Emily Hazelwood and Amber Jackson before a dive around a nearby decommissioned rig

After meeting at the Scripps Institution of Oceanography, Emily Hazelwood and Amber Jackson founded the Blue Latitudes Foundation in 2018 to explore the untapped potential of decommissioned oil rigs. Here, they speak to LUX about how these infrastructures might be unlikely friends of marine wildlife

LUX: Could you share the story behind the creation of your organisation and what motivated you to focus on ocean conservation?
Emily Hazelwood: After I graduated from college, I got my first job working as an environmental field technician in the Gulf of Mexico following the events of the 2010 British Petroleum oil spill. The spill covered over 1,300 miles of the Gulf Coast in oil and threatened not only the physical, economic and food security of the Gulf’s communities, but also resources for businesses worldwide. I had never witnessed the devastating impacts of humankind on our oceans so acutely, and this experience went on to shape the rest of my career.

However, my time spent in the Gulf of Mexico is also where I first learned about the Rigs to Reefs program, where retired oil platforms are repurposed and given new life as artificial reefs, and where I began to think differently about ocean conservation. The concept fascinated me. How could a structure capable of such intense environmental degradation also be capable of supporting marine life in a positive way?

I completed a master’s degree at the Scripps Institution of Oceanography in California investigating the social, economic, and ecological implications of re-purposing offshore oil and gas platforms into artificial reefs. Scripps was also where I met Amber, and in 2018, we launched the Blue Latitudes Foundation to broaden the dialogue on traditional ocean conservation practices and find ways to use our oceans without using them up.

Amber Jackson: After graduating from UC Berkeley with a bachelor’s degree in marine science, I pursued my graduate studies at Scripps, met Emily, and together we embarked on a thesis project that would ultimately shape our organisation’s vision of repurposing decommissioned oil rigs in California.

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As we delved deeper into our thesis project, we discovered the tremendous ecological potential of these rigs. Contrary to conventional practices that involve complete removal of the rig and associated infrastructure from the ocean floor, we recognized the value of the platform jacket—the steel scaffolding supporting the drilling infrastructure—as a thriving marine ecosystem.

Traditionally, oil companies are responsible for decommissioning oil rigs once the wells dry up. This process includes capping the well and removing everything from the ocean floor, which incurs significant costs. At Blue Latitudes, however, we conduct comprehensive environmental impact assessments of each oil rig, assessing the existing and future underwater ecosystems. When a rig is deemed suitable for repurposing into an artificial reef, the oil company can choose to either topple the steel structure onto the ocean floor or cut it to a height that allows ships to pass over. In doing this, the company saves millions of dollars and the repurposed rig creates an artificial habitat that fosters marine life.

A decommissioned oil rig and its thriving marine ecosystem

LUX: How do these artificial reefs compare to natural reef ecosystems?
EH: First and foremost, we want to conserve and preserve our natural reefs to the greatest extent possible. However, we recognise that we are quickly losing many of our natural reefs and the installation of artificial reefs is becoming increasingly important.

That being said, we don’t want to just use any material for our artificial reef construction projects; we want to think about materials that are sustainable and can last in the water column for long periods of time, meaning they won’t leach any chemicals or breakdown over the years. We also want to think about materials that would not only attract marine life, but would actually foster the production of marine life. That’s part of what makes offshore oil and gas platforms excellent candidates for artificial reefs. Some offshore oil platforms are as tall as the Empire State Building, which means a lot of real estate for marine life to grow. Additionally, these structures are very complex with lots of beams and cross beams, and this complexity will initially attract marine life and eventually begin to produce marine life. Finally, they were designed to remain in the water for long periods.

LUX: You are also both PADI certified rescue divers and Ambassadivers. Did you gain these qualifications because of your love of being in the ocean?
EH: I come from a family of scuba-divers who, from a young age, supported my passion and curiosity for the sea, encouraging me to get scuba certified by the age of 12. They took me around the world to explore different ocean ecosystems, and every site we visited gave us the opportunity to research the different creatures that lived there and attempt to identify them during our dives.

This passion to explore the world’s oceans has stayed with me to this day, drawing me to places like the tiny island of Utila in search of whale sharks, to oil platforms in the heart of the Gulf of Mexico, to searching for Wobbegons and Leafy Sea Dragons off the coast of Sydney. As I have grown older, that passion has evolved into academic curiosity which led me to pursue my dive master certification.

I would encourage anyone to consider diving; there is no other experience in the world like it. Diving is your first step towards exploration of the unknown, and once you have experienced it, there is no going back.

Blue Latitudes co-founders Emily Hazelwood and Amber Jackson

AJ: Becoming a PADI certified rescue diver was an important step for me. It not only expanded my knowledge and skills in diving but also equipped me with the ability to handle challenging situations underwater. The training involved learning essential rescue techniques, mastering buoyancy control, and enhancing my overall diving competence. It instilled in me a sense of responsibility and preparedness to assist others in need while exploring the marine environment.

Being an Ambassadiver has been an enriching experience as well. I have had the privilege of representing the diving community and promoting marine conservation initiatives. It has allowed me to engage with fellow divers and enthusiasts, sharing knowledge and raising awareness about the critical issues facing our oceans.

LUX: Amber, as a former Ocean Curator at Google, in partnership with the Sylvia Earle Alliance, how do you see the future of the role of big tech companies in conserving our oceans?
AJ: I firmly believe that the future of ocean conservation relies on the active involvement of big tech companies. Technology and innovation play a pivotal role in safeguarding our oceans for generations to come.

I envision big tech companies taking the lead in this endeavour by making substantial investments in monitoring and reporting technologies. These advancements will not only make the state of the world’s oceans easily accessible to all, but also provide a platform for informed decision-making and collective action.

Read more: Wendy Schmidt on philanthropy, technology and unexplored oceans 

By leveraging their resources and expertise, these companies can contribute to the development of cutting-edge tools and platforms that enable real-time data collection, analysis, and visualisation. Such technologies have the potential to revolutionise our understanding of marine ecosystems, track environmental changes, and identify areas that require immediate attention and conservation efforts.

LUX: How do you engage with the public to raise widespread awareness about the importance of your work?
EH: We find that with much of our work, seeing is believing. It’s hard to convey to the public the ecological value of an offshore oil and gas platform mostly because when people see an offshore oil platform, they think of destruction and oil spills. They definitely don’t think of a thriving reef ecosystem. To resolve this issue we like to introduce the public to the underwater space using underwater photography, videography, and most recently 360 videography, enabling us to use virtual reality to take audiences diving with us below the surface

LUX: What advice would you give to individuals or organisations interested in pursuing work in the field of marine conservation?
EH: I believe that we have seen success with our research into the Rigs to Reefs program because it’s unique and different and it radically challenges the way we think about ocean conservation. We’re not ‘save the whales’, although that’s still incredibly important, we’re ‘save the oil platforms’ and that tends to grab people’s attention. I would encourage anyone interested in pursuing work in the field of marine conservation to take on challenges that are often overlooked. We know more about the surface of the moon than we do about our oceans, especially the deep ocean. There is still so much left to learn and explore about our oceans.

Scubadiving near a decommissioned rig

LUX: What are your key goals and aspirations for the Blue Latitudes Foundation for the future?
AJ: In the future we’re hoping to expand the Blue Latitudes Foundation research and education efforts into the offshore wind and aquaculture spaces. We have primarily focused on the oil and gas industry, with a specific interest in converting offshore oil platforms into artificial reefs. Increasingly, however, we’ve recognized that there are a lot of lessons that can be applied to the offshore wind industry from the oil and gas industry, such as designing wind farms that not only support marine life but also support offshore aquaculture ventures as well as fisheries.

LUX: What do you hope our oceans will look like in 2033?
EH: Industry and the environment aren’t known for working together successfully, but it doesn’t necessarily have to be that way. As we continue to develop and utilise offshore resources, we must be keenly aware of our footprint on the environment and opportunities to mitigate our negative impacts. My hope is that we will start to see more offshore wind farms dotting our coastlines, and for the continued emergence of sustainable offshore aquaculture farms. I hope that we continue to pursue opportunities that allow us to utilise our oceans sustainably without using them up.

AJ: In 2033, I envision our oceans as thriving, resilient ecosystems that have rebounded from the challenges they currently face. I hope to see significant progress in ocean conservation efforts, driven by global collaboration and heightened awareness of the importance of our marine environments.

I hope that sustainable fishing practices will be the norm, ensuring the long-term health and abundance of fish populations. I hope we will witness the widespread adoption of responsible aquaculture techniques that minimise environmental impacts and prioritise the well-being of marine life. Marine protected areas will have expanded, safeguarding vital habitats and biodiversity hotspots. These protected zones will serve as sanctuaries for marine species, allowing them to flourish and maintain balanced ecosystems.

Through advancements in technology and innovation, we will have a more comprehensive understanding of the ocean’s health. High-resolution monitoring systems, including satellite imaging and underwater sensors, will enable real-time tracking of ocean conditions and provide early warnings of environmental threats. This knowledge will empower decision-makers to take swift and informed action to mitigate pollution and the impact of climate change.

Read more: www.bluelatitudesfoundation.org

Ornellaia, recently held its 15^th charity auction dedicated to the Vendemmia d’Artista 2020 ‘La Proporzione’. The online auction, conducted by Sotheby’s, raised $300,000 contributing to a total of $2.5M since the project began.  Here, Samantha Welsh speaks to Ornellaia’s CEO Giovanni Geddes da Filicaja about why this is an essential event and how he turned Ornellaia into one of the world’s most celebrated wine estates in the world

LUX: How did you start-out, and what were you invited to create with Ornellaia?
Giovanni Geddes: In 1999 I became CEO of Ornellaia; the same name as its first growth that represents the style of the estate.

Ornellaia also produces  a second wine, Le Serre Nuove dell’Ornellaia and Le Volte dell’Ornellaia, a blend made mainly by Merlot and represents a more joyful approach of the domaine style. Furthermore, Ornellaia produces two white wines, Ornellaia Bianco and Poggio alle Gazze dell’Ornellaia

LUX: How did you shine a light on the Ornellaia brand and build it separately to Masseto?
GG: I realised that it was important to create a clear distinction between Masseto and Ornellaia, so the latter did not become seen as a second wine. This is because Masseto was produced in a very limited quantity and sold at a higher price, so my idea was that Masseto needed to become an estate with its own name, its own identity, its own winery and wine. Masseto extended over 8ha and has now grown to around 11ha. We also set up a new management structure for the winery with the appointment of a Production Director and a Sales and Marketing Director. This was a milestone for the Frescobaldi group.

LUX: What was the thinking behind the go-to-market strategy for Ornellaia; how does an art partnership potentially add value and position brand?
GG: My idea was production, promotion and brand building, so everything had to be the very best quality.

Vendemmia d’Artista project was presented in 2009 with the 2006 vintage. Since then, the estate defines every year the character of the vintage and commissions an international renowned artist to translate the vintages’ character in art. Every year 111 large format bottles are “dressed” with these art labels. These bottles have become sought after by collectors. Furthermore, in every case of six 0.75 litre bottles, one bottle bears an art label created by the artist.

LUX: How does the Vendemmia d’Artista project celebrate the exclusive character of each new vintage of Ornellaia?
GG: Each year, art is created and bespoked to the theme which best expresses the character of that particular vintage. First, we define the character of the wine, then an artist is identified and commissioned to interpret the character of the vintage in a series of art labels and one site-specific installation. There is no competition involved.

For example, Luigi Ontani, one of the most renowned Italian artists, interpreted the first Vendemmia d’Artista vintage (2006) “L’Esuberanza”, creating an artwork which portrayed this exuberant vintage; the following year, the wine was more elegant in style, so “L’Armonia” or “Harmony” was the predominant characteristic and a wonderful Egyptian artist, Ghada Amer created the concept for the artwork. The 2020 vintage, released this year, is balanced and “La Porporzione” as it has been defined by the estate, is represented by the conceptual art pioneer, Joseph Kosuth, through the art of language, an interaction and interpretation of ‘vino’ and art.

LUX:  What happens with these art bottles?
GG: The artwork bottles are sold at auction through Sotheby’s. Usually there are ten lots offered (there were twelve this time) and they comprise several of the double magnums (3 litres), ten Imperials (6 litres) and the unique Salmanazar (9 litres). Proceeds were originally donated to international museums. Since 2019, we have been supporting the ‘Minds Eye’ programme of the Solomon R. Guggenheim Foundation, the award-winning programme which immerses blind and low-vision people into multi-sensory experiences to foster art appreciation.

LUX: Where is demand for Ornellaia particularly strong?
GG: The demand for our wines is exceeding in all markets! We have the best collaborators in all markets that together with our team support the increased awareness of our wines and that of the appellation we are part of.

LUX: With hindsight, what have you most enjoyed in your highly-successful career?
GG: Seeing Ornellaia and Masseto being recognized as Italian iconic wines, brings me great joy and pride.

LUX: What would you like to leave as your legacy?
GG: I have always wished to leave a very strong company and reinforce the estate awareness. Of course, Ornellaia and Masseto are globally very well-known, but I have always strived to amplify the characteristics and values of the wines far beyond the key markets.

Find out more:

ornellaia.com

masseto.com

The Fairmont Tazi Palace Tangier pool

LUX checks in for a resplendent yet restful stay at the Fairmont Tazi Palace, Tangier in Morocco

What drew us there?

The hotel is a super impressive, sprawling 5-star establishment, high up in the hills above the Medina in Tangiers. It used to be the home of the Sultan of Morocco’s representatives in the city, and has been restored to the highest standard. Everything feels opulent and grand; the reception area’s 12 metre high ceiling was particularly memorable, as well as the slick pool and vast surrounding area featuring daybeds and cabanas. The grounds are peppered with eucalyptus, pomegranate, palm and olive trees.

A suite’s private panoramic view terrace

Authentic Moroccan touches are everywhere, from the artwork to textiles and mosaics from local artisans decorating its 7 stories. Whichever floor you find your room on, incredible views are a certainty, as the hotel looks out onto the entirety of the buzzing city from high above. You have the privilege of surveying the busyness from your own secluded, peaceful space.

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How was the stay?

Out of the 133 rooms at the Fairmont Tangiers, we enjoyed a classic and comfortable Deluxe room. It was bright and airy with white and blue accents. Despite the Tazi Palace being a hotel of considerable size, we felt very tranquil throughout our stay.

The Deluxe King room with views of Tangier

We’d never been to Tangier and the hotel staff could not have been more accommodating – nothing was too much trouble. Fabien, Yassine, Zineb and their team were fabulous, organising a personal tour of the Medina and a drive around the city and the wild beaches where the Mediterranean meets the Atlantic.

Crudo, one of the five dining options at the hotel

We loved being shown the Penthouse and Katara Suites, with the Katara being almost 4000 square feet. Other key highlights included our meals at Parisa, where we were lucky enough to dine twice. Authentic Persian and traditional Moroccan cuisine were both on offer. We highly recommend the slow cooked lamb shoulder in tomato sauce.

The Speakeasy Innocents bar, inspired by West Africa

We stayed during Ramadan so were able to experience the Ramadan Iftar Buffet at Crudo, another one of the hotel’s dining offerings. This was an experience in itself; I have never seen so many different dishes on offer in one restaurant! Crudo was centred around sharing delicious food, as opposed to à la carte. There is also the Rose Room, where we enjoyed a delicious light lunch one day.

Read more: St Regis Mardavall, Mallorca, Review

Anything else?

The Spa is seriously smart and refined, with staff second to none; I indulged in a wonderful massage. Another option for relaxation is to grab a cocktail from Innocents, the uber trendy bar with live music and West African art covering the walls.

The spa which combines Moroccan-inspired techniques with products from Sodashi, Maison d’Asa and Swissline Cosmetics

Finally, convenience is always key: the hotel is only 10 minutes from the city centre and 20 minutes from the airport, so it’s an easy option for a quick round trip or a longer stay.

Find out more: fairmont.com/tangier