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Much like her early mentor the late Zaha Hadid, Nicola Beck is a humble polymath spanning a multitude of design disciplines competently and with a unique nuance that is often overlooked by her contemporaries.

 

With a portfolio of work spanning more than a decade Becks fluid ethos shows a maturity and pragmatism of an architect twice her age, yet with the enthusiasm, ingenuity and engagement that enables her to effortlessly solve the stratosphere of problems that are inevitable heading up a dynamic, cross cultural Design Studio. This is only complimented by her moral philanthropy, contemporaneously mentoring and collaborating at Zhejiang University of Technology.

 

Becks immersive attitude, and self proclaimed dependence on her team also serve as a reminder of a self-effacing attitude which defines a true leader; A fundamental quality that has allowed Beck to expand her business and collaborative network to encompass the US, China, Austria and Australia. The resulting efficiency and ability to simultaneously complete a plethora of projects with a relatively small in-house team of experts is self-evident.

 

Having studied her Masters degree (as one of only 12) under Peter Testa at the Southern California University of Architecture, it is unsurprising that technological innovation is one of the central tenants of Becks work.

This highly sort after technological knowledge in programing and 3D animation has seen her travel the globe lecturing at some of the most prestigious Universities in architecture. Most notably at SCI-ARC and the genius producing University of applied arts in Vienna (Gustav Klimt being one example from an extensive list of alumni); The latter where Becks 2012 collaboration with Doppelmayr Garaventa Group exemplified her exquisite application of both theory & simulation.

 

The Alpine Space codes project developed a comprehensive solution for a transportation enabling connection between multiple ski resorts in the Austrian Alps. Due to seasonality and changeable weather patterns, the construction needed to be a cross-functional network system.

Becks, deep understanding of mechanical assemblage, along with algorithmic programming and 3D animation techniques, defined this projects realization.

 

By creating artificial situations with varying access points and different levels of usage, she was able to prove that the function of a space is not a given, but changing based on perspective and use. It is within findings like these, that have the potential to challenge and replace the idea of multi-functionality by moving parts or empty rooms.

 

The algorithms Beck created during the project simulated different spatial organizations, which allowed her to analyze human interaction that in turn effected and determined the designs relevance.  Through simulating different levels of usage Beck was able to show that her multi-functional solutions could be void of both moving parts and obsolete spaces.

To visualize the social & environmental implications of these algorithmic findings, Beck utilized 3D animation software to confirm the effectiveness of her research, before real world applications were even discussed.

As Beck notes, “For this kind of project virtual simulations are crucial. I was dealing with changing conditions and movement. To build physical models of different organizations would take months and months.

After analysing the digital output, I shifted to physical models to visualize spatial qualities, different perspectives, and material changes. We are learning from simulations and are able to see the effects of a huge number of variables quickly. But the final product has to deal with real world limitations and is being shaped by the environment.”

Intentionally, with this project, Beck proved that the context of a space could define its own solution. Context she notes is often neglected with importance being weighed by environmental and material factors.

 

Beck elaborates on her methodology of the project, explaining that ”During the first stages of the design I mostly used 3D modeling techniques and hand-sketching. For more complex systems, I create computer algorithms and code to generate the structures and patterns. Animations can be a great tool to visualize many iterations and options for a design. These tools are necessary to create contemporary structures that are slightly more complex in order to be able to fabricate it easily and inexpensively. When moving to drawings the idea is developed from an idea to a real architectural concept. Final renderings are the most important instrument to visualize materials, atmosphere, and lighting concepts. In this case, rendered animations are the next level that adds spatial qualities and a sense for how you move through the building. As a final step, physical models are great to visualize spatial qualities and structural connections. The design only becomes feasible once it has been thought through physically. Many errors and problems become visible at this stage.”

This context reactive methodology Beck explains, is a fundamental change to “ …the status quo which currently accepts the idea of changing programs from day to night time, requires physically moving parts to change a space.” This, she asserts, has the potential to ”change our methods for dealing with issues like lack of space, lack of resources, and unforeseen changes.”

This early experimental work exploring new methodology, expanding further on Manuel DeLanda theories, showcased Beck as a leading thinker in the field, enabling her to further her own unique design philosophy.

However, Beck rejects the methodic dogma currently trending within the contemporary architecture, preferring to use techniques like parametrics to compliment rather than replace traditional conceptualization. Although she is “firmly rooted in the physical world” Beck believes it to be more insightful to blur the borders between analog and the virtual in both concept and execution, something she adeptly demonstrated through a recent Adidas collaboration.

 

The Adidas tubular campaign was a “high stakes” project that demanded fast turn around. Using the brand DNA Beck’s was required to produce and present a virtual landscape that would ultimately convince the public of a mythical event.  Using cutting edge 3D software and animation Becks created this highly detailed virtual space in which the faux launch event would take place. With a seemingly impossible turn around time by industry standards, beck delivered flawless renderings in which (physical) models were placed, via a green screen to animate the scenario. The highly successfully marketing campaign convinced a tech-savvy audience of the reality of the both a space and event that did not exist. This success dramatically increased sales for the iconic brand further highlighting Beck’s technological prowess.

 

Successfully realized projects like the tubular campaign and the scope of her ongoing projects demonstrate Becks empathetic understanding and adeptness at melding her own design philosophy with clients needs, with reduced framework of both time and expense.

 

Beck has established notoriety for her adept ability to finely tune the three universal principals to work fluidly with client & cultural difference. Something she notes fully exploring in China when confronted with the dramatically reduced firmatis requirements due to its inherent hegemonic ownership model.

 

“…In the last decades the people learned to value the new, the innovative. The focus has been set to building something innovative fast and changing. It’s more often a kind of trial and error culture. They grow in other ways than we do, by constantly rebuilding and in the process creating the best ground for innovation. If your goal is to test something new often - why would you use techniques that could last decades? From their perspective it's absolutely correct to build fast and cheap.”

 

Since the tubular campaign NBAX have been ploughing there way through the Chinese skyline, producing numerous works of formidable size and concept, from Shanghai to Sanya.

Becks, most recent project, The Keers tower, showcased NBX’s adept ability to marry client demands with core philosophy. The 230-meter tower, which will be completed in 2021, masterfully combines past and future. Sleek and symmetrical “art Deco” styling at the crown of the tower exudes chic, while adhering to the clean modernity, and futuristic opulence that Beck’s work is now renowned for. Toward the base the of the structure it becomes asymmetric with technical detailing that draw the eye to the entrance focusing heavily on the consumer needs and the commercial aspects of the building use requirements, navigating the delicate balance between form and function.

Although internationally recognised, China is now the core of Becks work, as it is here that she feels her technological and experimental philosophy is most understood.

“For the type of work that I do, I need the right environment: open minded people who appreciate innovation. I have experienced Europe as a culture that prioritizes the historic and China as a culture that appreciates the effect…”

It is this effective innovation through technological and theoretical advance, which is the constant ambition upon which Beck strives, thriving upon impossible deadlines and a melding of cultural influences. These extraordinary objectives and clear ability to deliver have established Beck early in her career as a one of the definitive leaders in her field.

Do not be surprised at a Prikter price nomination in the coming decade.