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Chultem distinguished three styles in traditional Mongolian architecture: Mongolian, Tibetan and Chinese, as well as combinations of the three. Among the first quadratic temples was Batu-Tsagaan (1654) designed by Zanabazar . An example of the yurt-style architecture is the Dashchoilin khiid monastery in Ulan Bator . The Lavrin temple (XVIII century) in the Erdene Zuu lamasery was built in the Tibetan tradition. An example of a temple built in the Chinese tradition is the Choijin Lama Süm temple (1904), which is a museum today. The quadratic Dzogchen temple in Gandan monastery in Ulaanbaatar is a combination of the Mongolian and Chinese tradition. The Maitreya temple (disassembled in 1938) was an example of the Tibeto-Mongolian architecture. Dashchoilin khiid has commenced a project to restore this temple and the 80-feet sculpture of Maitreya. Also influence of the Indian architecture is significant, especially in the designes of Buddhist Stupas . Socialist-era Mongolian architects on some occasions continued to use traditional elements, like round shapes (e.g. restaurants Tuyaa (nowadays "Seoul") and Khorshoolol (nowadays "KhanBräu")) or meandering ornaments (on many of the residential towerblocks). PRE-IMPERIAL PERIOD YURTS See Also: Yurt The Yurt is the traditional dwelling of the Mongolian nomads. It has a circular shape, is supported by a collapsible wooden frame, and covered by wool felt. A common arrangement of a yurt camp in the medieval Mongolia was ''huree'' (kuren) (meaning "circle"), in which the yurt of the khan or chieftain was located in the centre and the yurts of the other members of the tribe were placed around it. This arrangement had a defensive function in the conditions of frequent skirmishes. Huree was replaced by ''ail'' (meaning "neighbourhood") arrangement in the 13th and 14th centuries during the unified Mongol Khanate when internal wars had stopped. Huree arrangement came back after the disintegration of the Mongol Khanate in the 15th century. It became the basis for the arrangement of the monasteries that were initially founded as mobile monasteries (the other type of monasteries being "khiid" following the Tibetan arrangement) in the 16th and 17th centuries when Buddhism was firmly re-introduced. As huree-monasteries and huree-camps of nobles settled and grew up into towns and cities, the names of such settlements retained the word Huree as a necessary component (e.g. Niislel Huree, Zasagtu Khaan-u Huree). Originally, the roof had a steeper slope and the a rim around the the center opening, to allow the smoke of the open fire to exit more easily. The introduction of enclosed stoves with chimneys (zuuh) in the 18th and 19th centuries, made it possible to simplify the design and use a lower silhouette. Another relatively recent development is the use of an additional layer of canvas for rain protection. A white cotton cover, originally only used on the yurts of nobles, has become commonplace. The internal organisation and furnishing mirrors the traditional roles of the family members as well as spiritual concepts, giving special significance to each of the cardinal directions, with the door always facing south. Herders use the position of the sun in the crown of the yurt as a sundial. The northeastern quarter of the yurt is reserved to the woman. The man was traditionally prohibited entering this quarter and touching the woman when she is in this quarter in case of a family conflict, while she was allowed to throw hard objects such as scissors at the husband from this position. Yurts have been used in Central Asia for thousands of years. In Mongolia, they have also influenced other architectural forms, particularly temples. In the 21st century, between 30 and 40% of the population are still living in yurts, many of them in the suburbs of cities. The Mongolian word "ger" () has additional connotations of "home". The stylistically elevated register for ''гэр'' is ''örgöö''. TENTS Tents also played a role in the formation and development of the unique Mongolian architecture. Although they are temporary shelters, they perhaps they were used more frequently in the conditions of pastoralism. Tents were also used during Naadam festivals, feasts and other sorts of gatherings. ''Jodgor'' is a small tent to accommodate one or two persons. ''Maihan'' is a large tent for a group of people. ''Tsatsar'' is a fabric shade on vertical supports without vertical walls. ''Tsachir'' is a large rectangular tent with vertical fabric walls. ''Asar'' is a generic name for ''tsatsar'' and ''tsachir''. The designs of many temples were based on ''tsachir''. IMPERIAL PERIOD POST-IMPERIAL PERIOD RENAISSANCE ZANABAZAR AND HIS SCHOOL "RUSSO-ASIATIC" STYLE The architecture of Mongolia underwent certain influence of the traditional Russian style of architecture in the beginning of the 20th century in connection with the activation of the relations with the Czarist Russia. Bogdo Khan had his winter palace built as a Russian "horomy". A legend holds that the Manchurian Khan was suspicious of the interest of Bogdo Gegeen VIII in the European culture. To calm down his suspicion, Bogdo Gegeen had a ganjir added to the top of the building. Another example of the combination of the Asian and Russian styles of architecture is the residence of Khanddorji Wang, a leader of the independence movement of 1911. The body of the building is designed as a Russian house while the top was designed in the 'baroque' Asian style. POST-REVOLUTIONARY ARCHITECTURE . Military Club. Today the building is occupied by the University of Cinema Art. August 2007]] Despite the obvious progress, the Revolution also brought destruction of the traditional culture with demolition of over 800 monasteries and purge of thousands of lamas--carriers of the traditional intellectual culture including masters of traditional architecture. The development of the national culture of the Mongolians had to re-start from zero. POST-WAR PERIOD (CLASSICISM AND "MASS-PRODUCTION") and Mongolian tradition. Drama Theatre. Architect B. Chimed.]] . Ministry of Foreign Affairs. August 2007]] The ensemble of Ulaanbaatar's downtown was designed by Soviet architects, developing the traditions of Classicism under the conditions of Socialism ( Stalinist Architecture ). The buildings of the Ministry of Foreign Affairs, the State University, the House of the Government, the Opera House, the State Library and many other public buildings that were constructed during this period demonstrate the magnificience and elegance of European Classicism. From the 1960's the design of architecture was dictated by requirements of economy and mass-production under the influence of the N. Khruschev and L. Brezhnev eras in the USSR . At the same time the early 1960's were characterised by increased Soviet and Chinese investment due to their competition for greater influence in Mongolia. Such a competition resulted in an accelerated development of the country. Thus both the older districts south of the river Dundgol and the Peace bridge were built by Chinese workers. The architecture of the 1960's and 1970's presents the monotony of 4-, 5-, and 9-storey apartment blocks with simple rectangular shapes dictated by the need of cheap and speedy construction. The looks of cities became increasingly boring and dull. The hostility between the USSR and PRC forced Mongolia to side with only one of the two and Mongolia allied with the USSR. This external political situation led to an immensely increased influx of Soviet investment. Apartment districts were intensively built in all directions around Ulaanbaatar, including the area to the south of the Dundgol river, often by Soviet soldiers. Completely new cities were founded in Darkhan , Erdenet and Baganuur during this period. The tallest building of Mongolia is located in Darkhan. There was a rumour that the embarrassment of L. Brezhnev at seeing the Soviet Embassy building as the tallest building in Mongolia's capital during his visit in 1974 urged him to donate the modern housing massif in what is now Bayangol District . This massif consists of extensive 9-storey apartment blocks decorated with five book-like 12-storey buildings located along the Ayush street giving it a resemblance of the famous Kalinin Avenue in the centre of Moscow . This street is today the busiest shopping mall in the capital of Mongolia. Although presenting little artistic interest, the Socialist apartment districts were comfortable spacious environments for family life with safe playgrounds for children. The entire cities were designed for pedestrians. In Darkhan and Erdenet, the industries are separated from the living parts by a mountain. A pride of this epoch was the Wedding Palace in Ulaanbaatar. Designed in the Mongolian style, it was in a beautiful harmony with the Choijim Lama Monastery at its northwest. The entire area of the Wedding Palace and the Monastery were a unique architectural symphony which was unfortunately disturbed by a cacophony of business buildings that chaotically emerged in the early 21st century. . The beginning of the 1980's brought new public buildings such as Museum of Lenin and the Yalalt cinema (nowadays Tengis) which added national features to the Socialist designs. The Ethnographical Museum located in the centre of Ulaanbaatar's amusement park was designed as an imaginary Mongolian castle surrounded by walls on an island in the middle of an artificial lake. The winter house of the international children's Nairamdal camp was designed as large ocean ship travelling in the sea of mountains. One of the largest monuments of the Socialist period is the National Palace of Culture. Though demonstrating some shapes of the Mongolian architecture, the basic design of the palace is found in the capitals of many former Socialist countries. With a vision of complete replacement of yurts with apartment blocks in future, the yurt districts were seeing as a temporary and transient form of housing. Therefore, during Socialism the state made no or little effort (except for bathhouses) to develop the yurt districts, which became peculiar shanty-towns of Mongolia. MODERN PERIOD Perestroika and transition to the democratic values induced two tendencies: first is the interest to the traditional culture and history and second is the interest to free liberated thinking in the arts and architecture. Virtually the entire population of Mongolia made donations to the repairs of the Chenrezig temple in the Gandan Tegchinling monastery and to the re-casting of the giant statue of Boddhisattva Avalokiteshvara. A group of artists and architects led by actor Bold, an enthusiast of traditional architecture, developed an ambitious project to change Ulaanbaatar into a profoundly Asian city. They began constructing gates and shades in the traditional style in the Street of Revolutionaries and other streets as well as in the amusement park. The implementation of their project stopped at the beginning of the severe economic crisis. Nevertheless, the Buddhist church of Mongolia continued restoration of the monasteries and establishing new ones. Modern architectecture eventually took its pace as the economy began recovering from the crisis. The completion of the construction of the tall glass building of Ardiin Bank (nowadays hosting Ulaanbaatar Bank) as well as of the giant glass building complex of Chinggis Khan hotel in the second half of 1990's marked the beginning of the new age in the Mongolian architecture. Among the constructions of this period the Bodhi Tower of 2004 represents an interesting solution. It consists of 2 parts. The part facing the Sukhbaatar square is a 4-strorey building implemented in the style of Classicism and it perfectly harmonises with the architectural ensemble of the 1950s. A tall tower facing the Sukhbaatar square would be out of space. Instead the modern style tower, the other part of the building, faces the backstreet (a similar principle is also observed with the National Palace of Culture of the previous period). Another work of this period is the Narantuul tower, recognised as one of the most elegant designs in Ulaanbaatar. The majestic hotel complex Mongol Castle in Gachuurt region of Ulaanbaatar reveals an interest of the authors in the historical past. WIth a Silver Tree fountain at the centre, it creates for visitors an impression of travelling in the palace of the Great Khan in ancient Karakorum . Prime Minister Tsahiagiin Elbegdorj appointed a working group of professionals to develop a project to build a new city at the site of the ancient capital Karakorum. According to him, the new Karakorum is to be designed to be an exemplary city with a vision of becoming the capital of Mongolia. After his resignation and appointment of Miyeegombiin Enhbold as Prime Minister this project has been forgotten for a while. SEE ALSO
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