St. Anna Church, Yerevan

The Church of Saint Anna rises gracefully in the very heart of Yerevan, at the vibrant intersection of Sayat-Nova and Abovyan Streets—two of the capital’s most beloved thoroughfares. This area is always alive with people—locals hurrying through daily routines and tourists lingering in awe. It is here, amid this lively crossroads, that the Yerevan residence of the Catholicos, the supreme head of the Armenian Apostolic Church, is also situated.

The idea to construct a new church on this historic site took shape in 2009, and that same year, the foundation was ceremonially laid. The ritual was conducted by Catholicos Karekin II himself, marking the beginning of a sacred endeavor. Yet the actual construction didn’t commence immediately—it would be another two years before the building process began in earnest. By 2014, the church stood completed, and the following year, in 2015, it was formally inaugurated in a ceremony attended by the country’s highest dignitaries.

The man behind the design was Vaagn Movsisyan, who envisioned a church in the form of a cross, crowned with a single central dome and featuring a modest bell tower over the main entrance. The Church of Saint Anna is built from light pink tuff, a volcanic stone that gives many of Yerevan’s buildings their signature rosy hue. It’s no coincidence that the Armenian capital is often affectionately called “the pink city.” This distinctive stone links old and new, tying Saint Anna Church visually and spiritually to the architectural soul of Yerevan.

A closer look at photographs of the site reveals another church nestled right beside it—the Katoghike Church, built in 1224. What is striking is how harmoniously the two structures coexist. The design of Saint Anna was clearly intended to echo the medieval lines of Katoghike, resulting in a visual dialogue across centuries. Together, they create a single architectural composition, a spiritual and aesthetic ensemble where history and modernity intertwine. This sacred space becomes a living metaphor: the past and present standing side by side, each elevating the other.

In the courtyard of Saint Anna, visitors will discover a true relic—a khachkar, or intricately carved Armenian cross-stone, that is the sole surviving artifact from the Gethsemane Chapel. Reverently preserved, it stands as a silent witness to centuries of devotion.

The residence of the Catholicos of Yerevan lies just behind the church. The adjoining courtyard is thoughtfully arranged, a small urban oasis that welcomes all who step inside. Trees offer shade, benches invite rest, and a pulpulak—a traditional Armenian drinking fountain—quenching thirst as pigeons flutter peacefully nearby. The space is serene yet alive, a rare haven in the city’s bustling center.

Tucked deeper into the courtyard are more ancient khachkars, unearthed during the construction of the church. Some of these stone crosses date back to the 15th and 16th centuries. Rather than relocate them, it was wisely decided to keep them in the courtyard, allowing visitors to admire their detailed carvings up close, to touch history, and to capture its beauty in photographs.

Thanks to its prime location, just 850 meters from Republic Square, the Church of Saint Anna has quickly become one of the most visited and cherished sacred landmarks in Yerevan