The Collective Conscious is a self-assembling group of artists and scientists, based in Whistler, Canada, who believe that one brain is never enough and that the cross-pollination of ideas is where the heart of innovation and creativity lies. They are painters, illustrators, 3D modellers, interior designers, motion graphics designers and software developers but, as they say, "most of all we are just big nerds".

Illustrator Victoria Farrand and 3D modeller Thomas Wood collaborated to create 'The Unexpected', a series of drawings and 3D printed models.

After telling my daughter that I intended to build the Nautilus for her as her birthday present I got to work. Without going into detail here about all the various stages of the project and the endless challenges I faced - the challenges were many and multifaceted, and would easily require thirty pages to lay out - I brought the Nautilus to its first stage of conclusion on 17 December 2012, after six months and more than 500 hours of work. I gave up counting the actual monetary cost at a certain point since doing so was causing me, mentally, to avoid working on the project. I am sure the current cost - excluding all labor - is over $3000.00, but I would not be surprised if it were a lot more than that by the time it is finished. The second stage of work, in which I am currently involved, is the further decoration/renovation of the ship, which I fully expect will drastically change the look and feel of the dollhouse for the better. I see this stage as lasting another two years.

With respect to Glenn and 3D objects, the story is quite interesting. One of the first design challenges I had in building the Nautilus was what to do about the iconographic Bullaugen (large portholes) in the salon of the ship, the diving ring and the diving helmets. With regard to the former, at first I tried to find large size O rings from a variety of machine manufactures to serve as the Bullaugen, but I was unable to find anything suitable, since the size, the type of material and weight were factors: I needed something that was 6-8" in diameter, light weight (so that it could be mounted and would not put too much stress on either the bonds holding it, or the deck of the ship under it), and capable of being decorated. But during my failed search for O rings, I came upon a site, Custommade.com, that introduced people working on projects to people that could help them with those projects. It was here that I met Glenn, who is also an active Shapeways community member.

I owe Glenn a great debt of thanks for his kind generosity, beautiful work and patience. Glenn agreed to design the two Bullaguen, which we would then send to Shapeways to be printed in 3D. He also agreed to design the diving ring in the dive room, and the helmets for the crew. With respect to these latter two projects, I decided in favor of 3d printing because there was simply no other objects that could be suitably modified or pressed into service that would provide the proper look and feel. No one is making dollhouse scale (1/12 scale) diving helmets, as you can imagine ("Tea anyone in the parlor? Don't forget your certified to 1000 feet brass and copper diving helm!") I did find, at one point, keychains with brass diving helm decorations, but the helms were too small for the dolls' heads, and I wanted the dolls to be able to "get dressed" for diving and going through the diving ring.

Things almost came to a screeching halt, however, in the design and manufacturing of the helmets. Here we had a variety of issues that caused us many problems and drove the unit cost far beyond what either of us had envisioned. To make a long story short, in creating the helmets we experienced design snafus (things crept into the design that neither of us actually visually caught), miscommunication (especially visualizing differing measurements and proportions), and uncertainty (how would things really fit and look on one of the dolls). The result was that the first 3D helm we printed was expensive and unusable. It was, in fact, three times too large for the dolls, and would not fit through the diving ring. The second attempt at the same helm was stopped in production by Shapeways because of unworkable geometry (a sincere and heartfelt "thank you" to the team! Ed note: You're welcome!), and had to be redesigned again. Only the third time did we finally get a product that we could use, and, by then, costs had exceeded the budget by a wide margin. Even then I had to modify Captain Nemo to be able to wear the helmet, though for the rest of the crew the helmet was a perfect fit. As a consequence of the costs I am still buying helmets one at a time!

The ship itself is entirely handmade, handpainted and hand decorated by myself. So, for example, there are somewhere between 3000 and 4000 brass 1/8" brads in the ship serving as "rivets," all of which were put in by me by hand, and which constituted THE most repulsive decorating project in the Nautilus by a wide margin. The contents of the ship are either handmade by myself or handmade by someone else, and sometimes they are joinly made. For example, the bookshelves in the ship are partly made by me out of teakwood. I then enlisted a coppersmith I found on etsy and had him manufacture the copper "spirals" that mimic the style of the shelves in the movie. After receiving those, I glued the teak shelves together, stained them by hand, glued on the copper spirals and sprayed the entire shelving with lacquer. These were installed into one bedroom and the salon.

The map cabinet in the Navigation room, as yet another example, was made entirely my myself out of mahogany that I carefully cut, shaped, drilled, stained and painted. I then bought 7mm copper o rings and glued them onto the front of each map hole in the cabient. Finally, I manufactured fifteen sea charts for it. The strange clocklike mechanisms in the Nautilus are also made by myself by hand - they were a huge and physically painful project (bending copper on a micro scale bites into the fingertips terribly). But most of the furniture and some decoration pieces are made either by individual craftspersons (books, looking glass, porcelain, rugs by L DeLaney and evminatures, to name but two of my favorites), or high end dollhouse miniature companies (especially Bespaq, and Reutters porcelain).

So here we are. They Nautilus is now in phase two, decoration and renovation. I am adding additional shelving, rugs, furniture, curiosities, books, maps, fishing nets and more over the next two years. The bottom level of the Nautilus will come in for special attention in terms of its redecoration. In my view it much be much more spectacular, given how difficult it is to see. There will be hidden treasure (ballast, as Nemo tells Ned Land), an entirely redesigned and decorated kitchen and more. And more 3D helmets are coming as well; I eventually want to have four or five for the entire crew!

What an incredible project! Congratulations Alexander, and I'm sure your daughter feels like the luckiest girl in the world!

Tell us a little bit about yourself: Who are you? Where are you located?

Chris Schmidt and Megan Ender are Seedling Design. We have created jewelry and art for over 10 years and currently work out of our home studio in Oakland, CA. By day Chris is an industrial designer and invents toys for companies such as Mattel, Hasbro, Fisher-Price, MGA and LeapFrog. Megan has a career in non-profit work and art education. We design bold and unique pieces that attract attention and our wish is that you enjoy, get complimented and feel especially delightful wearing our products! 

What's the story behind your designs? What inspires you? 

Seedling Design stems from the concept of taking a seed of an idea and seeing how we can transform it into something magical. Some concepts we’ve started off with are: Imaginary rock collections, magnetic sculptures, food as jewelry, cool geometry, tensegrity, planet inspired jewelry, self-defense rings, what would our favorite artist’s jewelry look like, textiles with 3D printing, and other mixed media pieces. Inspiration comes from our everyday lives, our childhoods, nature and our interest in geometry, science and technology. We have a list of 200 ideas that keeps growing, including ideas such as how to bring back pop-beads for kids in a modern form.  

What brought you to 3D printing with Shapeways?

In working in the design field for 15 years, Chris has seen the growth of 3D printing and was excited to use the technology. At work Chris uses an FDM (fused deposition modeling) printer all the time, but the output is less than attractive. Any other technology was always too expensive up until we discovered Shapeways. Now we can experiment all we want at a minimal cost.

How do you promote your work?

Since we are just starting out as a part-time, just for fun company, we’re only in the beginning phases of promoting our work. We started on Etsy and we are experimenting selling our work in several local Oakland shops. Since we both have fulltime jobs, getting ourselves out there has been a slow but informative process and we hope to keep expanding our audience.  

Who are your favorite designers or artists? Who in the Shapeways community has served as an inspiration to you? 

Our favorite artists and designers include: Tara Donovan, Gaudi, Anish Kapoor, Alexander Calder, Buckminster Fuller, Herbert Bayer, Louise Nevelson, Olafur Eliasson, Barbara Hepworth, Gabriel Orozco, Ai Weiwei, Shepard Fairey, Eva Hess and probably 50 more. As far as 3D printing artists, we’ve always liked the work of Nervous System and Bathsheba.

Check out their colorful designs on their Shapeways shop or their website.

Want to be our next featured designer? Send me an email at natalia@shapeways.com.

Tell us a little bit about yourself: Who are you? Where are you located?

I am an artist, author,  designer and yoga teacher, working at the intersections between art science and technology. These practices, often considered divergent, find a common denominator in thinking of ourselves as a part of a system. For instance a yoga posture is about our body defining a geometric form changing in time and relating to space; human movement can also be thought of as a design solution.  I have been living in New York for over two decades but I was born and grew up in Rome. Living in a city where you breathe geometry in every building and street, probably had a major influence in my work.

I started working with 3D design in architecture, as my formal degree is a masters in architecture. I have been working with 3D modeling for over twenty years using several different softwares, from AutoCAD to 3dMax, often writing scripts to customize built-in functionality. More recently I have been using Bentley GenerativeComponents, a parametric associative software, where C# scripts can be used to build geometric elements as well as a sequence of transformative operations. I find GC the best design tool so far for its flexibility; the change of parameters allows me to design wearable objects of different sizes and materials specifications using the same set of operations. 

What brought you to 3D printing with Shapeways?

Who are your favorite designers or artists?

Leonardo, Filippo Borromini, Marcel Duchamp, Buckminster Fuller, Philip Stark and Kraftwerk. On Shapeways, I like Bathesba's work a lot.

If you weren't limited by current technologies, what would you want to make using 3D printing?