The Cascade is one of Yerevan’s most iconic landmarks and often serves as the starting point for guided city tours. This monumental stairway, composed of five open terraces connected by 572 steps, ascends a height of 78 meters from its base to the topmost platform, offering a sweeping view of the Armenian capital.
The vision of erecting a structure on this hillside was originally laid out in the 1924 master plan for Yerevan, devised by the eminent architect Alexander Tamanyan. At the entrance to the adjacent park, a statue commemorates Tamanyan himself, and the street leading to the foot of the Cascade also bears his name.
The Cascade was designed in the early 1970s by a team of architects—Jim Torosyan, Sargis Gurzadyan, and Aslan Mkhitaryan. Construction began in 1980, but was soon interrupted by a succession of crises: the devastating Spitak earthquake, the collapse of the Soviet Union, and the outbreak of the Nagorno-Karabakh war. Work resumed only in 2002, thanks to the initiative and philanthropy of Armenian-American businessman Gerard Cafesjian.
What followed was a sweeping, seven-year-long reconstruction project that transformed the unfinished monumental staircase into the Cafesjian Center for the Arts, a modern art complex organized into four principal areas:
The Sculpture Garden: an open-air exhibition in the park at the foot of the Cascade, featuring contemporary sculptures by world-renowned artists.
The Escalator Gallery: a linear space inside the Cascade, where a moving escalator passes by a curated display of designer furniture and eclectic artworks.
Interior Galleries: small exhibition halls tucked within the structure, accessible both by staircase and escalator.
The Upper Terraces: open platforms at various levels of the Cascade, where additional sculptures and art installations are displayed under the sky.
Although the Cascade remains technically unfinished—piles of soil, exposed utility ducts, and construction elements still flank the site—such imperfections barely register with visitors. The artistic energy of the space far outweighs any sense of incompletion.
Ascending the Cascade by foot is not a requirement: on the left side, an entrance leads to the art center’s escalators, which carry visitors up through the galleries and terraces, offering a seamless transition from one level to another.
Artworks from the Cafesjian collection line the entire escalator shaft and adorn each landing, forming the so-called Escalator Gallery. While not every piece is labeled, several standout works are easy to identify and admire.
To the right, for instance, stands the Giant Orchid—a dazzling piece by British artist Myli Kristi, crafted from mosaic glass, ceramic, and semiprecious stones. Throughout the gallery, one can also encounter chairs and armchairs by Italian designer and architect Gaetano Pesce, a living legend who, despite his age, continues to lead his design studio in New York and lecture at leading art institutions worldwide.
A striking highlight of the interior collection is the famous Marilyn Monroe Lip Sofa, created in the early 1970s by the avant-garde design collective Studio 65. When first unveiled, it caused a stir in the world of interior design. Today, the “lips” remain in production and frequently appear in the homes of Hollywood celebrities. The original 1972 version—a rare collector’s item—is preserved in Yerevan. Many consider its design to be an homage to Salvador Dalí, who in 1934 conceived a lip-shaped sofa inspired by another Hollywood icon, Mae West.
Crowning the top level of the Cascade is one of the most celebrated works by British interior designer David Martin—the mesmerizing installation titled Divers. Bold, elegant, and imbued with dynamic motion, it brings a climactic artistic flourish to this architectural and cultural marvel.
Moon Dance by American sculptor Christopher Hilty is one of the striking pieces in the Gafesjian Center for the Arts. For over three decades, Hilty has earned his living wielding a welding torch, collaborating with architects, designers, and decorators. His signature works, sculpted in metal with a masterful hand, are proudly housed in both private and public collections across the United States and internationally.
Among the most arresting figures in the Yerevan collection is the satirical genius of Yue Minjun, one of China’s most celebrated and expensive contemporary artists. Known globally, Yue has built a reputation for his unmistakable self-portraits—grimacing, wide-mouthed smiles that seem to mock the absurdity of existence itself. Here in Yerevan, visitors encounter one of his surreal sculptures: a laughing man bent on all fours in a dog-like pose. It is as disarming as it is iconic.
Another highlight comes from Ji Yong-Ho, a South Korean sculptor renowned for his innovative use of recycled tires. Now based in New York, his animal-themed sculptures, particularly lions, have been exhibited in numerous esteemed museums around the world. The lion that roars silently from its perch in the Cascade was crafted in 2008—a textured, powerful figure with a layered symbolism born from industrial waste.
Then there are the Olympic Horses, soaring mid-leap as if suspended in eternal motion. Created by Tom Hill, a British artist, these airborne equines once graced the equestrian pavilion at the 2012 London Olympics. After the games, they made their way to Yerevan, lending dynamic energy and sculptural drama to the Cascade’s terraces.
British sculptor Jim Unsworth offers a narrative piece titled A Surprise for Fabricius Luscinus (1996–1997). According to the artist’s note, this evocative sculpture references an ancient episode where Pyrrhus, King of Epirus, attempted to astonish the Roman statesman Gaius Fabricius Luscinus by smuggling a fully-armored war elephant into his tent.
From Portugal, Joana Vasconcelos presents her Lacework Tea Pavilion, a flamboyant and whimsical installation crafted from the most unexpected materials. The giant teapot—now a charming curiosity in Yerevan—was previously showcased in the gardens of Versailles. Vasconcelos is one of the rare contemporary artists granted the honor of exhibiting her works in the halls and gardens of the French royal palace.
Leaping with grace, Antelope Jump by British artist Saraj Guha adds another light and elegant touch to the outdoor gallery. It’s a moment of movement captured mid-flight, forever etched in the mind of the beholder.
Another standout is Blue Kiwi, a fantastical aluminum sculpture created in 2011 by American animal sculptor Peter Woytuk. This oversized bird belongs to a celebrated series of animal sculptures once displayed on New York’s Broadway. Woytuk is acclaimed for his whimsical representations of birds and beasts, often exaggerated in form and striking in posture. His work also plays with the shapes of fruits, producing a surreal blend of flora and fauna.
Also among the international names is Peter Coffin of the United States, whose enigmatic sculpture simply titled Pirate invites contemplation. Though less overt in expression than its neighbors, the work contributes to the diverse voice of the collection.
But perhaps no artist elicits as much delight from visitors as Fernando Botero, the Colombian master of voluptuous forms. The Cascade is home to not one, but three of his monumental bronze figures. Chief among them is the humorously engaging Woman Smoking a Cigarette. While the artist’s intention may center on sensuality and satire, it’s the cigarette—often missed entirely by viewers—that offers an ironic punchline to the scene.
Another of Botero’s works, Roman Warrior, tends to be overlooked by passersby, perhaps lacking the commanding presence of his more playful or provocative figures. Still, it remains a testament to the sculptor’s fascination with human forms rendered in exaggerated volume.
And then, there’s the cat. Botero, it seems, has a particular fondness for felines. This large, lounging cat sculpture in Yerevan shares a spiritual kinship with a similar one the artist placed in Barcelona—a quiet, weighty observer of the world, full of poise and whimsical dignity.
