如果将建筑比作“凝固的音乐”，那么房屋的外立面就是乐谱。我们试图通过探索后苏联空间中的建筑来解读这部世纪交响乐的音色与形态。而更重要的是，理解它向现代观众呈现怎样的冲突。 　　If architecture is "frozen music", then the façades of houses are its score. We explore the architecture of the post-Soviet space, from wooden architecture to Baroque and classicism, from Art Nouveau to Stalinist and Khrushchev architecture, traces of which are found in the modern panel buildings known as “human anthills”. By doing so, we are trying to understand how this centuries-old symphony could sound and look, and most importantly, we find that irreconcilable conflict of personality and mass, the unique and the typical, that is reflected even “in stone”.