"I've come to realize that there is a link between architecture/design and output," says Law, who,  like each of the employees, can call just three things at St. Luke's offices his own - a cell phone, a locker, and a satchel. Everything else, from the massage chair-looking workstations near the reception desk to the couches on the second level, is up for grabs each morning. That baby picture on the desk may or may not belong to the person who is currently occupying it.

Law feels that the structure allows the group to use the building to help them work. "Here, you have to know what you're doing before you know where to go, whereas at most offices you know where to go but you don't always know what you're doing," he says.

One thing they're not doing at St. Luke's: worrying about the myriad awards the ad industry bestows upon its own. Their focus is on doing great work for the clients, not winning awards for themselves.

Their unconventional approach appears to be working: They won more business in 1999 than any other agency in Britain, and had revenues of $27 million in 2000, up $10.5 million in just four years. But while they're a small, unorthodox company, their top clients are large and conservative. St. Luke's has the two largest accounts in the UK - British Telecommunications and British Sky Broadcasting - as well as IKEA and HSBC, one of the largest banking and financial services organizations in the world.

"We've never had the funky client. I love the paradox," says Law, who also recognizes that bigger companies can better handle the risks associated with more creative advertising.

Not surprisingly, St. Luke's is not a 9-to-5 office. The presumption is that everyone works at his or her own capacity. Says Law, "It's not unusual to see people taking a nap here."