The construction industry is rapidly evolving to become an assembly-line production like the automobile industry. That’s the view of renowned Norwegian architect Erlend Blakstad Haffner, Founding Partner & Director, Cook Haffner Architecture Platform (CHAP). He believes this will result in megaprojects such as The Line city in the upcoming NEOM economic zone in Saudi Arabia utilising prefabricated kits to ensure sustainable construction practices. Co-founded by Haffner with industry veteran Peter Cook, CHAP is the lead designer of the flagship The Line project. Recently in India for the launch of the Made in India aggregator platform for housing, he spoke exclusively to MANISH PANT on the ongoing disruptions, the future of architecture, and the importance of organic growth to Indian cities. Edited excerpts. How is the The Line project in Saudi Arabia’s futuristic NEOM economic zone a landmark in zero-gravity urbanism? The Line’s main aspect is to define a new way of living in a city in a manner that impacts all parts of your life. That’s what Saudi Arabia has envisioned for the project. It encapsulates the idea of having a society where you can live close to where you work, spend less time commuting, and explore the city up and down, and in and out. The concept has evolved from cities being defined from a purely logistical perspective to making them more human-centric. After being first proposed by Spanish urban planner Arturo Mata in the late 19th century, certain concepts of a linear city were first implemented in the erstwhile USSR and East Germany. However, its full rollout has only begun with The Line. Is it, therefore, an idea whose time has finally come? The Line is one of the ways of organising a city. And then, of course, it’s also quite a logical way of doing that. The city is being built along an infrastructural line, which is the best way of catering to transport and communication requirements within its limits. Technology and innovations in areas such as construction, prefabrication and production on demand make it possible to do such structures on a scale larger than was possible earlier. So, is The Line an evolution or a disruption? All ideas have their origins somewhere. Right? If you look at the concept from the outside, it’s an evolution of an idea of urbanism that will take a new form as part of a continuous process. Has the association with The Line project changed your perception of zero-gravity urbanism? I wouldn’t like to discuss too much about The Line as the NEOM project is specific to a certain location. It is defined according to the needs of the place. At the same time, it’s an attempt at turning the city into a more holistic and complex entity catering to the people living there without letting infrastructure, logistics or existing construction rules define its future. In India we have existing cities and towns expanding into megalopolises. So, how is the concept relevant here? In the Indian context, more than zero gravity, organic growth is more relevant. It is about adding a layer of urbanity or a new feature to existing Indian cities versus when you build from scratch. That can be far more interesting because you are bettering the lives of people living in those cities. It’s our job to both define and design the future as architects. As we speak, several other megaprojects are happening in the architecture field. How do you see new and emerging technologies redefining the construction industry? The most interesting part about such megaprojects is their ability to combine existing and new technologies in novel ways. For example, we would see greater use of kits and prefabricated materials as parts of the cycle to ensure the sustainability of projects. These components can be used in different configurations in the building industry several times. As an industry, construction is moving towards becoming like the automobile industry, where you put together many parts in different variations to create the final product. The platform for different minicars is the same. How you stack on top of that platform can lead to other variations. As these projects are huge, the potential for technology, recycling, components, know-how, etc, also gets bigger. You will soon have production on demand in the construction industry as much as you have it in other sectors. And once you get there, you will have speedier building processes using components that can be delivered from anywhere. The process will also be less polluting, ensure better working conditions for onsite workers, minimise the number of accidents, and guarantee skilled labour. To a certain extent, this is how we have been building in Norway, which is expensive in terms of labour costs. Our projects may not be big but the structures utilised are generally similar. For instance, the bathrooms come preproduced. You only have to reach their capsules to the sites. You can call it a 4D element. We also have 1D elements such as columns, or 2D elements where we construct buildings out of prefabricated kits or parts by configuring them in several ways. Any bespoke cladding, façade or whatever else you wish can be added in the last layer. You just mentioned incorporating bespoke elements in architecture. Norwegian society reiterates strong communal bonding while also celebrating the individual. However, Industry 4.0 is all about creating uniformity in the watches we sport, the cars we drive and the phones we use. How can the architect still ensure diversity as no two individuals are alike? When I started my architectural practice, I did so from a caravan truck. I extensively travelled around Norwegian communities to understand their lives, needs, ideas and joys. I also noted the blowing of the wind and the movements of the sun. These are some of the elements that make life important. A big problem with globalisation is that it often makes things very superficial. But then you can’t just transfer images. Therefore, one has to go beyond the image to dig deeper as the construction industry becomes more standardised. You have to make the project specifically relevant. For instance, I won’t have huge glass facades in India, while that’s something I can do in Norway. Similarly, you can’t have large airconditioned spaces as you need natural ventilation. Such local knowledge catering to conditions on the site may have been lost to modernity. The presence of live machines onsite offers the architect the opportunity to fine-tune. Closer coordination with local communities and their architects is also needed. Or else we won’t be able to make a good product in another country because the cultural contexts and the understanding of the processes are different. As building components or parts go global, we will work closely to learn more from each other and the grand scale will allow for many variations. That will help in making building projects better and more specific. How does the architect approach the challenge of designing sustainable buildings? Today, it’s crucial to consider the planet’s well-being, including that of plants and animals and not just people’s comfort. This holistic approach is vital as we confront the challenges of climate change and urbanisation. It helps ensure that our future and the future of our ecosystems are both sustainable and vibrant. The main obstacles to realising a sustainable future are economic, technological and cultural. The higher initial costs of green technologies and sustainable materials can deter traditional investments while scaling these solutions to fit high-density urban areas efficiently remains a work in progress. Moreover, a shift in societal values and regulatory frameworks is needed to support these architectural decisions, requiring a concerted effort from all sections of society. Architectural firms can drive sustainability by participating in policy advocacy and enhancing public engagement through educational outreach – similar to the architectural television series [Håkon & Haffner’s Building Blocks] that I co-hosted – and pushing innovative, sustainable design practices. It’s about crafting a narrative emphasising long-term benefits over short-term gains, creating a ripple effect that encourages broader adoption of principles. Projects like NEOM, particularly The Line, attempt to embody principles on a grand scale. However, ensuring these projects are sustainable throughout their lifecycle is crucial. This involves meticulous planning and adopting innovative construction methods that minimise environmental impact, a principle I adhered to during the Hegnhuset Memorial and Learning Center project in Utøya. This requires a shift in financial structures to favour sustainable practices, building a culture that values sustainability, and developing feasible technologies for widespread adoption. We are also at the cusp of Space Race 2.0 when countries are eager to set up colonies in celestial bodies like the Moon and Mars. What role will the architect have in this regard? The architect should have a role in defining how we should live in cross-cultural harmony in the future. This is a good time to unite to define a better future together. Our life on Earth will determine the success of Mars missions. It’s interesting how sustainability has become a major focus area in India and China, the two most important countries of the world. Nothing else matters as long as you have scale and stuff. Banning plastic bags is just as important as colonising Mars. I had to leave mine behind after my flight landed here. I think that’s impressive because Europe doesn’t have a ban on plastic bags. It’s a new future that’s unfolding fast, with our very existence dependent on its success. Since the beginning of the Industrial Revolution in Europe, the West has controlled the discourse on architecture for more than 200 years. With nations like China, India, Vietnam and Indonesia set to become the drivers of the global economic engine, do you see Asia’s rich construction legacy finally getting a voice in the field? There is a huge problem with the industrialised Western culture being defined solely through consumerism. This is especially true of Europe and the US post-World War 2. Based on my experience of working in Saudi Arabia, China, Brazil and India, this notion of the existence of something beyond the physical is bound to impact us. That will also happen because pivoting of the global economic order and pop culture influence people’s lives. The days of Europe and the US are somewhat over and that’s what brings me here!