The Delegation of French Archaeology in Afghanistan was subsequently founded in 1922, so Godard and his new wife accompanied the organization to not-yet-excavated regions.
Every five years, Parliament extended his contract, mandating monthly educational meetings with Iranian archaeologists and the publication of new archaeological discoveries.
Ali Asghar Hekmat commissioned Godard to design the University of Tehran, which was to be situated in Jalaliyah Garden, spanning over 200,000 square meters.
Conservative clerics vehemently opposed the establishment of the medical school, particularly the construction of the dissection hall, but advocates like Hekmat ensured its realisation.
[1] Andre Godard's sole publication, "The Art of Iran," categorizes Iranian artworks and architecture by dynasties, spanning from ancient to Islamic periods.
Another essay poignantly describes Godard's admiration for his simple house in Jamal Abad, highlighting its traditional Iranian architecture.
However, Karim Pirnia countered this argument, asserting that the origins of pointed arches in Iran can be traced back to ancient buildings like the Elamid and Medes temples.
[1] David Williamson, the American Charge d'affaires in Iran, described Godard as possessing exceptional talent and tact, making a favourable impression on both Iranian and foreign societies in Tehran.
However, Arthur Pope, an American archaeologist, viewed Godard as a rival and criticised him as unfit for directing antiquities in Iran.
[1] In 1930, Iran passed its first antiquities law, drafted by Godard, Herzfeld, and Pope, with amendments from Minister of Education Yahya Khan Gharagouzelou.
He was also instrumental, together with fellow architect Maxime Siroux, in the design of the National Library of Iran, Tomb of Hafez, and Central Pardis, the main campus of the University of Tehran.
He took great care to preserve the historical structures surrounding the tomb, showcasing the site's evolution over time while introducing innovative elements.