Opting for deconstructivism, the visitor is welcomed by an animated introduction to the virtual real architect. A narrative of emerging and overlaying textual plays sets off the mind: 'What is an Architect? A designer? An artist? A technologist? A co-ordinator? A manager? No! An Architect is a translator'. This, then, is a highly polished linear experience: you witness a simulation of construction in which the elemental visual styling (drawn from what looks like an architectural CAD package) blends in and out. It sets the tone of the site's strong focus on presentation: the unfolding of image text constructions begins anew with every page. Navigation is kept simple. A limited number of undifferentiated options respond to cursor proximity with a standard roll-over.

The simple navigation and rolling animations have a relaxing effect, allowing for a concentration of details on the pages themselves. This is pushed furthest in the portfolio section: in one dense 640 x 480 knot, you're offered images, text, Quicktime and QTVR. What could conceivably have been a pigsty of information is presented with frank clarity. This is achieved by means of the intelligent exploitation of roll-overs and animated layers, unveiling information on demand over the existing layout. The portfolio can thus be recognised as the heart of the site, without any other emphasis. What is palpably absent is sound. A missed opportunity, perhaps? It's certainly one of Flash's key features. And the Lundstrom smart classroom (a lecture hall which assists in multimedia-enhanced education) in the 'infotechture' section makes one expect that they'd exploit the sensory spectrum to the fullest.

An 'interact' section is added to the site as a side dish to the main course of projects on display. There's an easily digestible multiple-choice quiz, with juicy architectural questions sent in by site visitors: 'Which architect is buried in one of his client's projects? a) Frank Lloyd Wright, b) Carlo Scarpa, c) Imhotep, d) Eric Mendelsohn.' Like the quiz, the site as a whole seems to be best appreciated as an attractive general feature, as intelligent candy. In fact, if it is addressing an audience with a professional interest, then it's not only Lundstrom's future customers, but design pro's as well. The second half of the 'interact' section is taken up by a leave-your-opinion corner, which counts more compliments for the site itself than it does comments on architecture.

Lundstrom's site is branded, with the brand referring not to the architecture it presents, but rather to the site's design. Very postmodern indeed! A list of website awards which pops up on the homepage, as well as a garish thumbs-up logo which appears later in the site, puts the craftsmanship of the Juxt designer collective in the spotlight. Its marking of the site also catches the visitor's eye: colourful geometries unfold with the loading of each new page. Thus, it's the site's sophisticated spatial organisation that makes Lundstromarch.com worth a visit. And, regardless of whether the space is virtual or real, isn't that what an architectural office is supposed to be good at?