Sunday 05 February 2012

Designing the Enterprise

In 1964, everything that would become Star Trek as it is known today rested in the handful of typewritten pages that had convinced Desilu studios to enter into a three-year television development deal with Gene Roddenberry. Those pages described the mission of the U.S.S. Yorktown, a spaceship with a crew of 203 commanded by Robert T. April. Landing parties would be beamed down to planets by an energy-matter scrambler, stay in contact with the Yorktown on their telecommunicators, and protect themselves with Laser Beam weapons.

Though the terminology was still to be refined, the cornerstone of a billion-dollar entertainment franchise was solidly in place. And when NBC committed to ordering a pilot episode in June 1964, it was time to start building that franchise’s foundation. As Star Trek producer Gene Coon said; “Gene created a totally new universe.” Television being a visual medium, the question now was, what was this universe going to like like?

The U.S.S. Enterprise was launched in 2245, and made its television debut 279 years earlier, on September 8, 1966. More than any other artifact created for the series, the Enterprise represents Star Trek. It is truly as much a character as Mr. Spock. And like its human (or organic) counterparts, it has changed its shape, but never its name; changed its capabilities, but never its mission; changed its crew, but never its character. From its inception to its demise, Matt Jefferies’ Enterprise has been beloved by millions of people. This mythical ship has inspired passionate devotion for over thirty years.

As art director on the original Star Trek, Walter Matthew “Matt” Jefferies was assigned to design the Starship Enterprise. “In my approach to Star Trek I wanted to be as practical as possible,” says Jefferies. “I could tell Gene was serious enough, but I really didn’t know where to start. I knew the Enterprise was going to be on the cutting edge of the future, but essentially he gave me the job of finding a shape, and I didn’t know what the shape looked like.” Although Roddenberry knew a lot about his ship, he had never visualized it, and consequently made the situation more complicated since he could not give Jefferies a detailed sense of direction. His only guidelines was firm list of what he did not want to see: not any rockets, nor jets, nor firestreams. The starship was not to look like a classic, and thus dated, science fiction rocketship, but neither could it resemble anything that would too quickly date the design. “Gene described the 100-150 man crew, outer space, fantastic, unheard-of speed, and that we didn’t have to worry about gravity. He had emphasizaed that there were to be no fins, no wings, no smoke trails, no flames, no rocket.” Somewhere between the cartoons of the past and the reality of the present, Matt Jefferies had to give at a design of the future.

In the 1960s, the benchmark for dramatic science fiction was Lost in Space and the popular image of futuristic space travel was the flying saucer. When Roddenberry asked Jefferies to design the space ship for the show, it was only natural that the first concepts looked like a flying saucer. Roddenberry, however, wanted something large enough for a crew of a hundred people, which could travel at incredible speeds, so he had Jefferies go back to the drawing board. The next proposal was the now familiar, but still mysterious “ring ship” which appeared on display in Star Trek: The Motion Picture.

The theory that space could be warped was first proposed by Albert Einstein in 1905, and first demonstrated, according to Star Trek canon, by Zefram Cochrane in 2063, providing that objects could travel faster than the speed of light. Warp drive is a delicately balanced, intricate web of chemistry, physics, mathematics, and mystery.

“I was concerned about the design of ship that Gene told me would have warp drive,” says Jefferies. “I thought, “What the hell is warp drive?” But I gathered that this ship had to have powerful engines—extremely powerful. To me, that meant that they had to be designed away from the body. Boy, I tried a lot of ideas. I wanted to stay away from the flying saucer shape. The ball or sphere, as you’ll see in some of the sketches, was my idea, but I ended up with the saucer after all. Gene would come in to look over what I was doing and say, “I don’t like this,” or, “This looks good.” If Gene liked it, he’d ask the Boss [Herbert Solow] and if the Boss liked it, then I’d work on that idea for a while.”

“[F]or the hull, I didn’t really want a saucer because of the term flying saucer, and the best pressure vessel of course is a ball, so I started playing with that. But the bulk got in the way and the ball just didn’t work. I flattened it out and I guess we wound up with a saucer! I did it in color on a black matt board, and by the time I finished I thought we really had something. [...] And that worked! It looked better than the other sketches and Gene said, “That one looks good!” They—and Bobby Justman, too, when he came aboard later—were a dream to work with.”

Even when the shape was approved, that was not the end of Jefferies’ efforts. He theorized that since space was an extremely dangerous place, starship engineers would not put any important machinery on the outside of their vessel. This meant that, logically, the hull would be smooth. Not everyone agreed with Jefferies and he had to fight his corner. “I constantly had to fight anyone who wanted to put surface details on the thing,” he says. Another advantage of the smooth design was that it would reflect light, and at this point it was not a foregone conclusion that the ship would be white. “I thought the atmosphere or lack of it out there in space might produce different colors, and this gave us a chance to be able to play light and to throw color on it.”

Jefferies was also responsible for the Enterprise’s famous registry number. “I wanted a very simple number that could be spotted quickly. You’d have to eliminate 3, 6, 8, and 9, so I just went for 1701, which incidentally and coincidentally, happens to be very close to the license number on my airplane—NC-17740. But I have never really stepped out and squashed the rumor that the number on the Enterprise came off my airplane.” After the number had been decided on, Jefferies would tell people that the Enterprise was Starfleet’s 17th starship design and that it was the first in the series hence the number “1701.”

 

Franz Joseph drew these blueprints of the Enterprise, and they were published by Ballantine Books in 1975 in a set of 12 9”x30” sheets packaged in a soft plastic pocket and originally sold for just $5.00.

DECK: 1 (DETAIL) • 2 • 3 • 4 • 5 • 6 • 7 • 8 • 9 • 10 • 11 • 12 • 13 • 14 • 15 • 16 • 17 • 18 • 19 • 20 • 21 • 22 • 23

 

N. Ottens
18 July 2005
Last updated: 8 November 2008

Sources for this article include:
• Solow, H.F. and Y. Fern, The Star Trek Sketchbook (1997)
• “Designing the Starship Enterprise,” Star Trek: The Magazine, volume 1, issue 10 (February 2000)
• Matt Jefferies photograph courtesy of Drexler, D., Drex Files