The field of ’paper architecture’ has always existed on the margins of ‘real’ architecture. Architects perceived this genre as a form of sharing their ideas as well as saving architectural impressions. In the 20th century, paper architecture morphs into conceptual architecture, becoming a language of communication between architects and viewers. The number of conceptual projects has increased in the 1970s and 1980s. The architecture of the postmodern period which may be viewed as an offshoot of the French ‘architecture parlante’ movement has brought a sense playfulness into a real building process. The ‘double coding’ of architectural images, as manifested by Charles Jenks, allowed the architecture to communicate with the viewer on many levels of perception. Conceptual projects have become a much-needed link between the architecture and architectural theory. The Soviet ‘paper architecture’ of the 1980s has a lot in common with the postmodernist system. ‘Paper’ projects are easy to understand due to its language partially shaped by the rules of Japanese concept competitions. Soviet ‘paper architecture’ was largely created using this language. Although eloquent descriptions of projects have lots of highbrow quotations and references, ‘paper’ architects also used comic strips with characters to illustrate their ideas. The names of these projects usually describe some scenarios of how the structure transforms or how the user interacts with it. These traits allow discussing a certain language of ‘paper’ projects with its own logics and a set of images that are commonly associated with such projects.