Yerevan sits atop a plateau, encircled on all sides by mountains. Even within the city itself, the elevation varies dramatically—by as much as 400 meters. In the north and northeast, the terrain rises into a natural amphitheater, opening southward toward the distant silhouette of Mount Ararat. When the visionary architect Alexander Tamanyan laid out Yerevan’s master plan in the early 1920s, he did so with this majestic view in mind, ensuring that the daily life of the Armenian capital would forever unfold against the backdrop of the nation’s iconic peak.
Tamanyan himself envisioned a stepped terrace at this very site, though he never lived to see it built. It wasn’t until the 1970s that architects Jim Torosyan, Aslan Mkhitaryan, and Sargis Gurzadyan breathed life into his idea, designing what would become the Cascade complex.
Construction began in 1980, but history intervened. The collapse of the Soviet Union, the turbulence of perestroika, and the devastating Spitak earthquake in Stepanakert all contributed to halting the project before it could be completed. It wasn’t until 2002 that the Cascade’s fate changed course—thanks to the initiative of American philanthropist of Armenian descent, Gerard Cafesjian. His support reignited construction, restoration, and the beautification of the complex. Even so, the very top of the Cascade remains unfinished to this day. Yet within the completed sections lies one of Yerevan’s cultural treasures: the Cafesjian Center for the Arts. Admission is free, and visitors can travel terrace by terrace via an escalator hidden inside the structure.
At the Cascade’s base stands a monument to Alexander Tamanyan, and surrounding it sprawls the Cafesjian Sculpture Garden. One of its most striking works is a monumental, lace-like teapot by Portuguese-French artist Joana Vasconcelos. The garden also features several pieces by the famed Colombian sculptor Fernando Botero, including the voluptuous Woman with a Cigarette, which arrived in Yerevan from Copenhagen, and The Roman Warrior—another of Botero’s distinctive creations.
The Grand Cascade is a remarkable example of urban landscaping and public space design. Tamanyan Street ends at a natural incline, which the architects transformed into a massive staircase of fountains and platforms. Beneath them lies a gallery of contemporary art. Visitors may choose to ascend the Cascade on foot via the main staircase, or during the day, take the interior escalator, a relic of the Soviet era that hums and rattles as it carries passengers upward. Along the way, the walls come alive with rotating installations and modern art displays.
Each level of the Cascade offers its own aesthetic charm: vibrant flower beds, tranquil fountains, and quiet corners to sit and rest. The escalator and the art center operate daily from 10:00 a.m. to 8:00 p.m. After that, access is still possible, but only by foot. Vertically, the Cascade spans 100 meters in height and stretches 500 meters in length. Every landing features benches, blossoms, and fountains. At the top terrace stands The Divers, a dramatic sculptural composition. Unfortunately, this is where the unfinished portion of the complex begins. Yet even so, the panoramic view over Yerevan from this height is nothing short of breathtaking.
The Cascade also serves as Yerevan’s open-air theater. A stage is erected at the foot of the stairs, and the audience gathers along the steps, which double as amphitheater seating. The travertine stone covering the platforms absorbs heat throughout the day and radiates warmth into the evening, making it comfortable—and health-safe—to sit on long after sunset. It’s in this setting that the city hosts numerous jazz festivals and open-air concerts, freely accessible to all who wish to attend.
