Modernist architecture in the Soviet Union

Modernist architecture emerged in the early 20th century as a bold departure from tradition, emphasizing function, simplicity, and the expressive potential of new materials like concrete, glass, and steel. In the Soviet Union, this movement took on a unique character, evolving significantly after the ornate excesses of Stalinist neoclassicism in the 1930s and 1940s. By the mid-1950s, under Nikita Khrushchev’s push for mass housing and utilitarian design, Soviet architects embraced modernism to meet the needs of a rapidly industrializing society. This shift birthed a distinct architectural language—often called Soviet modernism—marked by geometric forms, experimental structures, and a blend of local cultural influences with the ideological drive for progress. Across the vast expanse of the USSR, from the Baltic states to Central Asia, modernist buildings became symbols of a forward-looking socialist utopia, though their legacy today is a mix of admiration, neglect, and rediscovery.

Armenia

Earlier, I wrote about Soviet modernist buildings in Armenia—you can check out the link for more details. In this article, I will highlight three of my favorite examples, one of which has unfortunately been demolished.

Zvartnots Airport

Zvartnots Airport, Terminal 1 in Soviet times

Zvartnots Airport, particularly Terminal 1—now known as the Old Terminal—stands as one of the most prestigious architectural achievements of the Soviet era. Its futuristic design, reminiscent of a monolithic space city from science fiction, remains a testament to the bold vision of its creators.

In 1970, an open competition for architectural proposals was held, awarding first prize to a team of architects, including Artur Tarkhanyan, Spartak Khachikyan, Zhorzh Shkhiyan, Sergey Baghdasaryan, and Levon Cherkezyan. The project was later refined with contributions from A. Tigranyan and A. Meschyan.

Constructed in an impressively short timeframe, the airport was officially inaugurated on February 10, 1982, with great ceremony. Recognized for its innovative architectural design, the team behind Zvartnots was honored with the Armenian SSR State Prize in 1985.

The establishment of the airport marked a major milestone for Armenia, transforming it into a key transportation hub. Its runways, meeting international standards, placed Zvartnots among the most advanced airports in the Soviet Union—comparable only to those in Moscow and Kyiv.

The terminal’s design was groundbreaking: a circular structure with a truncated cone shape, spanning a 200-meter diameter. At its center, a mushroom-shaped tower housed a panoramic restaurant. Surrounding the main terminal were seven mini-terminals, each capable of handling 300 passengers per hour, along with 14 aircraft stands designed for TU-154 aircraft, or 7 stands for larger Airbus IL-82 planes.

In 2004, construction began on a new terminal, a $100 million project covering 19,200 m², designed to accommodate 2 million passengers annually. Under a new airport administration contract, the arrivals hall opened on September 14, 2006, followed by the international departures hall on June 1, 2007. With the completion of the new terminal, Terminal 1 ceased operations in 2011.

Youth Palace: A Lost Architectural Icon of Yerevan

The Youth Palace in Yerevan. Photo: Vladimir Vyatkin

The Youth Palace, colloquially known as "Kukuruznik" due to its resemblance to an ear of corn, was a landmark hotel and cultural complex in Yerevan.

As part of the 50th anniversary celebrations of the USSR's founding, Soviet authorities initiated the construction of Youth Palaces in the capitals of all Soviet republics. In Yerevan, the site was strategically chosen on Kanaker Heights, at the northern end of Abovyan Street, where Alexander Tamanyan’s master plan for the city concluded. The project was financed by Moscow with the aim of creating a space where young people from across the Soviet republics could gather, engage in cultural exchange, organize symposia and festivals, participate in sports, and reside in the palace’s on-site hotel.

In the mid-1970s, the head of the Armenian Komsomol, Stepan Poghosyan, commissioned renowned architects Hrachya Poghosyan, Artur Tarkhanyan, and Spartak Khachikyan to design the structure.

A notable feature of the Youth Palace was its 1,000-seat stage hall, which was completed later. The top floor housed a café with a rotating floor, offering visitors a 360-degree panoramic view of Yerevan. This made it the second rotating structure in the Soviet Union, following the Ostankino TV Tower in Moscow.

The Youth Palace officially opened in 1979, operating as a state enterprise under the Intourist system. Adjacent to Abovyan Park, it became a key venue for cultural and social events.

However, in 2005, under demolition permit No. 40 issued by the Yerevan Municipality, the structure was deemed unsafe based on assessments from Hayseismshin and KPAH, signed by Yerevan’s Chief Architect, Samvel Danielyan. Over the next two years, the building was completely demolished.

Today, the former Youth Palace site has been transformed into a large active quarry, marking the loss of one of Yerevan’s most distinctive Soviet-era architectural landmarks.

Sevan Writer's Rest House

Perched on the Sevan Peninsula along the shores of Lake Sevan, the Sevan Writers' Rest House stands as a striking example of Soviet-era modernist architecture, continuing to attract visitors from around the world. Constructed primarily from concrete, the complex consists of two distinct structures: the Residence Hall and the Lounge Building, built at different stages of the Soviet period.

Designed by architects Gevorg Kochar and Mikayel Mazmanyan, the Residence Hall was initially conceived in 1932 and completed in 1935. In 1963, Kochar was commissioned to renovate and expand the resort, adding an additional floor and a spacious terrace to the Residence Hall, refining its original aesthetic.

As part of the expansion, Kochar also designed the new Lounge Building. While architecturally distinct from the Residence Hall, the two structures blend seamlessly with the surrounding landscape and the historic Sevan Monastery nearby. Together, they form an enduring testament to post-Stalinist Soviet modernism, embodying both innovation and harmony with their environment.

Belarus

15-й корпус Белорусского национального технического университета (БНТУ

15-й корпус Белорусского национального технического университета (БНТУ), расположенный в Минске, является ярким примером архитектуры советского модернизма. Здание получило прозвище "Корабль" из-за своей необычной формы, напоминающей конструкцию океанского лайнера.

Строительство 15-го корпуса началось в 1970-х годах по проекту Минского архитектурно-строительного института (МАСИ), авторы проекта — Игорь Есьман и Виктор Аникин. Идея создания МАСИ не была полностью реализована, однако проект отличался целостностью композиции и масштабом, соответствующим столичной архитектуре.

В 1983 году открылся 15-й учебный корпус, предназначенный для архитектурного и инженерно-строительного факультетов Белорусского политехнического института (ныне БНТУ). Вместе с корпусом были построены учебно-лабораторный корпус, общежития, столовая и спортивно-бытовой корпус.

Реконструкция 15-го корпуса началась в июне 2007 года. До сентября 2008 года проводилось благоустройство территории: укладка плитки, облагораживание фасадов. Однако из-за нехватки финансирования реконструкция была приостановлена.

Сегодня 15-й корпус БНТУ продолжает служить учебным и научным центром, отражая особенности советской архитектуры и истории развития высшего образования в Беларуси.

Belexpo - The Pavilion of International Exhibitions

The Pavilion of International Exhibitions, also known as "Belexpo," is a notable architectural structure in Minsk, Belarus. It was constructed in the 1980s, with its design credited to architects Leonard Moskalevich, Galina Laskavaya, and Viktor Kopylov. This building exemplifies Soviet-era architecture, characterized by its bold, monumental style and functional design, intended to host large-scale exhibitions and events. Located in the heart of Minsk, it remains a significant venue for trade shows and cultural gatherings, reflecting the city's history and its role as a hub of activity during the late Soviet period.