemic wildflowers and signs of wildlife that call this mountain home. The Geghama Mountain Range hosts about 250 bird species, accounting for 70% of Armenia’s avifauna. The rocky slopes are a crucial habitat for majestic birds of prey, including the golden eagle, Egyptian vulture, cinereous vulture, imperial eagle, griffon vulture, and bearded vulture. This is how my DJI Mavic 3 Mini Pro drone saw mount Azhdahak! Among the unique plants found in the area are Jurinea moschus, Arabis caucasica, catsfoot diclinous (Antennaria dioica), Gentiana pontica, and red everlasting (Helichrysum pallasii), each adding to the rich biodiversity of this spectacular landscape. This vibrant ecosystem provides an immersive experience in Armenia’s natural heritage, making the journey up Mount Azhdahak truly unforgettable. The traces of wild animals we encountered on our way to Mount Azhdahak were fascinating. When snow still covers the ground, it acts like a living map, revealing the paths of the creatures that have recently passed through the area. As mentioned above, Azhdahak is home to diverse flora. During my hikes, there's a tradition - each time we encounter flowers, we place our boots close to the flower and take a photo! In this photo below, you can see Dianthus pavonius, the peacock-eye pink . These species are mainly found in the southern Alps of France and Italy and in the Pyrenees. However, on your way to Azhdahak, you can also encounter them. Dianthus pavonius grows in grasslands and prefers sunny areas with moderately nutrient-rich, moist soil, at altitudes ranging from 1,100 to 3,000 meters (3,600 to 9,800 feet) above sea level. Dianthus pavonius, the peacock-eye pink The petroglyphs (rock carvings) of Geghama mountains A visit to Mount Azhdahak offers not only breathtaking landscapes but also a chance to explore Armenia’s rich heritage and natural wonders. Among the notable features are ancient petroglyphs and vishaps, which add a historical and cultural depth to the experience. Rock carvings are found in over 120 countries worldwide, including Armenia. In Armenia, these carvings are primarily located in five significant geographical areas, including the Geghama Mountains. With approximately 20,000 petroglyphs found in Armenia, these carvings date back to the 12th century BCE and earlier. Petroglyphs are images created by removing part of a rock surface (in Armenia these are usually done on basalt stones) through incising, picking, carving, or abrading. The term "petroglyph" derives from the Greek words “petra” (meaning “stone”) and “glypho” (meaning “to carve”). The Armenian petroglyphs depict a range of scenes and symbols, including: Hunting scenes : Depicting people hunting animals, essential for survival. Animals : Various species such as goats, deer, and bulls. Geometric shapes: Abstract designs like spirals and circles. Human activities: Daily life scenes, including fighting and rituals. Astronomical symbols: Zodiac signs and other celestial imagery. These carvings provide unique insights into the lives, beliefs, and artistic traditions of the ancient people who once inhabited this region. On our return, we will stop to see these remarkable petroglyphs. On the upper part of the stone, a hunter stands next to an elk, armed with a bow and arrow. The lower carvings depict a goat (the most commonly represented figure in Armenian petroglyphs), and a dog. https://video.wixstatic.com/video/103e0a_628ca5f100e248018ad939b4c9bda622/1080p/mp4/file.mp4 My drone hovers over Mount Azhdahak I’m sure this video has made you fall in love with Mount Azhdahak! Don’t hesitate to contact me for a guided tour to the summit of the Geghama Mountains. Azhdahak is waiting for you! Tour Details: Start: 7:30-8.00 AM from Yerevan Finish: Around 5 PM in Yerevan Hiking Distance: 5.5km (One way) Duration: Around 2.5 hours (Ascent)! Altitude Gain: 600 meters Start point: Foot of mount Paytasar (3000m) End point: Foot of mount Paytasar (3000m) Difficulty: Moderate Trail Type: Out-and-Back Transportation: Off-road Car (Mitsubishi Pajero 4) --------------- Tour Price to the Summit of Mount Azhdahak Total price for 1-4 participants (the whole group) : 110.000 AMD For larger groups, please consider contacting for more details! ----------------- Important! If you’re not physically fit, I can drive you up to the foot of Mount Azhdahak, from where it’s about a 40-minute hike to the summit. ----------------- The price includes: Pick up & drop off (In Yerevan) Transportation in air conditioned vehicle Service of a guide --------- The Price Does Not Include: Airport transfers Insurance Lunch (Lunchboxes can be added in case of an extra payment) -------------- List of things you should consider taking: 1. Backpack: A sturdy backpack to carry all your essentials. 2. Water: Sufficient water to stay hydrated throughout the hike. At least 1.5 liters… 3. Food: Pack lightweight, high-energy snacks or meals to keep your energy levels up. 4. Clothing: Dress in layers, including a waterproof/windproof outer layer, and choose moisture-wicking materials. Having extra socks and boots always welcomed… 5. Hiking Shoes/Boots : Wear comfortable and supportive footwear suitable for the terrain. 6. First Aid Kit: I have mine but in case you are using specific medicaments take with you! 7. Sun Protection: Sunscreen, sunglasses, and a hat to protect yourself from harmful UV rays. 9. Headlamp/Flashlight: Essential for hiking in low light conditions or during overnight trips. 10. Whistle: A loud whistle for attracting attention in case of emergencies. 11. Trekking Poles: Optional but helpful for stability, especially on challenging terrains. 12. Rain Gear: A lightweight, waterproof jacket or poncho to stay dry during rain showers. 13. Trash Bag: Carry a small bag to pack out your trash and keep the trail clean. Remember, this list may vary depending on the length and difficulty of the hike, weather conditions, and personal needs. But this were the basic things I decided to emphasize! 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This article attempts to shed light on the remarkable world of the Armenian Gampr, also known as the Armenian Wolfhound. Let’s delve into their impressive characteristics, from their strength and agility to their protective nature. Uncover details about their size, bite force, lifespan, temperament, and the factors influencing their cost. Let’s discover the unique and striking appearance of this rare and loyal breed. < Back Armenian Gampr - The Best Shepherd Dog This article attempts to shed light on the remarkable world of the Armenian Gampr, also known as the Armenian Wolfhound. Let’s delve into their impressive characteristics, from their strength and agility to their protective nature. Uncover details about their size, bite force, lifespan, temperament, and the factors influencing their cost. Let’s discover the unique and striking appearance of this rare and loyal breed. Armenian Gampr: An Overview The Armenian Gampr, also known as the Armenian Wolfhound, is a breed of flock guardian dog native to the Armenian Highlands. This breed is known for its strength, agility, and endurance. Despite their relative rarity outside their homeland, there is much to admire about these affectionate and fearless dogs. They are large, strong, and headstrong with a commanding presence. There is even a statue in Yerevan's Circular Park erected in honor of Armenian Gampr (Sculptor Levon Tokmajyan, 2018) Armenian Gampr Weight and Size Armenian Gamprs are large dogs. Males typically weigh an average of 55 kg (120 lb), while females average around 50 kg (110 lb)1. However, some sources suggest that the weight can range from 60-100 lbs (27-45 kg) 3 or even up to 135 pounds. In terms of size, males typically stand between 25 to 28 inches (64 to 72 cm) at the shoulder, while females are slightly smaller, ranging from 24 to 26 inches (61 to 66 cm) in height. https://video.wixstatic.com/video/103e0a_4c9a02324ff54121a7b39bcc3417a36e/1080p/mp4/file.mp4 Like all dogs, Gamprs can exhibit unusually aggressive behavior during breeding periods. I encountered some of them on my solo hiking trip to Tirinkatar Sacred Valley, but fortunately, I kept my cold-heartedness and managed to distance myself from their aggressive attacks! Armenian Gampr Bite Force The bite force of an Armenian Gampr is considered ordinary when compared to other dog breeds, but it is still quite powerful. The bite force measurements typically fall within the range of 200 to 400 PSI. However, some sources suggest that the bite force could be as high as 650 PSI. (PSI stands for pounds per square inch. In the context of the bite force of animals, including dogs, it represents the amount of force exerted over one square inch. So, when referring to the bite force of an Armenian Gampr, it means the pressure applied by the dog's bite over a specific area.) Armenian Gampr Lifespan The average lifespan of an Armenian Gampr is typically around 10 to 14 years. However, some sources suggest that they can live between 12 and 15 years. Armenian Gampr Temperament Despite their size and strength, Armenian Gamprs are not inherently aggressive. They are known for their aloof, intelligent, gentle, and protective nature4. They can be fiercely protective of their charges and have unwavering loyalty to their owners2. They are not the kind of dog that will enjoy playing games but the Gampr will stop at nothing to defend its family. Armenian Gampr Cost The cost of an Armenian Gampr can vary depending on various factors such as the breeder, the pedigree of the puppy, and its overall health. On average, an Armenian Gampr has an initial cost of about $1000 to $1500. However, some sources suggest that the price can range between $1600 and $1900. Armenian Gampr Colors The coat of an Armenian Gampr may be of any color. Common coat colors include white, black, brown, gray, or brindle. https://video.wixstatic.com/video/103e0a_cc5b952fbd0a43a28d36033e384136d2/1080p/mp4/file.mp4 These gamprs whom I met on the shore of Lake Nazeli (Geghama mountains) were very friendly and a little bit shy... kept a distance from me! In conclusion, the Armenian Gampr is a remarkable breed known for its strength, loyalty, and endurance. As a devoted companion and guardian, these dogs form close bonds with their families and are fiercely protective of their charges. Despite their size and strength, they are not inherently aggressive and are known for their gentle and protective nature. They are large, strong, and headstrong with a commanding presence. Their cost can vary, but they are generally quite expensive due to their rarity. Their coat can be of any color, adding to their unique and striking appearance. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

While exploring abandoned buildings in Armenia, we discovered a looted institute with two striking bas-reliefs and remnants of research on livestock and animal nutrition. This site once played a vital role in advancing Armenia's livestock industry, focusing on animal quality and forage production. < Back Exploring the Abandoned Armenian Scientific Institute of Livestock Breeding and Forage Production While exploring abandoned buildings in Armenia, we discovered a looted institute with two striking bas-reliefs and remnants of research on livestock and animal nutrition. This site once played a vital role in advancing Armenia's livestock industry, focusing on animal quality and forage production. While exploring abandoned buildings in Armenia with G. Mattu, we spotted a large bas-relief in the distance. I had previously seen this bas-relief online but had no idea of its location. Access to the building was straightforward, so we decided to enter. Inside, we encountered an impressive bas-relief featuring thematic images that aligned with the institution's activities. The facade of the building was decorating a nice bas-relief The site had been looted; the library was devoid of books, and most rooms were nearly empty of furniture. However, some bulletin boards remained, showcasing photographs and informational texts related to pigs, poultry farming, animal nutrition, forage, and sheep breeding. These remnants provided insight into the research fields once pursued at the institute. An old educational display related to a specific breed of sheep I believe the institute likely played a crucial role in enhancing Armenia's livestock industry, focusing on both the quality of the animals and the availability of their feed. I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . Project Gallery You May Also Like The Forgotten 50 cm Cassegrain Telescope of Byurakan Observatory Destroyed Soviet Mosaics and Frescoes in Armenia Inside the Eerie Corridors of an Abandoned Russian Fortress Soviet Bus Stops in Armenia Urbex Tours in Armenia – Photo Gallery The 53 cm Schmidt Telescope at Byurakan Astrophysical Observatory Exploring an Abandoned Rest House with Impressive Bas-Reliefs A Spaceship on Earth: The Soviet-Armenian Echo of the Futuro House Previous Next

The Yerevan Cascade is a monumental architectural landmark in the heart of Armenia’s vibrant capital. This massive stairway is one of the city’s top tourist attractions and a must-see for visitors to Armenia. Offering panoramic views from its summit, the Cascade combines striking architecture with outdoor sculpture gardens, capturing the unique spirit of Yerevan. < Back Yerevan Cascade - A Stairway to Art and History The Yerevan Cascade is a monumental architectural landmark in the heart of Armenia’s vibrant capital. This massive stairway is one of the city’s top tourist attractions and a must-see for visitors to Armenia. Offering panoramic views from its summit, the Cascade combines striking architecture with outdoor sculpture gardens, capturing the unique spirit of Yerevan. Architect Alexander Tamanyan conceived the idea for the Cascade complex, aiming to connect the northern and central parts of the city—the historical residential and cultural centers—by creating an expansive green space adorned with waterfalls and gardens that would "enthrone" from one of the highest hills in the city. Although the project was initially forgotten, it was revived in the late 1970s by Yerevan's chief architect, Jim Torosyan. The Alexander Tamanyan Monument stands in front of the Cascade Complex in Yerevan. Unveiled in 1974, it honors the city’s chief architect. Made of basalt and granite, it was designed by Seda Petrosyan and sculpted by Artashes Hovsepyan. Construction of Torosyan's Cascade complex began in the 1980s during the Soviet era but faced interruptions due to the earthquake in Armenia in 1988 and the subsequent collapse of the Soviet Union in 1991. As Armenia transitioned to independence and democracy, the country also grappled with severe economic challenges, leading the Cascade complex to remain a neglected relic of the Soviet era for over a decade. Kiwi by Peter Wojtuk In 2002, philanthropist Gerard L. Cafesjian, in collaboration with Yerevan Municipality and the Government of the Republic of Armenia, initiated the restoration of the Cascade Complex. Over the following seven years, extensive renovations transformed much of the memorial into an arts center, now bearing the legacy of its founder, Gerard L. Cafesjian. The entrance to the Cafesjian Center for the Arts The structure is constructed from white travertine stone, chosen for its ample availability suitable for such a large-scale construction. The Cascade comprises five hillside terraces connected by 572 steps. The building stands 302 meters high (excluding the 40th Anniversary of Soviet Armenia monument), spans 50 meters in width, and encompasses a total area of 13 hectares with a 15-degree slope. Interactive Learning Center (Library) and Museum Store in Cafesjian Art Center Established in 2009, the museum has gained significant popularity in Yerevan. The entire architectural heritage site serves as an open-air museum of modern art, nestled within lush green surroundings. Within the Cascade complex, the Cafesjian Center for the Arts is situated, hosting exhibition halls for both permanent and temporary displays. These exhibitions showcase outstanding examples of contemporary art and sculpture. The museum is divided into two distinct sections: the external "Cafesjian Sculpture Garden" and the internal "Cafesjian Art Galleries." In the "Khanjian" Gallery, there is a monumental mural by the renowned Armenian artist Grigor Khanjyan (1926-2000). The three main scenes of this monument, commissioned during the Soviet period and left unfinished after Khanjyan's death, depict the key pages of Armenian history: "Armenian Alphabet" (1992-1994), "Vardanank" (1995-1998), and "Resurrected Armenia" (1998-2000). The majority of the museum's collection is derived from the private collection of the founder, Gerard L. Cafesjian. With over 5,000 works, the center exhibits one of the most comprehensive glass collections globally, highlighting the groundbreaking works of the Czech couple Stanislav Libenský and Jaroslava Brychtová, who revolutionized the use of glass as an artistic medium. Other noteworthy glass artists in the collection include Dale Chihuly, Bohumil Elias, Pavel Hlava, Jaromír Rybák, Ivana Šrámková, Bertil Vallien, Lino Tagliapietra, Mark Peiser, and Hiroshi Yamano. The collection also boasts significant holdings in drawing, painting, and sculpture by numerous influential artists, including Fernando Botero, Arshile Gorky, Jennifer Bartlett, Lynn Chadwick, Barry Flanagan, Jaume Plensa, and François-Xavier Lalanne. The Cafesjian Sculpture Garden, located in the front gardens of the cascade, features numerous exhibited sculptures. Additionally, sculptures adorn the garden terrace along the expansive steps and fountains ascending from the Tamanyan street gardens. With unobstructed walkways, expansive vistas, and formal garden areas, this space is purposefully designed to provide a modern setting for large-scale sculptures by internationally recognized artists. The theme of the national epic poem has always been of special interest to sculptor Artashes Hovsepyan. The artist together with four masters worked for four years in the salon that today bears the name "Sasuntsi David". The "Cafesjian Art Galleries" encompass Gallery One, Khanjyan Gallery, Eagle Gallery, Sasuntsi Davit Garden Gallery, Star Landing, and the Special Events Auditorium situated beneath the exterior staircase and fountains. These galleries house an extensive collection of glass artwork showcased in various permanent displays and temporary exhibitions. The Khanjyan Gallery houses the large-scale mural triptych The Armenian Alphabet (1992–1994), Vardanank (1995–1998), and Resurrected Armenia (1998–2000), created by the renowned Soviet and Armenian painter Grigor Khanjyan. Sasuntsi Davit Gallery includes bas-relief by Artashes Hovsepyan depicting scenes from the Armenian epic poem Sasuntsi David. In conclusion, the Yerevan Cascade is more than just a staircase. It’s a symbol of Yerevan’s rich history, a hub for art lovers, and a must-visit destination for anyone exploring the city. The Garden of Cafesjian Sculptures is always open. Escalator Hall: Every day, from 08:00 to 20:00. Exhibition Halls, Museum Shop, and Visitor Center: Fridays, Saturdays, Sundays, from 10:00 to 20:00. The center is closed on public holidays. A visit to Yerevan Cascade Complex is free. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

This cultural house in Armenia serves as a portal to the Soviet past, unveiling a rich architectural and cultural heritage. Remaining unrenovated, it has retained its original appearance, becoming a unique relic from the past that attracts urban explorers worldwide. < Back A Soviet Culture House in High Modernist Style This cultural house in Armenia serves as a portal to the Soviet past, unveiling a rich architectural and cultural heritage. Remaining unrenovated, it has retained its original appearance, becoming a unique relic from the past that attracts urban explorers worldwide. The Palace of Culture of Metsamor, founded between 1975 and 1986, later took on the name of Vazgen Sargsyan. Architects Martin Mikayelyan and Fred Africyan designed it in the high modernist style, characterized by aesthetic monotony, including large undecorated buildings with minimalist interiors, reaching its peak during the Cold War decades of 1950-1990. The facade of the culture house Since its opening in 1986, the Palace of Culture has never closed its doors to the audience and students. Unlike other buildings damaged or destroyed in the 90s, preservation efforts by the Metsamor House of Culture staff have kept everything intact, hosting theater performances and cultural events. The ceiling had a unique style and I liked it a lot. The House of Culture encompasses three groups: fine arts, needlework, and dance. Additionally, the Metsamor public library, housing over 32,000 pieces of literature, is located here. Presently, around 100 students engage in studies at the 694-seat Palace of Culture, participating in groups focused on ethnography, folk dances, and fine arts. 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

Perched on the shores of Lake Sevan, on the Sevan Peninsula, the Sevan Writers’ Rest House is a striking example of Soviet modernist architecture. Built during a wave of cultural and architectural innovation in the USSR, it still draws curious travelers from around the world. While exploring the Sevan Peninsula, stop by for a coffee, admire the bold design of the iconic Lounge Building, and take in the sweeping views over the lake. < Back Sevan Writers’ Rest House - Soviet Modernist Architecture in Armenia Perched on the shores of Lake Sevan, on the Sevan Peninsula, the Sevan Writers’ Rest House is a striking example of Soviet modernist architecture. Built during a wave of cultural and architectural innovation in the USSR, it still draws curious travelers from around the world. While exploring the Sevan Peninsula, stop by for a coffee, admire the bold design of the iconic Lounge Building, and take in the sweeping views over the lake. Sevan Writers' Rest House consists of two separate structures, Residence Hall and Lounge Building, both erected at different times during the Soviet reign. The first drawings of the Residence Hall are dated 1932, while archival photographs and materials suggest that the construction was completed in 1935. The Residence Hall was designed by Gevorg Kochar (1901-1973) and Mikayel Mazmanyan (1899-1971). The examination of archival materials, however, revealed that Mikayel Mazmanyan’s name is not mentioned on the project’s architectural drawings, which leads to the assumption that he only participated in the preliminary stage of design. At the same time, his name is mentioned in many publications, including some printed during their lifetime, as co-author of the building. Sevan Writers' House in 1970. Photo: Nemrut Baghdasarian The building was initially designed as a four-story building. One of these was a basement (now the first floor), the other was a common area. The other two floors were designed for guest rooms with four rooms on each floor, each room occupying an area of 4.3m x 2.9m (9.5”x14”). Sketch of the building, 1963 Architect: Gevorg Kochar Source: Archives of the National Museum-Institute of Architecture named after Alexander Tamanyan, Yerevan Sadly, The Great Purge or the Great Terror (1937), didn't bypass both architects and in 1937, Kochar and Mazmanian were arrested right at their workplace. They were accused of espionage, treason, and involvement in a Trotskyist-Bukharinist group. The Military Collegium sentenced both to 15 years in labor camps and an additional 5 years of civil disenfranchisement. They spent a year in the Vologda penal zone, where the harsh conditions left little chance of survival. Gevorg Kochar and Mikayel Mazmanyan Their fate changed thanks to a friend— architect Karo Halabyan—who, through Mikoyan, secured their transfer to Norilsk. There, the architects contributed to the construction of major industrial facilities, the master plans for Norilsk and Dudinka, and designed landmark buildings in the city center, including the ensemble of Guards Square. Yet all the credit went to the free-hired management. In 1954, Mazmanian was rehabilitated. It wasn’t until 1960—six years later—that Kochar was also able to return to Yerevan, where he assumed the position of Chief Architect at the Yerevanproject Institute. After their return, they were reintegrated into the architectural life of the post-Stalinist period. In 1963, Kochar was commissioned to develop a reconstruction and an extension project for the Sevan Resort. In the reconstruction project, Kochar added an additional floor to the Residence Hall, forming a new wide terrace, which was the logical continuation of the original project's concept. The Lounge Building today... During the resort's reconstruction, Kochar also designed and built the new Lounge Building. Stylistically, the new building contrasted with the Residence Hall, but both of them formed a harmonious ensemble in combination with the natural landscape and incorporated the view of the medieval architecture of Sevan Monastery churches on the top of the peninsula. After the reconstruction, the Lounge and the Residence Hall of Sevan Writers House became one of the most iconic buildings of post-Stalin modernist Soviet Architecture. The view from the Dining Hall The Lounge with it’s protruding rounded design is definitely the trademark of the complex and stands harmoniously among the rocky terrain and offers an unforgettable panoramic view from inside! Moreover, the entire wing is balanced on one concrete leg, giving the structure a futuristic aesthetic. At the opposite end of its axis, the building is attached to the rock on a higher level of the hill. The overall space of the Lounge building is divided into two major parts. One part is the dining hall, which has a circular plan and is located towards the front of the building. Half of the dining hall circle is designed as a panoramic floor-to-ceiling window looking over a spectacular view of Lake Sevan. The dining hall also has an exit to a semi-circular open-sided loggia behind the panoramic window. The second part, in the rear half of the building is used for the foyer of the dining hall. The Residence Hall Unfortunately, the complex has not been renovated for a long time, but tuning in and enjoying a cup of beer or coffee can always have a relaxing effect! The view from the Lounge is breathtaking! Cheers! 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