Photo by Ben Thouard

Creating a sustainable blue economy – meaning we can invest in businesses directly related to the oceans while avoiding negative impact – is one of the most important tasks on humankind’s to-do list. Below, LUX speaks with Muriel Danis of Deutsche Bank about the challenges. Chris Stokel-Walker also speaks to entrepreneurs trying to make a positive impact in the ocean space

Muriel Danis on building investment opportunities in the sustainable blue economy

Muriel Danis

One of the challenges faced by investors interested in the sustainable blue economy is that it is an emerging landscape. “It’s a very nascent space,” says Muriel Danis, Global Head of Product Platforms and Sustainable Solutions at Deutsche Bank’s International Private Bank. “There are few products dedicated to the blue economy. What we see more often, especially in the private markets space, is a broader, impact approach to investing, with a sub-allocation for ocean-based investments.”

Danis is overhauling the products at Deutsche Bank by making sustainability a central part of the tenet. She is incorporating ESG qualitative and quantitative factors into the product development process to meet regulatory requirements and help identify “best in class” managers and solutions. That is easier said than done. Most liquid products available today focus primarily on what Danis calls a “do no harm approach”: they tend to exclude from investment portfolios any sectors or activities that have a materially negative impact on the oceans. However, in private markets there may be more product opportunities able to deliver material and measurable positive outcomes. “We are seeing a number of VC funds that are directly investing in technologies and capabilities that protect marine biodiversity,” says Danis. “By targeting overfishing, ocean pollution and climate change, they are supporting a sustainable blue economy.”

Photo by Ben Thouard

“We think this will be an expanding universe,” adds Danis. That’s partly driven by investor demand, and partly by increased policy action. A good example is the recent UN High Seas Treaty, which aims to place 30 per cent of the seas into protected areas by 2030. This will support increased finance flows into sectors of the sustainable blue economy impacted by the 30 x 30 agreement. “As the market becomes more mature,” says Danis, “we will see more need for financing to support the transition of business models to what I would call a blue or green model.”

Danis is spearheading that transition by making connections to blue economy pioneers. One such opportunity was the DB x ORRAA Ocean Conference hosted in 2022 in Mallorca. In the first conference of its kind, Deutsche Bank invited a range of companies and their founders, including some of those featured below, to demystify the sustainable blue economy and show how private capital can help achieve positive ocean impact at scale.

Entrepreneurs on creating businesses for the good of the oceans

A new generation of individuals are setting up companies worldwide to radically overhaul how we interact with our oceans, and help save our planet while building a sustainable economy

Cristina Aleixendri Muñoz

Replacing ship engines with sails
Cristina Aleixendri Muñoz
Co-founder, bound4blue, Barcelona

Cristina Aleixendri Muñoz always wanted to be a doctor. “I thought the only way to do good in theworld was to save lives,” she says. But a chance conversation with a teacher who suggested engineering changed her path.

Muñoz became an aeronautical engineer, working on planes and space shuttles before pivoting to the maritime industry. That aerodynamic expertise helped when she launched bound4blue with her co-founders. The challenge was to overcome the shipping industry’s fuel-consumption problem – shipping alone accounts for 2.5 per cent of the world’s carbon emissions.

“I think engineering can help solve today’s hardest problems, make sustainability profitable and be something that can be developed and implemented,” says Muñoz. The company has developed a wind-propelled eSAIL that can reduce emissions by up to 40 per cent, and which it has tested on three ships. “The intention is for around 80 per cent of the global fleet to benefit from this type of solution,” she says.

bound4blue.com

Marine-friendly robotics
Liane Thompson
Co-founder, Aquaai, California and Norway

Liane Thompson

As a journalist for The New York Times, Liane Thompson used to travel the world. Once, while she was in South Africa, she reported on an entrepreneur called Simeon Pieterkosky. Little did she know then that she would reconnect with Pieterkosky around a decade later in 2014 to develop Aquaai.

The husband-and-wife’s marine-robotics company builds affordable Autonomous Underwater Vehicles (AUVs), which it calls Nammu. These are shaped like fish and are used to gather environmental data deep underwater, without intruding on the marine life living there. The AUVs are 3D printed and come installed with off-the-shelf cameras and sensors – deliberately so, says Thompson, so that people can build their own in communities that need them most.

And that need is ever increasing, says Thompson, “given superstorms, floods, the proteins and food sources coming out of underwater farming, and the need to protect marine habitats and corals.”

aquaai.com

Biodiversity-friendly coastal concrete
Ido Sella
Co-founder, ECOncrete, Tel Aviv

Ido Sella

Marine biologist Dr Ido Sella has been fixated on the impact of coastal construction on the marine environment for more than 20 years. His bugbear? Concrete, as it doesn’t support the same biodiversity as other substrates. In an ideal world, natural reef would mark out ports and create promontories – but that won’t happen. So Sella worked to develop a material that would be better than the concrete used in 70 per cent of coastal infrastructure.

And so, in 2012, ECOncrete was born. A decade ago, the company started experimenting in the Mediterranean and the Red Sea. The findings were shocking: the mix itself was an issue, as was the surface and the structural strength. ECOncrete solves all three problems: its Admix can be added to regular concrete to provide a better chemical balance for marine life, its texture agents help marine life cling to the structures and their moulds help create ecological niches and strengthen the structures.

ECOncrete is now used in breakwaters and ports globally. “There is a real drive from the industry to look for these solutions,” says Sella.

econcretetech.com

Photo by Ben Thouard

Large-scale coral regrowth
Sam Teicher
Co-founder, Coral Vita, Freeport

Sam Teicher

At the age of 13, Sam Teicher gained a scuba- diving certification. “I’ve loved the ocean and nature my whole life,” he says. “As a kid from Washington D.C., I grew up imagining I was going to become a coral farmer.” Teicher studied the environment and climate change in college, then grad school. It was through working at a friend’s NGO between courses that he was first introduced to coral restoration – and it became his life’s work.

Coral Vita, the company Teicher co-founded in 2019, grows coral 50 times faster than it would grow in nature – so it can be replenished as modern life diminishes our reserves of the natural resource. Started with a $1,000 grant from Yale, where Teicher and his co-founder met, Coral Vita is now behind the world’s first commercial land-based coral-reef farm, in Freeport, Grand Bahama, where the coral grown is being used to replenish the reef. In 2021, the company won Prince William’s inaugural Revive Our Oceans Earthshot Prize. “We hope to kick-start the whole restoration economy,” says Teicher.

coralvita.co

Biodegradable packaging and materials
Jack Sieff
Corporate Development Manager, Polymateria, London

Jack Sieff

Plastic waste is a major problem for the world’s oceans, strangling marine life and jeopardising biodiversity systems. There is now an estimated 30 million tonnes of plastic waste in the world’s sea and oceans.

Founded in 2015 by Jack Sieff’s father Jonathan, Polymateria has developed biodegradable alternatives to plastic. In 2020, Polymateria reached a major milestone, achieving certified biodegradation of the most commonly littered forms of plastic packaging in real-world conditions, all without creating the harmful microplastics the world is seeking to avoid. “Since the launch of that standard, we’ve seen a domino effect,” Sieff says, as many countries are adopting similar standards.

Polymateria’s biodegradable materials are now utilised in items such as masks and wipes, along with other uses. The company raised £15 million in its Series-A funding before the pandemic hit, and is about to close out a Series-B round, bringing in a further £20 million.

polymateria.com

Autonomous sailing fleet that creates power
Ben Medland
Founder, DRIFT Energy, London

Ben Medland

Engineer Ben Medland didn’t know how to answer when his eight-year-old son asked him, “Daddy, why is the climate broken? And how can we fix it?” Medland’s son had been reading about a recent COP conference, and had noticed that the nearby wind farm just wasn’t moving. What could be done? Medland vowed to try to change things by turning the 70 per cent of the planet that traditional renewables don’t reach – the world’s oceans – into an energy source. He admits that it is a “crazy” idea, but it is one that works.

DRIFT, founded in 2021, creates sailboats, augmented with turbines, which will go through the water, guided by AI to inform them of the most beneficial route to pick up power. The tides themselves generate energy into the turbine, which is stored onboard as green hydrogen using a process called electrolysis.

Better yet, that onboard green energy can then be used wherever the sailboats end up docking – bringing green energy to the parts of the world that need it the most.

drift.energy

This article was first published in the Deustche Bank Supplement in the Spring/Summer 2023 issue of LUX

Portrait of artist Shezad Dawood at the sea’s edge in East Sussex

Shezad Dawood is seven years into ‘Leviathan’, a mammoth multidisciplinary project centred around our changing oceans. Maisie Skidmore visits the artist in his Hackney Wick studio to learn more about this monumental undertaking

Shezad Dawood is not one to back down from a big idea. “When I first called the project ‘Leviathan’, my partner asked, ‘Are you sure you want to do that?’” the artist says.

It was 2015, and London-based Dawood had begun to draw connections between the perilous journeys migrants were making across the Mediterranean, dominating the news at the time, and the environmental changes taking place under that same sea’s surface. He started speaking to environmentalists, oceanographers, political scientists, neurologists and trauma specialists, bringing together elements of their research on climate change, marine ecosystems, migration and mental health into the beginnings of what would become ‘Leviathan’ – a 10-part film cycle that also encompasses virtual-reality works, paintings, sculptures, textile pieces, talks and symposia featuring scientists and other thinkers. Inaugurated at the Venice Biennale in 2017, seven years on, ‘Leviathan’, the title taken from Thomas Hobbes’ 1651 work and the biblical sea monster of the same name, continues to gather momentum.

Disposable Mementoes (Dolphins), 2018

As an artist who is drawn to examine huge systems – language, history and legend being a few – the ocean had an irresistible draw for Dawood. “I make the slightly glib comment that calling this planet ‘Earth’ is a mistake, because it’s predominantly water,” he explains. “All life originates in water. Our human bodies are largely composed of it. We’re missing an important trick in thinking about who we are and where we come from.” With so many years in research, ‘Leviathan’ is still growing. “There is a universe of material.”

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Some of the pieces become universes in and of themselves. Take The Terrarium, the 2020 virtual-reality experience mapped out by evolutionary geneticists and marine biologists. It allows participants to step 300 years into a speculative future of the Baltic Sea, which runs from an eroded Kent coastline to the peninsula of Tallinn, on an Earth that is 90 per cent water. This “sci-fi, operatic” world sees the participant become a hybrid cephalopod released from a laboratory to the open seas to explore their surroundings. The immersive soundtrack, Shifter, by British composer Graham Fitkin, explores shifting baseline syndrome (the theory that each generation unconsciously shifts its expectation of what defines a healthy ecosystem). The Terrarium shows both the breadth of Dawood’s vision and the attention to detail in its execution.

Coral Alchemy II (Porites Columnaris), 2022

Other works seek to make visible the effects of climate change that are shrouded by the depths of oceans, bringing the present- day underwater world to ground level. ‘Coral Alchemy’ is a series of giant coral sculptures created for the exhibition Desert X AlUla 2022 in Saudi Arabia, where they were placed in a canyon that, some 10 million years ago, would have been the delta of what became the Red Sea. The colour of the sculptures changes to simulate the impact of rising temperatures on coral, transforming from carbon black in the morning, through their natural colour range, before bleaching fully in the midday sun. “People have become much more aware of coral reefs in terms of biodiversity,” Dawood explains, “but one thing that could be better communicated is their role as a membrane. Coral reefs act as a protective barrier in extreme weather events, such as tsunamis. They are nature’s barrier. If we keep seeing the same drop-off in reef ecosystems, coastal erosion will accelerate, and extreme weather events will have a much greater impact on coastal communities.”

Portraits by Jonathan Glynn-Smith

Other works focus on the intersection of climate change, migration and trauma. ‘Labanof Cycle’ is a series of large-scale textile works created in collaboration with Labanof (the Laboratory of Anthropology and Forensic Odontology) at the University of Milan, whose team recovers and documents lost possessions – even human remains – of migrants attempting the Lampedusa crossing from North Africa to Sicily. Dawood’s images, painted and screen- printed onto textiles, feature images of cigarette packets, Spider-Man gloves, batteries and tiny bags of earth taken from homelands. In immortalising what is lost at sea from boats that have capsized or sunk, Labanof creates a record of lives lost. It is a programme designed to serve both grieving families and legal and humanitarian protocol.

Disposable Mementoes (Crayfish), 2018

The subject matter is alarming. Yet, from enormous tactile images and immersive VR experiences, to the ghostly iridescent sheen of coral sculptures, Dawood’s work remains wondrous, enticing, empathetic. He is quick to mention the many scientists and thinkers who have contributed to it, sharing time and research to help him understand their specialisms.

Coral Alchemy I (Dipsastraea Speciosa), 2022

As well as communicating these issues of our time, Dawood has become determined to “close the virtuous cycle”. This is done, in part, through sharing information. “There is a web platform for ‘Leviathan’, and I have invited scientific informers to write short, accessible papers for it, bringing the science back to the forefront,” he explains. “We’re also upping the ambition.”

Read more: An Interview With KAWS

In collaboration with Professor Madeleine van Oppen at the Australian Institute of Marine Science (AIMS), Dawood is in the process of creating two grants, to be awarded annually to individuals working in coral research.

Leviathan, 2017. All artworks are part of Dawood’s ongoing ‘Leviathan’ project

It is both a chance to pay it forwards, he says, and an exercise in interdisciplinary collaboration. “I believe, increasingly, in an idea of convergence. How do we find ways to coexist, and take the broadest number of people along with us, into a more constructive set of notions of the future? How do we start having those conversations? We need new, fresh ways to think about how people can come together.” He smiles. “I’m an optimist, in spite of it all.”

Shezad Dawood is the official artist for the Deutsche Bank Wealth Management Lounge at Frieze London

Find out more: shezaddawood.com

This article first appeared in the Autumn/Winter 2022/23 issue of LUX