 (Lianhuanhua, Huacheng Publishing House, 1983)

 NCC-177 
Mego Toys (Packaging Artwork, 1975)

 NCC-1701 (Smithsonian | Alt. Future) - 2254 | 2293 


Enterprise
Star Wars and Other Space Themes

Star Trek vs. Transformers - “Prime’s Directive, Part Three”

Star Trek/Green Lantern - “Spectrum War”

 (Andrew Probert, Concept Artwork, 1987) 

The various renderings of ships in the image were crafted by the Roddenberry Archive team to represent some of the myriad 

that have been featured in various beta-canon works from novel covers to comic books, unused concept art, and more.



Starships

Ship

REGISTRY NO

Bridge

Enterprise

Feature assets

Myriad Realities

 XCV-330 was an early spacecraft operating prior to 2143. This ship borrowed from Vulcan technology, as evidenced by its similarity to many Vulcan starships.


Directly accessible only by ladder, the command center for the 

 XCV-330 served as the hub for mission operations. The room consisted of a single command chair with a dedicated control surface, along with room for additional bridge officers surrounding a central holographic display surface. Several display screens adorn the outer walls, with a main viewscreen at the forward end of the room.

This design was one of the earliest concepts by art director Walter “Matt” Jefferies in 1964 during development of the original

as a painting in the recreation deck set of the refitted 

. The concept was also used in a proposed series devised by Gene Roddenberry in the 1970s.



As portrayed in an unnamed series proposal (Production Artwork, c1970)

 XVC-330 was envisioned in a series of concept art for a proposed television series devised by Gene Roddenberry in the 1970s. Its design was a departure from the bridges we’d seen in early 

 productions, but still retained some familiar elements like a central command pit and large main viewing screen.



Prime Timeline

 NX-01 was launched by the United Earth Starfleet in 2151 under the command of Captain Jonathan Archer prior to the founding of the United Federation of Planets in 2161. The first 

-class starship and the first vessel fitted with a warp five engine, the ship was crucial in establishing United Earth as a legitimate interstellar power.



The bridge of the NX-01 was circular with a heavy emphasis on function over aesthetic. The captain’s chair was centrally located, with the helm station positioned forward of the captain at a lower elevation. Several duty stations surround the outer edges of the bridge, such as the science and communications stations on the port side, as well as the security and engineering stations on the starboard side. The situation room at the rear of the bridge served as an informal briefing room for senior staff.

 art department under Herman Zimmerman, the NX-01 was a retro take on the 

-class that had appeared in previous Star Trek productions.




This configuration of the bridge of the NX-01 was seen in the first season of 

 It was designed to appear as a mid-way point between the spaceflight technology of the time of filming and the futuristic technology envisioned by 

-class starship and the first vessel fitted with a warp five engine, the ship was crucial in establishing United Earth as a legitimate interstellar power.


The bridge of the NX-01 was circular with a heavy emphasis on function over aesthetic. The captain’s chair was centrally located, with the helm station positioned forward of the captain at a lower elevation. Several duty stations surround the outer edges of the bridge, such as the science and communications stations on the port side, as well as the security and engineering stations on the starboard side. The situation room at the rear of the bridge served as an informal briefing room for senior staff.

This configuration of the bridge of the NX-01 was seen in the fourth season of 

, incorporating changes made to it throughout the previous seasons. In addition to the more subtle updates in color and detailing, the bridge was most notably given a new captain’s chair, additional control panels and monitors featuring updated animations, and blinking LEDs integrated into the various duty stations.



NX-01 was launched by the United Earth Starfleet in 2151 under the command of Captain Jonathan Archer prior to the incorporation of the United Federation of Planets in 2161. The first 

-class starship and first vessel fitted with a warp five engine, the ship was crucial in establishing United Earth as a legitimate interstellar power.


This configuration was speculation on the part of Doug Drexler and was finally made canon by its inclusion in the Fleet Museum in the third season of 

-class) that launched in 2245 under the command of Robert T. April. After a five-year mission, April’s command came to an end in 2250 when he turned command over to his first officer Christopher Pike. It was the first Federation starship to bear the name 

and one of the most storied starships in Federation history.



This design featured a dome-shaped command center with a large rectangular viewing screen at the front and control stations lining the perimeter. In the center of the room was a split console and two operator’s chairs atop a rotating dais.

series pitch, the main character was named Robert April. Robert April was later canonized as the first captain of the 

 episode “The Counter-Clock Incident” and the first season of 

appeared the same in 2245 as it did during the events of “The Cage” in 2254, the Roddenberry Archive has chosen this depiction of the ship for Robert April’s command.


 during its development period, did a sketch of an early control room configuration. This is how it has been interpreted by the Roddenberry Archive’s art team, and as it may have existed under Robert April’s command.

Ship Exterior

-class) launched in 2245. It was commanded by Captain Christopher Pike from 2250 until 2265. It was the first Federation starship to bear the name 

and one of the most storied vessels in Federation history. In 2254, it was diverted to the planet Talos IV after receiving a distress call from survivors of the crashed 

. The distress call proved to be a ruse devised by the powerful telepathic inhabitants of the planet where they captured Pike and submitted him to severe mental torture. After Pike’s release, the incident led to the establishment of General Order 7, forbidding any Starfleet vessels from visiting the planet.



Located on the first deck of the primary hull, the main bridge of the 

 functioned as the ship’s command center. The captain's chair, located in the center of the room, swiveled to allow the captain an uninterrupted eyeline of all control consoles that operated specific areas of the ship. Mounted to the room’s forward bulkhead was a large viewscreen which could show information from the ship’s sensors, including tactical readouts and several viewing angles from the ship’s exterior. Piloting and navigation were carried out at the helm console, directly forward of the captain. Along the perimeter of the bridge were consoles for communications, sciences, engineering, defense, and environmental control. Access to a turbolift was located behind and to port of the captain.


Briefing Room

 was one of several meeting facilities located in the primary hull, used for command briefings and mission planning by the ship’s senior staff and other personnel. Featured a large conference table with a large monitor at the far end, as well a library computer access terminal.

 Captain Pike’s Quarters | Deck 2 (2254)

Captain Pike’s Quarters

Relatively spartan by the standard of later Starfleet vessels, the captain’s quarters on the 

 under the command of Captain Christopher Pike were just below the ship’s bridge. That location provided easy access to the ship’s operations center, while offering a convenient place for the commander to work, away from sometimes-frenetic activity of the bridge.

Transporter Room

Located on Deck 7 in the primary hull of the 

, the transporter room was used to convey crew and equipment short distances for landing party missions, crew transfer, and resupply. The transporter employed quantum-resolution matter/energy conversion transportation technology.


 was conceived and designed by art director Walter M. “Matt” Jefferies. Construction of the actual filming model was supervised by Richard C. Datin under contract to the Howard Anderson Company. The main model of the 

was 11’ long, but was only used for one shot in the first pilot episode, “The Cage,” a dramatic shot in which the camera dollies in towards the saucer, revealing the bridge through a large window. The remainder of the ship shots in “The Cage” were accomplished with a smaller 3’ model that had been built first as a proof-of-concept of Jefferies’ design. The 11’ model was featured more heavily in the second pilot episode, and even more after 

 went into production as a weekly series.

As portrayed in Star Trek: The Original Series - “The Cage” (Pilot Episode, 1964) 

first bridge set was constructed for the first pilot episode, "The Cage." It had a color palette of cool and warm gray and was a functional design for interacting with command and support personnel. The placement and height of the captain's chair was lower than later versions and there were ubiquitous video/comm devices on stalks (dubbed “gooseneck viewers”) placed at each bridge station.  The basic layout Matt Jefferies established with the design of this bridge set would go on to influence the design of every bridge set appearing in future 

 briefing room, as seen in “The Cage” and in the second pilot, “Where No Man Has Gone Before,” was significantly different from the set that was used throughout the remainder of the original 

series. This early set had a generally round shape, leading to speculation that it was envisioned as located in the “teardrop” shaped superstructure on the top of the primary hull, just below the bridge.


 - “The Cage” (Pilot Episode, 1964) 

The captain’s quarters, as built at the Desilu-Culver City facility for the first pilot episode, “The Cage,” featured a round floor plan and a curved back wall, as if to imply that it was located in the “teardrop” shaped superstructure at the top of the ship’s primary hull, just below the bridge. When the 

 interior sets were moved to the Desilu-Gower lot, the captain’s quarters set was completely redesigned by art director Matt Jefferies.


Constructed on Stage 15 at the Desilu Culver Studios for the two 

 pilot episodes, this early version of the transporter room did not yet have the iconic control console with the distinctive three sliders. In “The Cage,” the transporter console was a re-use of the bridge helm/navigation console, mounted on a different base.

-class vessel launched in 2245 that was commanded by Captain Christopher Pike from 2250 until 2265. It was the first Federation starship to bear the name 

and one of the most storied starships in Federation history. In 2257, it aided the 

in investigating the meaning behind seven mysterious red signals.

 was circular in shape with a wide viewscreen/window combination at the forward end of the bridge. The captain’s chair was placed centrally, slightly towards the rear, with the conn and ops stations directly in front at a lower elevation. Five additional duty stations surrounded the outer perimeter of the bridge, critical for carrying out ship operations. Access to both a turbolift and the conference room were available at the rear port and starboard sides of the bridge, respectively. This bridge was relatively unique in that it had direct access to other parts of Deck 1 via hallways that surrounded the bridge itself.


 was designed by John Eaves and made its modern debut in the final episode of season one of 

 by production designer Tamara Deverell to be both an homage to and a modern, sleeker take on the original 

. The bridge was lit with a cool lighting scheme for its 

and one of the most storied starships in Federation history.

 was circular in shape with a wide viewscreen/window combination at the forward end of the bridge. The captain’s chair was placed centrally, slightly towards the rear, with the helm and navigation stations directly in front at a lower elevation. Five additional duty stations adorned the outer perimeter of the bridge, critical for carrying out ship operations. Access to both a turbolift and the conference room were available at the rear port and starboard sides of the bridge, respectively. 

Captain Pike's Quarters

 exemplified his multifaceted persona and interests. Pike was an avid cook, host, and cultural explorer. His quarters featured a kitchen, a dining table, a fireplace, and a hydroponic garden. He also displayed a plethora of artifacts and art from his voyages. Pike's quarters were a cozy and hospitable space, where he frequently invited his crew and friends for gastronomic and ludic experiences.

Spock's Quarters

 were a reflection of his dual heritage and his quest for balance. The room was spacious and minimalist, with large windows that offered a view of the stars. Spock had a few personal items that reminded him of his Vulcan and human origins. He also had a meditation alcove where he could practice his mental disciplines and connect with his inner self. Spock's quarters were a place of peace and harmony, where he could explore his emotions and logic in equal measure.


The transporter room was a marvel of 23rd-century engineering. It was a critical hub for crew members to beam to alien worlds or ships. The room blended mid-century aesthetics with futuristic elements, reflecting the ethos of exploration and discovery. The room housed the iconic transporter pad and an added corridor that facilitated movement, embodying the fluidity of space travel. 

Training Quarters


Adhering to the architectural consistency of the crew quarters, this specific room was intentionally left uncluttered to maximize space for combat training. The side walls were equipped with an array of weapons and tools, which provided crew members the opportunity to enhance their proficiency in various combat techniques. This strategic design ensured that the crew was well-prepared for any potential combat scenarios that may arise during missions. The room thus served as a practical and versatile space for skill development, reinforcing the crew’s readiness for diverse challenges.


 remained primarily the same as its appearance in 

y, save for a few cosmetic differences, including the placement and shape of some of the ship’s windows to match the windows featured in new interior sets built for the series.


 was slightly modified from its reintroduction in 

 by the series production designer Jonathan Lee. In contrast to its previous appearance in 

, the bridge was lit with a warm lighting scheme for its 

 appearance, among other cosmetic modifications.


 was a blend of retro and modern design. The production designer, Jonathan Lee, wanted to pay homage to the original 

 series, but also update it for the 2020s. He used custom-made furniture and 1960s brutalist art to create a cozy and stylish space for the captain. The set reflected Pike's personality and his role as leader of the 

 maintain a consistent architectural framework, each room was uniquely tailored to mirror the character and narrative arc of its occupant. For instance, Spock’s quarters incorporated several design elements reminiscent of the original 

 series, most notably the central dividing wall. Despite the familiarity of Spock’s quarters from previous series, the 

 rendition represented a modern refit, reflecting advancements in technology and increased production budgets characteristic of the 2020s. This approach ensured both continuity and innovation in set design.

The transporter room was a blend of iconic elements and modern updates. Production designer Jonathan Lee was responsible for the design. He added a corridor around the back of the transporter room to allow for easier camera movement. The design was similar to the original 

 series, with Lee ensuring that his favorite elements made the cut. The transporter room, like other parts of the ship, reflected a balance between mid-century aesthetics and contemporary science fiction futurism.



“Tomorrow and Tomorrow and Tomorrow” (TV, 2023)

The training quarters was a simple redress of the set used for the various crew quarters seen throughout the

-class vessel launched in 2245 that was commanded by Captain James T. Kirk beginning in 2265 after previous commander Christopher Pike’s promotion to fleet captain. It was the first Federation starship to bear the name 

and one of the most storied starships in Federation history. In 2265, the ship attempted to cross the Galactic Barrier, having the phenomenal effect of causing two members of its crew to develop threatening extra-sensory powers.

 functioned as the ship’s command center. A swiveling command chair was located in a recessed area in the center of the room, giving the captain an uninterrupted eyeline of all control consoles that operated specific areas of the ship. Mounted to the room’s forward bulkhead was a large viewscreen which could show information from the ship’s sensors, including tactical readouts and several viewing angles from the ship’s exterior. Piloting and navigation were carried out at the helm console, directly in front of the captain. Along the perimeter of the bridge were consoles for communications, sciences, engineering, defense, and environmental control. Access to a turbolift was located behind and to port of the captain.


 - “Where No Man Has Gone Before” (TV, 1966)

 built for “The Cage” was given a facelift for the second pilot episode, including lit windows and additional decals on the top surface of the primary hull. The miniature’s scale was also altered from one that held just over 100 crew to that of a ship that held over 400. This version of the filming model appeared in the opening credits for the entire first season.


 bridge for the second pilot, as well as placing the captain’s chair on a raised platform to give it a more commanding presence.


-class) launched in 2245 that was commanded by Captain James T. Kirk beginning in 2265 after previous commander Christopher Pike’s promotion to fleet captain. It was the first Federation starship to bear the name 

 and one of the most storied starships in Federation history. The ship's primary goal during Kirk’s five-year mission of deep space exploration was to seek out and contact alien life.


 functioned as the ship’s command center. A swiveling command chair was located in a recessed area in the center of the room, giving the captain an uninterrupted eyeline of all control consoles that operated specific areas of the ship. Mounted to the room’s forward bulkhead was a large viewscreen which could show information from the ship’s sensors, including tactical readouts and several viewing angles from the ship’s exterior. Piloting and navigation were carried out at the helm console, directly forward of the captain. Along the perimeter of the bridge were consoles for communications, sciences, engineering, defense, and environmental control. Access to a turbolift was located behind and to port of the captain.

 Captain Kirk’s Quarters | Deck 5 (2266)

Captain Kirk's Quarters


Crew quarters were located throughout the primary hull of the 

 in the late 2260s; the quarters of Captain James T. Kirk were located on Deck 5 along with most of the other officers' quarters. As with all officers’ quarters aboard ship, Kirk’s quarters consisted of two areas, separated partly by a wall fragment and decorative grille. One area was allocated as the sleeping area, featuring a bed and a rotating combination dresser and storage unit, and the other as a work area, including a desk and computer terminal. Entrance to a bathroom was provided through the quarter’s sleeping area. Both areas could be adorned with various decorative items and personal effects belonging to the starship’s captain.

Rec Room

 in the late 2260s was equipped with several facilities for meal service and recreation. These "rec rooms" included food dispensers, which provided a selection of food and beverage items from cuisines across the Federation. Off-duty personnel often congregated here for meals and to socialize with other crew members. Starfleet considered these facilities vital to crew morale and therefore critical to mission success.

 in the late 2260s, the transporter room was used to convey crew and equipment short distances for landing party missions, crew transfer, and resupply. The transporter employed quantum-resolution matter/energy conversion transportation technology.

Sickbay

 in the late 2260s, the sickbay complex featured an examination room, the chief surgeon’s office, a medical lab, and an intensive care ward. In addition to treating injuries and illnesses a crew member or other person might sustain, the area was also used for analysis of new lifeforms a starship might encounter, as well as developing treatments for unknown diseases or illnesses.


 was one of several meeting facilities located in the primary hull, used for command briefings and mission planning by the ship’s senior staff and other personnel. Featured a large conference table with a central tri-screen monitor, as well a library computer access terminal as well as voice intercom units and microtape player slots at each seating position.

Main Engineering

Located on Deck 19 in the secondary hull of the 

 in the late 2260s, main engineering was from where the ship’s warp and impulse engines were controlled. Propulsion and power systems were primarily controlled from this room, and it is where the main dilithium crystal reactor was located. In 2266, the room featured an entire bank of control consoles on one wall, two large power units near the opposite wall, with the ship’s enormous engines observable through a mesh grating. At this time, the room also contained a console where critical ship functions could be rerouted and controlled in case of emergency.

Jefferies Tube

Located near main engineering and throughout other areas of the ship were maintenance conduits called “Jefferies tubes” which were used to provide crew access to various ship’s systems. These conduits provided access to important system controls, relays, and vital engineering circuits. 

The 11’ filming miniature of the U.S.S. Enterprise originally built for “The Cage” by Richard Datin was updated when regular series production began by adding a complex lighting rig to its two engine domes. The wiring for these can occasionally be seen in certain shots, as the wires were mounted on the unfinished port side of the ship. The ship was also painted with a slight greenish tint, compared to its previous cool blue tint.


 series went to production, the bridge underwent a dramatic change. To coincide with RCA-owned NBC network’s desire to have bright, colorful shows to highlight and generate interest in the purchase of new color televisions, bold areas of red, green, and blue were added to the more austere grays of the pilot version bridge. Our depiction is how the bridge looked during the season one episode, “The Galileo Seven.”

The captain’s quarters set was redesigned by art director Matt Jefferies and built as a permanent 

set on Stage 9 at Desilu's Gower facility in Hollywood when 

 went into regular production. The captain’s quarters set was frequently redressed when needed to become the quarters of numerous other crew members. In the earliest few episodes featuring the room, what appears to be a window or porthole is located on the outer walls of each half of the set, suggesting that the room was located along the ship’s saucer’s edge. These windows were covered with trapezoidal wall decorations starting in “Charlie X”, the seventh filmed first season episode, and remained covered every time this set was seen throughout the remainder of the series. We at the Roddenberry Archive have depicted our first season version of this set with one of the windows uncovered.

The rec room set was a redress of the briefing room set and contained a bank of “food synthesizers” or “food slots”, giving viewers an impressive glimpse of how food might be prepared and delivered in our distant future. This fictitious food synthesizer technology was the predecessor to the iconic “replicator” technology first featured in 

 creator Gene Roddenberry as a budget-friendly solution to the expensive prospect of showing the massive 

 landing on planets every episode. It was originally described as an "energy-matter scrambler which can 'materialize' landing parties onto the planet's surface." This futuristic technology went on to be a unique staple in 

’s identity, spawning the popular catch phrases “Energize” and “Beam me up, Scotty” (although the latter was never uttered in exactly that way in the series). The transporter room itself was constructed on Stage 9 at Desilu's Gower facility in Hollywood with the rest of the permanent 

sets and, due to the complexity of the transporter chamber’s lighting rig, went relatively unchanged during its three season run.

Constructed on Stage 9 at Desilu's Gower facility in Hollywood with the rest of the permanent 

 sets, sickbay originally consisted of two rooms: an examination room and an intensive care ward. A third smaller room featuring the decompression chamber was built off the examination room for the late first season episode, “Space Seed.” For the first season’s final filmed episode, “Operation: Annihilate!,” the decompression chamber found a new home in a separate medical bay set constructed elsewhere on Stage 9. Beginning in the show's second season, this medical bay set was merged with the existing sickbay facility rooms with the addition of a dedicated area for Doctor McCoy’s office joining the two larger sets together. We at the Roddenberry Archive have depicted the smaller layout seen in “Space Seed” for our first season presentation of this set.

The briefing room set was constructed on Stage 9 at Desilu's Gower facility in Hollywood with the rest of the permanent 

 sets. Although most commonly seen as the briefing room, it frequently served as a swing set, being used for the ship’s various recreation rooms, formal dining room, chapel, courtroom, and environmental engineering.

Constructed on Stage 9 at Desilu's Gower facility in Hollywood for the first season episode “The Enemy Within,” the main engineering set was designed by Matt Jefferies, who employed forced perspective on the “engines” seen through the hexagonal grating to give the illusion that they extended much farther back than they actually did on set. Throughout the show’s first season, details of the engine room evolved, and it was also redressed to serve as the ship’s gymnasium, theater, phaser control room, and the Starbase 11 computer room. It was modified extensively for the show’s second season, with a second level above the bank of consoles and a dilithium crystal reactor in the center of the room. We at the Roddenberry Archive have depicted the way the set appeared in “Space Seed” for our first season representation of this set.


 Matt Jefferies originally called these service tunnels “power shafts”, they were given the name “Jefferies tubes” as an in-joke during the production. It wasn’t until the third season of 

 that the tubes were canonically mentioned as such. Jefferies tubes have gone on to be a staple of future 

 was constructed by Matt Jefferies’ brother John, who explained that the tube was mounted on rollers so it could easily be moved around, and was built out of a Sonotube, which were used for forming concrete and came in varying diameters. 

It should be noted that before the Jefferies tube was a permanent part of the corridor set itself as seen in the second and third season of 

, it originally started its life in a small side room off the corridor near the engine room in the first season, as evident in both episodes and the set layout plans for that season.



-class) launched in 2245 that was commanded by Captain James T. Kirk beginning in 2265 after previous commander Christopher Pike’s promotion to fleet captain. It was the first Federation starship to bear the name Enterprise and one of the most storied starships in Federation history. The ship's primary goal during Kirk’s five-year mission of deep space exploration was to seek out and contact alien life.

Located on the first deck of the primary hull, the main bridge of the 

 was updated when regular series production began by adding a complex lighting rig to its two engine domes. The wiring for these can occasionally be seen in certain shots, as the wires were mounted on the unfinished port side of the ship. The ship was also painted a slight greenish tint, compared to its previous cool blue tint.



, nearly all of the resin control panel buttons on the bridge were replaced with those of a different type. The upper display screens above each station also had new artwork adorning them, but the most prominent addition was a motorized tactical display for Sulu’s helm station. Our depiction is based on how the bridge looked during the second season episode, “The Doomsday Machine.”


and one of the most storied starships in Federation history. The ship's primary goal during Kirk’s five-year mission of deep space exploration was to seek out and contact alien life.

 functioned as the ship’s command center. A swiveling command chair was located in a recessed area in the center of the room, giving the captain an uninterrupted eyeline of all control consoles that operated specific areas of the ship. Mounted to the room’s forward bulkhead was a large viewscreen which could show information from the ship’s sensors, including tactical readouts and several viewing angles from the ship’s exterior. Piloting and navigation were carried out at the helm console, directly in front of the captain. Along the perimeter of the bridge were consoles for communications, sciences, engineering, defense, and environmental control. Access to a turbolift was located behind and to port of the captain.

 was updated when regular series production began by adding a complex lighting rig to its two engine domes. The wiring for these can occasionally be seen in certain shots, as the wires were mounted on the unfinished port side of the ship. The ship was also painted a slight greenish tint, compared to its previous cool blue tint.


 - “Is There In Truth No Beauty?” (TV, 1968)

, the general lighting of the bridge was altered, and the capability of having rear projections on the main view screen was introduced. The upper display screens above each station also once again had new artwork adorning them. Our depiction is based on how the bridge looked during the third season episode, “Is There In Truth No Beauty?”

 functioned as the ship’s command center. A swiveling command chair was located in a recessed area in the center of the room, giving the captain an uninterrupted eyeline of all control consoles that operated specific areas of the ship. Mounted to the room’s forward bulkhead was a large viewscreen which could show information from the ship’s sensors, including tactical readouts and several viewing angles from the ship’s exterior. Piloting and navigation were carried out at the helm console, directly in front of the captain. Along the perimeter of the bridge were consoles for communications, sciences, engineering, defense, and environmental control. In 2269, the bridge was given a minor refit, adding access to a secondary turbolift just port of the viewscreen, and a drop-down bridge defense system was installed in the bridge’s ceiling dome.

 was made by painstakingly tracing the ship as seen in frames of film from 

, while simplifying the design to make it easier for animation.

 was changed slightly from the live action series by adding a secondary turbolift to the port side of the view-screen and adding a “defense array” mechanism on the ceiling. The Roddenberry Archive has chosen to display the ship’s bridge as it may have existed had 

 been a live-action television show, using the bridge set seen in the original 

 design featured a proportionally smaller saucer atop a triangular-shaped engineering hull with updated warp engines.

This bridge design featured a larger space divided into two distinct levels. Accessible both by ramp and an angled translucent turbolift shaft, the upper level was the command platform, featuring the captain’s chair on a raised dais directly behind the pilot and navigator’s seats. Lining the perimeter of the lower level were banks of support control stations, each one having an unobstructed view of the bridge’s large, wraparound viewing screen. Affixed to the ceiling of the bridge was a holographic navigational chart.

, production designer Ken Adam and illustrator Ralph McQuarrie developed designs for the 

 in proportion and shape, including a secondary hull shaped like an arrowhead, reminiscent of the star destroyers from 

. This design later inspired the starship design of the 

, including its command deck, was designed by Ken Adam. It bore resemblance to designs featured in the film 

 (1936), designed and directed by William Cameron Menzies. The Roddenberry Archive art team has created a visual rendering based on production art by Adam to show what the bridge set might have looked like had it been constructed.

-class design featured upgraded nacelles atop swept-back pylons and a forward torpedo launcher where the connecting dorsal met the engineering hull. 

This bridge followed many of the designs that came before and after it, with a few notable exceptions. The weapons and defense station featured a large translucent tactical dome, there was an internal bridge transporter station, and a more luxurious captain’s chair. Several other new pieces of hardware could also be seen around the bridge.

Early development of the television series referred to as 

 by Matt Jefferies and designer Joseph Jennings. A 6’ model was constructed but never completed.

Joe Jennings and Michael Minor reworked the bridge design for the planned 

 television series. The sets were partially constructed but were ultimately reworked for 

 when the television series was ultimately scrapped. The Roddenberry Archive art team has used production art by Minor to show what that set might have looked like had it been completed.



Following its five-year mission under the command of James T. Kirk, the

 underwent over 18 months of refitting in drydock overseen by its captain, Willard Decker, and chief engineer, Commander Montgomery Scott. The refit was extensive and the result was called “an almost totally new 

.” The most prominent changes were to the overall length, new advanced warp engines atop swept-back pylons, and a completely upgraded powered control system. Responding to the intrusion of the V’ger probe into Federation Space in 2271, Admiral James T. Kirk assumed command of the 

to investigate the probe and stop its destruction of all life on planet Earth.

As with the rest of the ship, the bridge of the 

was given a major upgrade during the ship’s 2270 - 2271 refit. While the general layout of the bridge remained the same, it now contained access to two turbolifts behind the captain’s chair, and each station was less uniform than their predecessors and tailored more to the station’s needs. The science station, now located directly behind the captain, featured two additional roll-out consoles for control of auxiliary scientific equipment. Unlike the other perimeter stations, the large weapons and defense station faced forward to give the user an unobstructed view of the main viewscreen. Stations for engineering, communications, security, environmental control, gravity control, and damage control filled out the remaining perimeter of the bridge. All bridge chairs now had armrests that doubled as restraints for when the ship encountered dangerous inertial forces.


 miniature was 8’ long and constructed by Magicam. The design utilized ideas from Matt Jefferies’ 

 drawings. Abel and Associates art director Richard Taylor and illustrator Andrew Probert worked on the final design.


 bridge was reworked at the request of director Robert Wise to have a more functional feeling and more subtle color palette. Production designer Harold Michelson and his team integrated 8mm projectors to project moving data readouts at each station, resulting in a lower level for the ambient bridge lighting. Custom chairs were created using a “spine” cushion pattern with armrests that could swivel down to provide safety restraints for seated crew members when necessary.

While on a training mission in 2285, Admiral James T. Kirk took command of the 

from Captain Spock to respond to a distress signal from the Regula One scientific research laboratory overseeing Carol Marcus’s “Genesis” experiment. The 

, under the command of Khan Noonien Singh, an exiled tyrant from the 20th century Eugenics Wars who sought revenge on Kirk.


bridge in 2285 remained true to the solid design of its predecessor, with the captain’s chair and helm console in a recessed command pit, the main viewer at the fore, turbolift access to aft, and stations for science, communications, engineering, and others surrounding the perimeter. However, sometime prior to 2285, the bridge of the 

was given a minor upgrade; some stations were relocated to different positions to better accommodate the captain’s view of vital stations, namely the science station.


 miniature was 8’ long and constructed by Magicam for 

. The design utilized ideas from Matt Jefferies’ 

 drawings. Abel and Associates art director Richard Taylor and illustrator Andrew Probert worked on the final design. The filming miniature was mostly unchanged from its previous appearance, although some of its pearlescent paint scheme was dulled down due to difficulty photographing the model against a bluescreen.


 bridge with an overall darker lighting scheme and swapped bridge stations. The film-projected displays were replaced by 24 fps video monitors, and teal slipcovers were used to economically change the design of the bridge chairs. This version was supervised by production designer Joseph R. Jennings, who had previously been in charge of the bridge when it was originally built for the abandoned 

, badly damaged after its encounter with Khan Noonien Singh, returned home to Earth for refit and repairs. Upon arrival, it was announced by Fleet Admiral Morrow that the ship would be decommissioned. Learning from Spock’s father, Sarek, that there may be a chance to revive his fallen son, Admiral Kirk broke Starfleet regulations by stealing the 

from Spacedock and took it to the Genesis Planet to retrieve his comrade’s regenerated body. There, Kirk destroyed his ship to prevent it from falling into the hands of rogue Klingons and to save his crew. 

Following a tense battle with Khan Noonien Singh at the Mutara Nebula, the damage that the 

sustained had not spared its bridge. Explosions left charred residue on surfaces around the bridge, notably across the starboard-side turbolift alcove. After the ship sustained even further damage at the hands of a Klingon attack orbiting the Genesis Planet, most ship systems shorted out, leaving the bridge dark with its dim emergency lighting and most of its consoles shorted out.

For the film’s climactic scene featuring the self-destruction of the 

, supervising model maker Steve Gawley and his crew actually constructed a complete model of the ship, one-third smaller than the original filming miniature, for full shots of the partially destroyed ship.

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