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Text and archives research by: Andrea Murdock Alpini
Header image: The dive deck of the Narragansett used by Vailati’s expedition.
Restored Images from the Book “Andrea Doria-74” (2021, new upcoming press by Magenes Editoriale). Courtesy of Luca Maresca
Original images from Ansaldo Archive based in Genoa: Antonio Pacucci, chief curator of Archivio e Fototeca Fondazione Ansaldo
Stefano Carletti is an adventurer, scuba diver, aviator, fisherman, and storyteller. He has told many stories about his great love, the sea; he has searched for hidden treasure on the seabed; and he is a man with a soul that mirrors the many moods of the sea—sometimes calm and placid, and other times stormy and unpredictable. The story of Stefano Carletti’s life is an extraordinary tailor-made adventure illustrated by sea life and narrated with books and articles which have fascinated audiences in the past as well as today. One of the stories he is likely known best for is that of the ship the SS Andrea Doria.
The Andrea Doria was a fascinating ocean liner that sailed from Italy to New York City. She was a symbol of class, taste, and refinement. The ship was launched on June 16, 1951, for its maiden voyage crossing the Atlantic Ocean from Genoa, Italy, to New York City on January 14, 1953. Andrea Doria remains a symbol of a bygone era. To travel on the Andrea Doria was a dream for many—from the anonymous third class passengers to the rich and famous first class voyagers whose names were well known: Magnani and John Ford, Orson Welles, Cary Grant, and Spencer Tracy, amongst others.
On a damned night—July 26, 1956, to be precise—the magnificent ocean liner sank off the Nantucket shoal after a long, agonizing struggle in the ocean’s current. The cut in her hull made by the MS Stockholm tore apart the right side of the Doria. Commander Piero Calamai was the last man to disembark from the doomed ship, the accident having struck his soul so deeply that he spent the rest of his life obsessed by the event.
As the Atlantic Ocean closed up its waters, surface foam was all that was left of the most beautiful ship ever built in the modern era. Nationwide, TV channels broadcast scenes of the abandoned dreams of a nation as the muddy seabed of the ocean welcomed the magnificent Andrea Doria vessel and transformed it into a myth.
In the summer of 1968, Bruno Vailati, the Italian film maker and scuba diver, gathered a crew of adventurers to travel to the USA to film the wreck of Andrea Doria. They were the second film crew to visit the wreck, though the first led by James Dugan, a colleague of Jacques Cousteau reportedly were not successful. Vailati’s crew was composed of Mimì Dies, Arnaldo Mattei, Al Giddings, and finally Stefano Carletti: the man who made Doria’s wreck immortal. The expedition was “provocatory” and demanding.
Coming back from the expedition to Rome, Stefano Carletti wrote the first book ever about the wreck of the Doria entitled, Andrea Doria -74 (the -74 refers to the depth of the shipwreck in meters). The book is a collection of feelings and rare images caught during scuba dives onboard the expedition’s side ship, Narragansett, where Stefano and the crew spent a month.
The first edition of the book has now become treasured possession for collectors world-wide, and a new updated edition with restored images, a new introduction from the author, including a critical essay from me (Andrea Murdock Alpini) will be soon available. The book will be a stunning new opportunity for wreckers and historians to own a re-edition of the extraordinary book into their private library.
Similarly, more than fifty years later, Bruno Vailati’s documentary by the same title, Andrea Doria -74, has become a cult classic. Thinking of the Andrea Doria invokes hundreds of emotions for Italian scuba divers. History, for us after all, is a foundation on which we build our lives. In the end, the wreck of the Doria will disappear into the Atlantic seabed, but her story will live on. After all, immortality is a destiny reserved only for the great beauty of the world.
I was honored to be able to interview Stefano and bring his thoughts and words about the Doria, which had been hidden by time, to a new audience.
Interestingly, the Doria was, of course, launched in Genoa in 1951. Two decades later, in 1971, a son of the same city, Fabrizio De André, composed a vinyl album inspired by The Spoon River Anthology from the American poet Edgar Lee Masters. The disc title, “Non al denaro non all’amore nè al cielo” (Nor to money, not to love, or the heaven) well describes the pure spirit of Stefano Carletti. [Listen to the track here] He loved, dived, flew, discovered, wrote, explored, and bequeathed his stories throughout his life. Here is the story that he told to me.
Andrea Murdock Alpini: Who is Stefano Carletti, today?
Stefano Carletti: Stefano Carletti is an eighty-year-old man, a kind of living anecdote. In fact, on May 1 , I will turn 82 years old.
Congratulations! Do you remember the winter evening dinner we had in Rome with Paolo Barone? He granted us a small ink bottle which he had taken from the wreck of Laura C., sunk off Calabria’s shore. Our story started with an ink pen and some stories to be remembered and told.
Of course, I remember that great dinner we had together in Rome. One of the first ice-breaking questions was about my writing practice, a world we both love. Writing is an activity that has been with me all my life, and by the way, one I never gave up to go to the Sea.
At present, I own a small fishing boat that makes me happy during the summer time, from early June to September. Usually, I sail the central and southern Mediterranean Sea: Sicily, Sardinia, Tunisia, and Libya are favorite spots where I have fished for decades. Fishing is an expression of freedom to me. This activity allows me to return to a special place where I have been going for forty years.
I am also still a scuba diver. I haven’t abandoned diving, I don’t miss an occasion to go scuba diving with good friends. However, I look at the sea with different eyes from the ones I had as a boy.
Before we started our interview you said, “The sea is a kind of amniotic fluid.” Can you tell me what you mean by that?
The sea has a moral and aesthetic sense for me. It has become a primary biological requirement over the years for my state of mind. It enables me to tell sea-based stories in my novels, and in this way I feel that the sea loves me.
Do you think of yourself as a scuba diver or a fish hunter with scuba gear?
The world has changed. Once a long time ago, the main goal of scuba diving was hunting fish. All was born by the limits that freediving imposed at that time, but scuba gear opened a new world, and we went deeper and for a longer time. We had, for the first time, a chance to catch huge-sized fish. We saw ourselves as hunters more than scuba divers.
Fifty-sixty years later I am aware that I have taken advantage of the Sea. My confessions are not those of an old man, for I was aware of what I was doing at those times too, but surviving to live this long has allowed me to admit my transgressions.. I wrote a book some decades ago titled “Naumachos”, and one chapter reads as a sort of regret. By the way, it was another time with different rules.
Sponges, red coral, fishes, ancient Roman urns and wrecks—that was what I hunted in my life to earn my daily bread. We did things that were so close to being illegal that probably today if you tried them, you would go to jail. The sea belonged to all who were crazy enough and brave enough to explore it. Wrecks? Those were considered “Res Nullius” (nothing) as ancient Latin people used to say, wrecks never belonged to anybody. There were no rules on this matter.
So what is a shipwreck to you today?
A wreck, first of all, is a terrible loss. Economical, psychological, and human. The wreck signifies the loss of mortal human beings who end up on the seabed.
How did the idea to film Andrea Doria’s wreck come about?
That is a very funny story that occurred while Bruno Vailati was onboard the Giaggiolo minesweeper, a ship which belonged to the Italian Navy. In 1967, Bruno was sailing onboard the Navy ship and went to Lampedusa Island (a remote and small Italian island close to Tunisia’s shores). At that time, I was living on the island and working as a shark hunter, and you know the Doria is famous for sharks. Bruno Vailati was preparing a set of documentaries about sea life titled, “I Setti Mari” (The Seven Seas) and was interested in filming some wrecks from WWII that I had discovered on the seabed that were unknown.
One evening Bruno invited me onboard the Giaggiolo to meet with him. He told me that a group of French explorers who worked with J.Y. Cousteau did not succeed in filming the wreck of the Doria, and had lost an ROV off Nantucket shoal. Intrigued by this little-known information, I played a joke on him and told him that I had a connection with a member of Cousteau’s crew and boasted that “If the Andrea Doria were here, I would be able to break her down, bolt-by-bolt,” as I had dived many, many wrecks
Some months later, during winter time, I saw Bruno and we worked together on the film we had planned since summer. Once again, Bruno Vailati caught me by surprise, “Stefano! Set up a press conference, and we will announce that we are planning an expedition to Doria’s wreck!”
You were surprised?
I was. I didn’t know anything about this beautiful ocean liner except the chronicles of its sinking. I didn’t even have an exact idea of where it was. The Expedition Board asked us to provide accurate historical research and to write a report after each scuba dive we made on the wreck. As I began to work on this matter, I found an air of mystery about the sinking and the wreck.
We had the Doria’s Loran coordinates which were taken by Doria’s Commander Piero Calamai, and we had been secreted by the American Coast Guard and Marine Navy. However, most of the information I found about the wreck was inaccurate; articles were in contradiction with one another, and a lot of the details were wrong. We spent almost a week at sea trying to get a signal from the wreck, while calculating currents, fog and wind, before finding the Doria on the bottom.
I believed the whole story must be told. Our expedition was known to history as a large-scale expedition, but in truth we sailed only for a great adventure.
So how did you feel about the expedition? Were you drawn by the Doria or the shipwreck itself?
The Andrea Doria expedition was born as kind of an afterthought. I merely followed the intention of the filmmaker, Bruno Vailati, to film an Italian wreck that had sunk in difficult conditions—not only the sea’s surface conditions, but also the surrounding waters. All contributed to the factors that piqued our interest about the wreck.
Our goal was to produce good quality images of the luxury liner on the seabed as an episode for the “I Sette Mari” Italian TV series. At the time, we were not yet fascinated by the Doria; we simply went to the US to do a job. Emotions initially played little part in our trip. We were not engaged with either the ship or the wreck.
Every time I watch the movie Pulp Fiction I love the way Samuel L. Jackson says, “Hamburger: The cornerstone of any nutritious breakfast!” Stefano, nowadays, as I’m sure you know, decompression diving is to tech diving, what hamburgers were to Jackson’s Pulp Fiction breakfast. LOL! Please tell me a little about your nutritious decompression diving.
Ha! Well Andrea, first I do remember our expedition breakfasts onboard the Narragansett quite well. I can tell you we had a black coffee, milk, and a healthy Italian breakfast prepared by Chef Mimì Dies and his assistant. After breakfast, we made two consecutive dives on the wreck of the Doria, which we planned according to the tides, fog, swell, and current.
We dived on air with 12-liter twinsets, wetsuits, deco tables, and watches with a bottom timer. We didn’t carry any deco cylinders. I used to drag a hemp rope to the bottom as a main line to find the way back to the boat. Typically, we spent 20 minutes on bottom each dive with an average depth of 55-75m (179-245 ft), and our decompression times varied from 35-45 minutes breathing air and later oxygen, which was supplied by the surface at 9 meters, 6 meters and 3 meters. Sometimes we spent that deco time inside a shark cage we built.
Diving the Doria was hard; the ocean was cold, visibility was often poor, and our lamps seemed like candles in the night. Of course we were also carrying heavy movie equipment. We recorded more than 2km of film, and made thousands of photos. We each spent about 21 hours diving the wreck in the month we were there! We had a great expedition.
The Doria has been called a death wreck, a fatal scuba dive, the Mount Everest of scuba diving. What is your perspective?
Today, you can see videos on YouTube of scuba divers diving the wreck of the Doria. Most of them carry large amounts of equipment they may consider necessary; whereas simpler, more streamlined technology would be more efficient and might even save lives. The excess equipment itself makes Doria’s dive dangerous, not the wreck.
I’m also sure, in some cases, inadequate skills and lack of fitness put many divers at risk. It’s true, too, that so many divers are interested in retrieving artifacts from inside the wreck, which puts them in danger. They have transformed a mid-level difficult dive into a “fatal dive.”
And that’s why it has a bad reputation?
The Andrea Doria does not deserve to fill the black chronicles of scuba diving. Too many poor souls have lost their lives, which is why it has been called “fatal dive.” I trust that the Doria is not a “fatal” wreck, and not even a difficult dive; however I think it is necessary to rethink the current way to approach diving this amazing wreck. If this were done, lives could probably be saved. A dive becomes “fatal” if the scuba diver makes it so. The wreck has no responsibility at all.
The Andrea Doria, what an amazing fate; from Dolce Vita’s luxury liner to a shipwreck. People say that today there are more Doria artifacts stored in American households than there are on the Nantucket shoals seabed. Each year the Doria is cannibalized by scuba divers from around the world. Did you keep any memorabilia from your exploration?
I have never removed any relevant memorabilia from the Doria’s wreck. Most of our scuba dives took place in the exterior part of the ship. I have gone inside the wreck only a very few times. I went to the commander’s deck, and I remember the helm and the stunning windows. To tell you the truth, I dived the Doria to tell a story, to write a book, and to make a film—that is to do a job—not to gather souvenirs. During my dives, I took just five or six First Class forks from the Doria’s dining room, and I gave them all to special friends. All I have left are my memories.
At the end of the final dive, filmmaker Bruno Vailati said, “We turned back and we looked at her.” For the first time he appears melancholic. It seemed like the great filmmaker finally put aside the job and revealed his feelings about the ship.
The last dive we made was during incredibly flat and calm sea conditions with no current. The visibility for the first time was stunning. I can say it was the only dive I had on Doria with crystal-clear visibility. It seemed that the wreck showed herself to us. During the previous 21 dives we had never really seen the Andrea Doria; we had only an idea of it because the strong current and the cold water with tons of plankton had hidden the wreck from our gaze. In fact, the majority of our dives were more tactile than visual.
Those times, what was in front of our eyes could have been a common ship. But on our last dive, when I brushed away the silt from her beautiful name letter-by-letter, I will never forget when the name “Andrea Doria” finally appeared to me. Yes, it is true, when we did the last amazing dive, we turned in awe, and said, “Arriverderci” to the ship.
LA Times (1990): Bruno Vailati; Producer Known for Sea Footage
Bruno Vailati’s Andrea Doria-74 (In Italiano)
Andrea Doria-74 is a 1970 documentary directed by Bruno Vailati, a film director specializing in marine and underwater films. The film was the first documentary able to show, in an organic and complete way, the wreck of the Italian ship Andrea Doria, which sank 14 years earlier. He received the David di Donatello Critics’ Award and the “Jury Prize at the Paris Film Technology Congress.” Filming took place in July 1968, during 21 dives on the wreck, with a diving group composed of Bruno Vailati, Stefano Carletti and Al Giddings, while the surface assistance group was composed of Mimì Dies, Arnaldo Mattei and the crew. ship Narragansett, chartered for the purpose. Source: Wikipedia.
Alert Diver (2016): Remembering the Andrea Doria by Michael Menduno
Andrea Murdock Alpini is a TDI and CMAS technical trimix and advanced wreck-overhead instructor based in Italy. He is fascinated by deep wrecks, historical research, decompression studies, caves, filming, and writing. He holds a Master’s degree in Architecture and an MBA in Economics for The Arts. Andrea is also the founder of Phy Diving Equipment. His life revolves around teaching open circuit scuba diving, conducting expeditions, developing gear, and writing essays about his philosophy of wreck and cave diving. Recently he published his first book entitled, Deep Blue: storie di relitti e luoghi insoliti.
Citizen Science to The Rescue: Getting to the Bottom of Lake Tomarata
Lake Tomarata and the surrounding wetlands near Auckland, New Zealand were mistakenly believed to be low-value habitat with limited–to–no biodiversity. That’s until water quality scientist Ebi Hussain and his posse of citizen scientists took up the case and started collaborating with local partners. Here’s what a team of dedicated volunteers can do.
by Ebrahim (Ebi) Hussain
Header image: Louise Greenshields installing continuous pH and dissolved oxygen sensors. Photo by Ebi Hussain
Lake Tomarata in New Zealand’s Auckland region, is surrounded by an extensive wetland—the only one of its kind in this region. Its ecological significance and rich native biodiversity, including several threatened and endangered species, make the lake and wetland complex unique and deserving of protection. It is dangerously significant that only ten percent of New Zealand’s wetlands still exist.
A very small subset of these wetlands are considered as lacustrine wetlands, making this ecosystem critically endangered; only one percent of this wetland’s original extent remains. The lake itself is equally unique and is the only example of a peat lake system in the Auckland region. The fact that these two very rare ecosystems exist together in one place makes this site extremely special and has set the stage for our most comprehensive project to date.
Both the lake and wetland have been independently studied before, but there has been no ecosystem scale assessment that examines both systems as one interconnected environment. The wetland values are well-described in published literature. However, the ongoing pressures and impacts from the surrounding catchment are not fully understood. The lake has been monitored over time, and the general consensus is that there is limited to no biodiversity values present and the water quality is deteriorating .
Our visits to the wetland and dives in the lake alluded to something more than the degraded systems described. Instead, we uncovered a misunderstood environment with complexities that led to the false assumption that the lake had low ecological value. This highlights the value of citizen science and in particular, divers that are able to regularly document areas that most people don’t frequent.
We wanted to legitimize our findings and debunk the false portrayal of this unique environment. To do this, we wanted to create an open access integrated ecosystem management tool that could be used for collaborative monitoring and restoration. This tool would need to be based on accurate ecosystem scale assessments and integrated into a single geospatial platform where all data could be viewed and interpreted. To create this tool, we needed to map the entire environment as one ecosystem, establish an in-lake biodiversity baseline and current state assessment for both systems, integrate all the data, and develop monitoring techniques that would inform management plans.
This seemed completely unachievable for a group of volunteers, but we did not let the monumental task intimidate us. We drew up a plan, put together a team, and pushed on one step at a time.
Draw Me A Map
The first step in understanding an ecosystem is to map the environment and create a spatial platform to guide in-situ surveys and integrate multidisciplinary data. This project was the first time we mapped aquatic, terrestrial, and transitional environments to create a single ecosystem model.
The challenge with this type of mapping was that we needed to work in three dimensions because the surface and subsurface environments are interlinked. The best way to do this was to use various survey techniques and data inputs for each environment to create an integrated, three-dimensional model of the entire ecosystem.
To map the lake, we used existing hydroacoustic data collected using a variety of methods including sonar, depth sounders, and pressure transducers to create a bathymetric map of the lakebed. We used divers to ground-truth (i.e., check the accuracy of) the bathymetry, and map the shallow transitional areas between the lake edge and the wetland. The result was a high-resolution map of the lakebed and general lakebed characteristics.
We mapped the wetland using drone imagery and existing data inputs. We flew a drone along a pre-programmed geo-referenced grid that spanned the entire sub-catchment to obtain high resolution imagery. This imagery, coupled with LiDAR data, was used to create a three-dimensional point cloud, ortho mosaic, and digital elevation model of the entire sub-catchment.
We combined the surface and subsurface mapping to create a single three-dimensional model of the entire ecosystem. This gave us the ability to visualize both systems as an integrated environment and extract detailed spatial and environmental information. This model would also be used to display and integrate all the survey data. To frame this data into the context of the wider landscape, we overlaid the catchment land use split, overland flow paths, soil types, and ecosystem classification. This allowed for a greater diagnostic power when assessing the potential impacts of changes in the wider catchment.
Assessing Lake Biodiversity
The biggest knowledge gap we faced was in-lake biodiversity. There have been several reports discussing the general health of the lake and discrete ecological surveys, but no conclusive lake-wide assessments. One of the conclusions drawn by a majority of the published literature was that the lake is completely devoid of plants and is overrun by pest fish species.
We used the bathymetry to design a lake-wide survey aimed at assessing habitat quality, macrophytes, key stone species, and benthic flora and fauna. The first survey was to map out specific habitat types throughout the lake; these areas were then plotted on the three-dimensional model. We used the habitat assessments to guide the other biodiversity surveys, since they gave us an idea of where various species may occur.
During the biodiversity surveys, we made some ground-breaking discoveries. Despite the lake being classified as non-vegetated, we have mapped nearly 1 km/0.62 miles of native macrophyte beds along the southern and western ends of the lake. We also found freshwater mussel beds on the eastern side of the lake, which was an amazing discovery, as no one knew these endangered species existed here. Recently, we were lucky enough to find the first juvenile freshwater mussels ever recorded in an Auckland lake.
So far, our findings indicate that this lake is far from a barren waterbody. There are signs of natural regeneration and established populations of endangered species. It is critical that we get this message out and raise the profile of this lake: the more we know about a place, the more we value its protection.
Establishing a Baseline
A baseline state is essential to track changes over time. We wanted to take an integrated ecosystem approach to the baseline assessment rather than focusing on tracking single metrics and using them as a proxy for wider environmental health.
The first step was to use the three-dimensional model we created to define the current extent of both the wetland and lake environments. Tracking changes in extent over time provides information on wetland succession/recession, water level, lake infilling, and habitat change. We used the high-resolution drone imagery to delineate discrete vegetation types across the wetland, and we aim to calculate vegetation biomass in the future. This will allow us to track changes in vegetation assemblages in response to eutrophication, sedimentation, and climate change.
The in-lake biodiversity assessments were used to create a baseline for in-lake health. Ecological response metrics like macrophyte extent, mussel density, substrate/habitat change, and species diversity will be used as a biological sentinel network that integrates the effects of multiple impacts across the ecosystem.
Changes in water quality are pivotal to both the lake and wetland, so it is crucial that we fully understand the current state. To understand the diurnal and seasonal variation in water quality, we installed continuous water quality sensors (temperature, pH, dissolved oxygen, and light) at every meter through the water column; these sensors will log measurements every 15 minutes for a year. This data, coupled with the monthly water quality samples and climate data from the Auckland Council, will be used to create an in-lake process-based model that can be used to understand and predict lake dynamics.
We will also integrate additional data such as bird counts, pest fish surveys, and hydrological studies collected from other agencies into our assessment. This information, along with other geospatial data, can continually be added to the platform as they become available.
Tracking all these parameters creates an early warning system able to detect subtle changes in ecosystem health. This integrated response-based approach is more sensitive than traditional monitoring methods. The in-lake, process-based modelling will continue to be calibrated as we collect more data, which will eventually allow for accurate scenario testing. The end goal is to be able to detect changes early enough that we can test virtual restoration/management scenarios and implement the most effective solution before significant degradation occurs.
Management & monitoring
The key to successful ecosystem scale management is collaboration. We created an open access platform for everyone with a vested interest in this area, not only so they could use the model, but so they could also contribute their own data. We established the baseline ecosystem state—which can be referenced in all future studies—as well as the monitoring tools required to track environmental changes. The last step will be to introduce people to our work and set up collaborative working groups focused on Lake Tomarata.
Currently, we are partnered with the Auckland Council, which has regulatory authority over the area. The Council and Aotearoa Lakes have a joint monitoring and data-sharing agreement which allows both parties to benefit from pooled resources, expertise, and data. We are working with the local communities and tribes from the area to raise the profile of this ecosystem and create an interest that will hopefully lead to proactive lobbying and restoration efforts.
Our integrated ecosystem monitoring design, spatial representation of multidisciplinary data, and ability to scenario-test management options creates a publicly accessible platform for informed collaborative ecosystem monitoring and management.
What makes this effort so special is that it was all done by dedicated volunteers. This project proves that citizen science can stand up to the rigor of commercial standards and in some cases even surpass it. I hope this article will inspire you to take action despite how Herculean the task may appear to be. There is nothing more powerful than a collective of like-minded people applying themselves to a single cause.
Please visit our website Aotearoa Lakes: Citizen Science for Our Lakes for more information on our projects. Note that “Aotearoa” is the Maori (the indigenous people of NZ) name for New Zealand, literally meaning, “land of the long white cloud.”
Check out their 3D model of Lake Tomarata: Aotearoa Lakes Eco-Maps. To get to the Lake Tomarata model, click on the website maps link (above). A banner pops up along the bottom of the screen with pictures of various lakes side by side. Click on the “Tomarata Lake” site which is the 3rd box from the left on the bottom banner.
Facebook page: Aotearoa Lakes: Citizen Science For Our Lakes
Home of Project Baseline
Ebrahim (Ebi) Hussain is a water quality scientist who grew up in South Africa. As far back as he can remember, he has always wanted to scuba dive and explore the underwater world. He began diving when he was 12 years old and he has never looked back. Diving opened up a new world for him and he quickly developed a passion for aquatic ecosystems and how they work. The complexity of all the abiotic and biotic interactions fascinates him and has inspired Ebi to pursue a career in this field.
He studied aquatic ecotoxicology and zoology at university, and it was clear that Ebi wanted to spend his life studying these subsurface ecosystems and the anthropogenic stressors that impact them. After traveling to New Zealand, Ebi decided to move to this amazing country. The natural beauty drew him in, and even though there were signs of environmental degradation, there was still hope. Ebi founded Aotearoa Lakes with the goal of contributing to, preserving, and enhancing this natural beauty as well as encouraging others to get involved in actively monitoring their natural surroundings.
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