Yep, its not in there because it fits Trek, its there because it launched trek. Look at all the canon ships, all the styles, the TOS connie is the one that does not belong in the lineup. You can see the TMP ship as a legacy of the NX, but not the TOS ship, it does not belong in the lineages...
This is such a baffling comment. The TOS and TMP versions are largely the same except for the saucer domes, nacelles and deflector styles - which all happen to be elements that the NX design deliberately incorporated from the TOS version. It would be one thing if you said neither of them fit, but if only one of them does, it's obviously the TOS. What are you looking at?
...Now the TMP ship fits, heck maybe even the Phase II ship( which was Roddenberry throwing out the TOS design), but the TOS ship just does not logically fit in any way. Its more primitive than the NX, it screams "Hey I am from the 60's and I am Groovy baby"
So yeah, its trek Lameduck ship design, one its creator tossed away at his first, 2nd and 3rd chance.
I'm not sure if you realize this, but Roddenberry, Matt Jefferies (TOS), Ralph McQuarrie (Phase II), and Richard Taylor/Andrew Probert (TMP) are all different people, and none of them were embarrassed by their designs. Roddenberry was never a model creator, nor did he try to toss old designs. In fact, he wanted to be even more conservative and it had to be explained to him that it wouldn't work on the big screen:
it was a mandate from Gene Roddenberry that the configuration of the Enterprise is similar to that of the original series; meaning that there be a saucer, the large dorsal, fuselage, two-struts at an angle and nacelles. So, it needed to have a similar configuration, but not be exactly the same. My approach was to kind of give it a stylization that was almost Art Deco. I spent weeks drawing and re-drawing the nacelles. I mean the front-end of the nacelles is almost a 1940 Ford grill. But I tried to make it have a very art-deco feel; for example I added the parallel lines along the edge of the saucer. Things became more elongated and more elegant than the television series version.
http://ottens.co.uk/forgottentrek/interview-with-richard-taylor/When we first came on the project we had to look at everything that existed and Roddenberry said, “Just use the sets that we’re building and the models we are building”. So, I gave the models and honest look but had to tell them in the end that “If you use these models and sets, you’re going to be laughed out of the theatre”. The models would have been embarrassing at best. They were really old school in their detail and were not built to armature and light the way we needed for motion control. They looked like the old television show. Again, Don Loos built the Enterprise and Magicam built the dry-dock and a few other things but they were building for a television movie. The resolution of television is forgiving; the big screen is not. I sat down with Roddenberry and Katzenberg and said we are going to have to redesign the Enterprise because it needs to be armatured from six sides and it needs to have lighting systems in it. I told them “You saw Star Wars. You saw the quality of those models and for us to shoot these models of yours with motion control; to put that motion blur in there with multiple passes… it has to have lights that we can control for individual passes”. If the camera is going to get close to the model–say, up close to the windows, the model has got to be big enough for us to give it detail. Trying to film a model that is too small is deadly. The focus, lighting, depth of field, surface textures and much more come into play.