The intellectual architecture means focusing on doing great work instead of focusing on agency politics.

The intellectual architecture means focusing on doing great work instead of focusing on agency politics.

The team architecture means setting up an organization that helps people produce that great work in teams.

Second, we're spending a huge amount of money on technology so that everyone can check out laptops and portable phones. We're spending more money to write our existing information into databases or onto CD-ROM.

I can't say the advertising model is obsolete yet but it doesn't make a lot of sense in the long range.

Research we've done seems to indicate that people who are on the Net like the idea that they don't have to leave what they are reading to go buy something.

I like the Gap ad, the khaki one. I liked that.

We set up a beta site, a test site, with movie, music and book reviews. If you're reading them and you want to buy a book or a ticket for a movie that's reviewed on the site, you can do that without leaving our site.

One is that that's the way we started and we thought there would be more value and less confusion if the business model was just based on delivering news that's of value to Web sites.

Eighty percent of what everyone's talking about never happens. I don't mean in terms of product development that's happening right now, I'm talking about the far-flung visions of the future.

You come to work because the office is a resource: The office is a place where you can meet with other people, and the office has libraries of books and information on CD-ROM that might help you with your work.

Transferring successfully to the next generation means producing work that's as good as or better than the work of the first generation that founded the agency.

Advertising ought to work by telling you what it is you want to tell, you should understand what you want us to do, what you want us to think, where you want us to shop.

In the '20s they were telling us wed all have our own private plane and take vacations to the moon.

If you really think about it, when watching television, you have product placement all the time.

It's hard to build a brand, competitively, and tell people what you do as well.

Charlie Rose is the ultimate ad.

Technology is the fashion of the '90s. It affects everyone, and everyone is interested in it - either from fear of being left behind or because they have a real need to use technology.

Fire has impacted every part of our lives - without fire, there would be no shopping, right? - that's how the Internet will intrude on our lives, particularly our kids' lives.

Our technology is very scalable. Our software can accommodate enormous numbers of clients. It's a marvelous opportunity. We'll keep developing products.

Outside of advertising, the person who's influenced me most is quite possibly Frank Gehry.

We don't have titles on our business cards. No one really gets any special treatment. No one gets a corner office to put pictures of their family and their dog in.

But I think technology advertising will have to stop addressing how products are made and concentrate more on what a product will do for the consumer.

Taking risks gives me energy.

First, this isn't about telecommuting, because we still have offices that people will come to regularly when they need to brainstorm together, meet with clients, or do research in the library.

In the '20s they were telling us we'd all have our own private plane and take vacations to the moon.

In addressing a task, one almost always has several possible options, sometimes only a few, and they may all be practical and functional. But they lack the aesthetic aspect that raises it to architecture.

People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that's both liberating and alarming.

The organizational architecture is really that a centipede walks on hundred legs and one or two don't count. So if I lose one or two legs, the process will go on, the organization will go on, the growth will go on.

The intellectual architecture means focusing on doing great work instead of focusing on agency politics.

Architecture is not an inspirational business, it's a rational procedure to do sensible and hopefully beautiful things; that's all.

The new architecture of transparency and lightness comes from Japan and Europe.

Every man's work, whether it be literature, or music or pictures or architecture or anything else, is always a portrait of himself.

All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks.

My interest in architecture has always been sculptural. Most of my photography is of architecture.

I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.

Japanese traditional architecture is created based on these conditions. This is the reason you have a very high degree of connection between the outside and inside in architecture.

I studied architecture in New York. So, really I was very moved, like everyone else, to try to contribute something that has that resonance and profundity of it means to all of us.

Architecture in general is frozen music.

But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.

To create architecture is to put in order. Put what in order? Function and objects.

The team architecture means setting up an organization that helps people produce that great work in teams.

French architecture always manages to combine the most magnificent underlying themes of architecture; like Roman design, it looks to the community.

What is being called the UN 'gender architecture' is more like a shack. Women need a bigger global house if equality is ever to become a reality.

Any architectural project we do takes at least four or five years, so increasingly there is a discrepancy between the acceleration of culture and the continuing slowness of architecture.

The dialogue of architecture has been centered too long around the idea of truth.

The greatest advances of civilization, whether in architecture or painting, in science and literature, in industry or agriculture, have never come from centralized government.

Victorian architecture in the United States was copied straight from England.

Space has always been the spiritual dimension of architecture. It is not the physical statement of the structure so much as what it contains that moves us.