The main task of this series of works is to show, within the framework of the original photo project, the unique legacy of the Stalinist era in the architectural appearance of Moscow. This project is a series of experiments and experiments, where the author tries to find original forms with the help of which it is possible to create a new, kind of "literary" image of the capital against the background of night illumination. Rejecting the familiar style that gives the traditional architectural image of the space, the photographer tries to achieve an expressive architectural image with the help of an unconventional approach to the material. The Stalinist Empire project includes about 150 toned black and white photographs. Architectural images stimulate the photographer, they awaken the creative thought not only of the author himself, but also capture the imagination of all those who come into contact with them. The spirit of the Stalinist era finds a unique expressive image in the architectural structures of that time: splendor and splendor, power and strength, fireworks and festive illumination of the city. The "Palaces of Communism" are outstanding structures that largely shape the overall silhouette of Moscow. Soviet skyscrapers shocked with their power and novelty of concept. The "generals" houses and complexes built on the territory of VDNKh and the Park of Culture named after V.I. Gorky, architecture and decor of many metro stations, sculptural ensembles and engineering structures. They are distinguished by solidity and significance, respect for the history of architecture in its Soviet interpretation. Columns, sculpture, mosaics, many decorative elements - all this creates an extremely rich and vivid image of buildings. The skill of the photographer, his ability to convey the texture of the object being filmed, favorably set off its bizarre form, with a special look at the subject of photography allow him to breathe life into the cold world of objects. The photographs of Vladimir Klavikho-Telepnev can be fully understood, perhaps, only after talking with the author himself. His works carry a large amount of information that complements their aesthetic content.