Armenian architecture, a particularly rich part of Armenian heritage, is widely recognized as a unique contribution to global architecture. The tradition of architectural engineering has ancient origins in the Armenian Highlands. During the Urartian period (9th through 6th centuries B.C.), architectural traditions were developed and perfected. The Urartians were known for their high standards in city building (Tushpa, Argishti, Erebuni), palatial complexes, and intricate interior decorations.
In pre-Christian Armenia, urban architectural traditions, along with other forms of art, were influenced by ancient Hellenistic and Roman art. The Temple of Garni is the only pagan monument remaining in Armenia. With the adoption of Christianity as the state religion in 301 A.D., Armenian architecture entered a new phase, blending older traditions with new Christian influences.
During the early Christian period (5th through 7th centuries), Armenian church architecture progressed with the construction of basilica-style domed buildings. Armenian architecture developed its unique national style with the construction of churches such as the Cathedrals of Echmiadzin, Hripsime, Zvartnots, and the Geghard Monastery. Between the 9th and 14th centuries, Armenian architecture produced masterpieces such as the monasteries of Amberd, Tatev, Aghtamar, Marmarashen, Sanahin, Haghpat, Haghartsin, Goshavank, Makaravank, Ohanavank, Harichavank, and Noravank.
A unique feature of Armenian medieval national art is the khachkars (cross stones), which were widely used throughout Armenia. Prehistoric monoliths, which held ceremonial significance in pagan religion, have also been discovered in Armenia. After the adoption of Christianity, the wooden cross – the symbol of the new faith – was erected in various shrines. The earliest attempts to replace wooden crosses with stone crosses date back to the period between the 4th and 7th centuries.
After the Sovietization of Armenia in 1920, two architectural directions competed for dominance: national and modern. This dual approach produced various phases in Armenian architecture, even during the brief Soviet period. Today, one can easily distinguish between the national style, seen in the Government Buildings on Republic Square, the State Opera House, the Matenadaran, and the Genocide Monument, and the modern style, seen in the Sports Complex, Zvartnots Airport, and other buildings.
