The 17-story “Uzbekistan” Hotel is one of the capital’s most recognizable symbols. Located in the very heart of the city, it resembles a book opened toward Amir Timur Square.

At the time of its opening in 1974, it was one of the largest and most luxurious hotels in Central Asia. “Uzbekistan” became a symbol of progress and technological achievements of its era. The building’s architectural appearance, with smooth lines and strict modernist forms, reflects the aesthetics of Soviet modernism and the spirit of the Eastern Bloc in the 1970s.

The facade is adorned with rectangular concrete panels serving as sunshade screens. Their rhythmic pattern has become an integral part of the hotel’s image and one of the first examples of such solutions in Tashkent. Later, this technique became widespread and associated with traditional Uzbek ornament — panjaroy.

The building does not “overwhelm” the square’s space but seems to float above it — a successful solution by the project authors: architects I. A. Merport, L. I. Yershov, and V. S. Roshchupkin.

After opening, the hotel organically integrated into the square’s ensemble, neighboring the old university buildings and the Clock Tower. Later, the ensemble was joined by the Timurid History Museum, a second clock tower, and the Palace of Forums, yet the “Uzbekistan” Hotel still dominates the city center’s panorama.

Tashkent residents affectionately call it “Uzbekistanka” — this name has become a familiar landmark for taxi drivers and locals. In the evenings, the facade lights up with festive illumination, emphasizing its expressive silhouette.

The hotel has 223 rooms, two restaurants, a bar, conference halls, and a meeting room. The top floor features a gym, sauna, and beauty salon. The hotel restaurant is famous for its lavish celebrations — generations of Tashkent residents mark weddings and anniversaries here.

During the years of independence, the building was reconstructed: a canopy was added to the entrance, which, though practical, slightly disrupts the monumental harmony of the original design.