As I have worked on the set plans, I have found there are 2 A frames in both pilots and season 1. The alternations to the set for Season 2 required 2 new A frames for a total of 4. In The Cage, we see 2 alinged A Frames. I think this was because there were no corridor walls past a very short section for Pike's Cabin and the Transporter Room. For WNMHGB, the extended the corridor and used an A frame at either end. For Season 1 the A frames were at the ends of the straight corridors off the curved corridor (the one next to the transporter room and the one past the Jefferies tube). For season 3 the ends of the curved corridor were altered and 2 new A frames were added. So except for The Cage, they are at the ends of the established set and are hiding missing walls. For practical purposes, all are cross corridors. How this would extend throughout the ship is a good question. In my cross section I have just used them to indicate the corridors to make the corridors stand out from the rooms.
Great work yotsuya. Maybe you could use the A-frames as an indicator that you are at an intersection, like this: and this:
Added structural support aside, another use may be to show passages through a pressure hull. This assumes the ship is subdivided into pressure hull compartments as seen in TOS-E diagrams:
The problem with the intersection idea, which is awesome otherwise, is that we see them with no intersection present. The problem with the pressure hull idea, also awesome, is that it seems like they'd've cut off Pike's quarters, which seems counterproductive.
...Or then very useful, if said quarters feature weaknesses such as direct portholes to the exterior. The weird diagram above might be taken to suggest that the outermost parts of the hull are being separated from the innermost ones - a very practical approach to minor hull punctures, but one possibly calling for a great many A-frames on those smaller decks where there's no chance of separating an outer ring corridor from the inner ones. Timo Saloniemi
I'm finding that it is one thing to go by set plans and another to examine how the sets were actually built. The plans have some gaps and shortcuts. I've modified several of the sets to up the detail. I also added a few new ones. And it seems funny that most of the redressed sets creating new rooms in the ship come from season 1. And most of the new sets come from season 2. And I do have a set plan for the second pilot, but there isn't much unique to it except the corridor. And I did notice that in both pilots the Transporter console is the same and the bridge navigation/helm console, even down to the odd bits that stick out. The botany room from the Man Trap was today's addition.
I love your approach to set designs. Season 3 had a lot of different sets built, too: The chapel set had three rows in Season 3, The Tholian Web #64. The chapel, set up for TTW, was probably reused for TDOD #66 (with the pulpit removed to un-seal the normal door to the curved corridor). Season 3 TDOD, the crew lounge was the briefing/rec room with an additional door to the straight corridor across from the transporter room, but it still kept the old door to the curve side, too. I think the herbarium/rec. room (Season 3 ATCSL #60) was also the briefing/rec. room highly modified, or it may have been stand alone like the auxiliary control room. The room was the deleted scene rec. room built previously for Elaan of Troyius #57.
Good point about the Briefing Room side door and the reason it appeared in DOTD. I don't think we'd seen it prior to that since Balance Of Terror! As for the Herbarium, that was designed and built as a standalone set https://dygtyjqp7pi0m.cloudfront.net/i/18485/20788632_1.jpg?v=8D1B5FAC1600EE0
I didn't remember the chapel appearing again. Good to know. But since they enlarged the briefing room, it made room for that third row of seats (same seats from the Conscious of the King where there were 3 rows in the theater). I intend to tackle it one season at a time. Though sometimes I get the bug to do a certain set.
I did a screen capture on DOTD where we see a tiny corner of ceiling. It looks like they used a different bit of set from the normal standing set. The red section is backwards. In looking at the proportions and checking the various measurements in meters, I decided that for my internal layout the doors are 6.5 feet or 1.98 meters. The red line is at 7.25 feet or 2.2 meters. the ceiling is at just under 8.20 feet or exactly 2.5 meters. Then the deck is .8 feet or .24 meters. So the deck spacing for the main decks in the saucer (3, 4, 5, 6, 7, and 8) is just under 9 feet (8' 11 7/8"). So when you have the views of the corridor and you see something above the silvery trapezoids, that is where the ceiling should be (but isn't because they needed the open ceiling for lighting).
As always, when I get into the drawing, things change. The top is how the set was designed (with the Day of the Dove ceiling indicating a 9 foot ceiling) and the bottom is how it would fit in an 8 foot space. The head clearance in the corridors does not change.
The height of the door is clearly marked from the set blueprints, no argument there! The height from the top of the door to the red section is in turn easily calculated from a straight on screenshot like this and indeed comes out at 7'3" from the ground . This shot from The Man Trap shows more of the overhead beams. It is approximately 9' to the top of the visible beam section. However, the top of the silver panels is not the top of the beam, seen clearly in this shot from Charlie X. Now, in Charlie X there has been some additional wall placed on top of the standard set flat, but the protruding kerb above the silver sections is plain to see. It is seen again in the DOTD shot but at a more flat angle. Since we know that the section of red panel below the kerb is 1'9" then simple maths reveals that the kerb itself is 1' high. Total wall height is 10' which matches the standard TV flat dimensions of 4'x10'
I made some tweaks and indicated the deck. I also wasn't happy with some of the tweaks I had to make for a pure 8 foot ceiling so I made it 8'3" with a 9" deck. The other is a 9 foot ceiling with a 1 foot deck. I think that is what the photo shows, especially when I compare it to other views. I think Jefferies intended 9 foot deck from his cross section. They lowered it to 8 foot for TMP to match the text of TMoST and that is why I'm following, but I present both for you to choose. The drawings are 2 pixels per inch. The lines for the decks and the doors are NOT from the center of the line, but from the edge. So the doors are measured from inside the line. Not quite standard, but in line with my other set drawings at this scale. I also added light fixtures.
Nice work. I've often wondered what in-universe light fixtures would look like, since the ceiling panels we do glimpse are noticeably bereft of them!
Except in engineering, though the panels we see there aren't providing any set lighting, they are just backlit translucent panels. And in WNMHGB we do see through a grating in the ceiling looking down at the entrance to the turbolift. So I just made thin light panels to illuminate everything about like the set lighting did. This drawing is more of a general features drawing than of any specific portion of the corridor. The A frame I lifted from both The Cage and WNMHGB. The inset panels are also transluscent, either a solid and near transparent substance, or a fine mesh (like the columns in the pilot briefing room). The shape differs quite a bit from the drawing they did for DS9.
Interesting, but the main cross intersection we have doesn't have this. This is only at T intersections and only in the side corridor, not the cross corridor.
Admittedly this is a little irrelevant since you are lowering the ceiling anyway, but the red beam in your diagrams is around 3" too low at only 7' off the ground: The red line shows where the red panel should start if 7'3" high. I think the scale is correct, since the door and ceiling height match the 2px/inch information you provided