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Old June 11 2013, 04:46 PM   #58
Robert Comsol
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Location: USS Berlin
Re: Engineering's curved hallways

Maurice wrote: View Post
The set plans reveal only the layout of the shooting sets on the soundstage, not some correlation to an overall fictional vessel.
Et tu, Maurice?

I've come to hold you in high esteem for your knowledgable and common sense BBS contributions (and your footnotes) but this remark constitutes quite a letdown and I'll have to insist that you deliver proof for this assumption (a statement from Matt Jefferies, please).

We do have historical records where Roddenberry made it clear he wanted the show to be as realistic as humanly possible to set it apart from pulp science fiction, and an interior ship layout that would follow some kind of internal logic would have been mandatory, wouldn't it?

You yourself provided evidence (regarding the delta insignia) how nitpicky Bob Justman was about such details and I have no doubt that Matt Jefferies, too, understood what the mission goal was.

The series started with small sets for "The Cage", which featured the Bridge and the Briefing Lounge with an adjacent corridor to access either Pike's cabin or the Transporter Room.

For WNM they still had the Bridge and the Briefing Lounge. A longer corridor (see my Avatar) was constructed with a turbo lift door, a door to the Transporter Room and the first sickbay.

Since the corridor with sickbay has a strange angle, I presume the original idea was to have "circular" saucer corridors by means of straight wall elements in angles that will eventually form something compatible within a circular saucer.

But then came the greenlight for the regular series and Matt Jefferies got the chance to design a circular studio set that would be compatible with a saucer hull. There should be little doubt that he knew that this one set would be often redressed to portray different sections of the ship.

In my deck plan thread I created a template that illustrates the issue (turned out to have a design flaw for which I'm to blame).

If instead of a Season Two corridor you connect another Season One corridor at "1 o'clock" you'll get an obvious symetrical layout of outward going corridors spaced apart exactly by 60 each and absolutely compliant with the hexagonal nature of the Briefing Lounge.

So this is just a coincidence without intelligent design by Matt Jefferies?

Obviously, when he designed the Season One set he couldn't know that he'd get the opportunity to redesign the set for Season Two.

While the Season Two set is much longer than the Season One set it did not only fill the Season One alignment gap at 5 o'clock (not illustrated!) but actually cannibalized part of the "sickbay" corridor end.

At first I wondered why he did that. Hadn't he paid attention, didn't he care?

The obvious answer became crystal clear when I redesigned the Deck 5 plan and especially the outer Areas (e.g. between 12 and 2 o'clock):

Once you bend the radius of the Season Two / Three corridor to present the outer corridor, its rectangular corridors become spot-on-match with the rectangular corridors of the inner Season One Studio set corridors !!!

So what is this? Just another collossal coincidence?

Just because Matt Jefferies didn't get a chance to tell us about his intentions, doesn't mean those didn't exist. Again, the result is self-explanatory once you take the time and take a closer look at the subject.



Anyway, although we do not "know" whether Matt Jefferies intended the port impulse engine room to be where it is in relation to the rest of the ship, those with eyes to see will notice
  • that the spacing between two studio set impulse engine rooms aligns rather well with the impulse exhausts on the 11-foot-model (and its rectangular and symetrical surface markings!)
  • that the spacing between two studio set impulse engine rooms allows for a turbo shaft to run in between to connect the saucer with the engineering hull
Objectively, this is an elegant, simple, beautiful and easy-to-understand layout, therefore I absolutely do not understand why we are even discussing whether that's what he intended or not.

Those how find fault with it or altered the Jefferies' design still owe us one answer: WHY?

What's wrong with Matt Jefferies' layout and what's better in the competing and conjectural designs?

If it ain't broken, don't fix or alter it!

Bob
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