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GALLERY | Star Trek: Picard - Season 3 Character Bridge Photos

The final voyage begins on February 16!

Get ready for the final voyage!

Star Trek: Picard returns for its third and final season on February 16. Jean-Luc Picard enlists help from generations old and new to embark on one final adventure — a daring mission that will change Starfleet, and his old crew forever.

Patrick Stewart reprises his iconic role as Jean-Luc Picard, which he played for seven seasons on Star Trek: The Next Generation , and follows this iconic character into the next chapter of his life. LeVar Burton, Michael Dorn, Jonathan Frakes, Gates McFadden, Marina Sirtis, Brent Spiner, Jeri Ryan and Michelle Hurd star alongside Patrick Stewart.

To get you excited for the upcoming premiere, we've got the cast's official photos on the Bridge along with some first looks at the season!

In addition to streaming on Paramount+ , Star Trek: Picard also streams on Prime Video outside of the U.S. and Canada, and in Canada can be seen on Bell Media's CTV Sci-Fi Channel and streams on Crave. Star Trek: Picard is distributed by Paramount Global Content Distribution.

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Federation Starship Bridges

by fadmvulcan

Bridges from various starships throughout the various eras of Star Trek. Please note, unless otherwise indicated, these are not mine. They are either scans culled from the Star Trek Magazine or Fact File or someone else's renders or drawings. I have not touched any of these especially the credits.

The bridge served as the central command and operations center of a starship

The bridge , also known as the main bridge or the command bridge , was the starship equivalent of an operations center or command center .

• 1.1.1 Command stations
• 1.1.2 Flight control
• 1.1.3 Operations management
• 1.1.4 Security and tactical
• 1.1.5 Supportive stations
• 1.2.1 Freedom class
• 1.2.2.1 Command area
• 1.3.1 Kelvin type
• 1.3.2 Walker class
• 1.3.3 Crossfield class
• 1.3.4 Constitution class
• 1.3.5 Huron type
• 1.3.6 Oberth class
• 1.3.7 Miranda class
• 1.3.8 Excelsior class
• 1.4.1 Galaxy class
• 1.4.2.1 Background information
• 1.4.3 Sovereign class
• 1.4.4 Defiant class
• 1.4.5 Prometheus class
• 1.4.6 Nova class
• 1.4.7 Luna class
• 1.4.8 Dauntless class
• 2.1.1 K't'inga class
• 2.1.2 Bird-of-Prey
• 2.1.3 Vor'cha class
• 2.2.1 Bird-of-Prey
• 2.2.2 D'deridex class
• 2.2.3 Valdore type
• 2.2.4 Scimitar
• 2.2.5 Narada type
• 2.3.2 Dominion
• 2.3.3 Son'a
• 3.1 NX class
• 3.2 Constitution class
• 3.3 Defiant class
• 4.1 Constitution class
• 5.1 See also
• 5.2 Further reading
• 5.3 Background information
• 5.4 External links

Starfleet bridge design [ ]

Overview of a 23rd century Starfleet bridge

On Starfleet ships, it was generally located near the top and front of a vessel. From here, the commanding officers supervised all ship's operations, ranging from vessel course control to tactical systems.

On Starfleet vessels, the bridge was usually located on Deck 1, on top of the vessel's primary hull . The bridge was the nerve center of every starship, and it was manned by the top officers of each department except for engineering and medical . There was typically an engineering station that the chief engineer could use when on the bridge, as well as science stations that the science officer or chief medical officer could use.

The commanding officer could supervise all the ship's operations while seated in the command chair , typically located in the center of the room, while having visual access to all major personnel stations and viewscreens , facilitating the decision-making process. By the mid- 24th century , the standard was that a first officer was assigned to assist a ship's captain in this process.

Main bridge of the Constitution -class USS Defiant

The forward bulkhead of the bridge was typically dominated by the main viewscreen. Directly in front of this was usually the helm console, from where navigation and vessel course control were carried out.

Many of the support stations that were present on 23rd century bridges were combined into one post by the 24th century, mainly that of the operations officer . Some bridges featured an operations console alongside the helm station, from where the officer on duty had access to internal systems control, communications , sensors , resource scheduling, and hardware and system usage.

Each bridge typically featured several supportive consoles for engineering, gravity control, damage control , environmental engineering , sciences , and library computer , most of which did not necessarily need to be manned under normal circumstances. Internal security along with weapons control could be found at the security station .

Features [ ]

Command stations [ ].

The bridge of a 24th-century Galaxy -class starship featuring three command chairs at center

The bridge command stations provided seating and information displays for the commanding officer and one or two other officers, typically including the first officer . The command chairs were located in the center of the bridge, to maximize interaction with all key bridge personnel, while permitting an unobstructed view of the main viewscreen.

Typically, the armrests of the captain's chair featured miniaturized status displays. Using a keyboard or vocal commands, the captain could use these controls to override the basic operation of the starship. ( TOS : " Court Martial "; TNG : " Peak Performance ", et al.)

In the scripts for Star Trek: The Next Generation , the location of the command stations was identified as the "command area". [1]

Flight control [ ]

The ops and conn consoles on the Galaxy -class bridge (forward)

The 24th century flight control position, also referred to as the conn , evolved from the 23rd century helm and navigation positions. The officer manning the flight control console was responsible for the actual piloting and navigation of the starship. Despite many of these functions being heavily automated, their critical nature demanded a humanoid officer to oversee these operations at all times.

During spaceflight at impulse , the conn was responsible for monitoring relativistic effects as well the inertial damping system status. When traveling at warp speed , conn was required to monitor the subspace field geometry in parallel with the engineering department. During warp flight, the conn console continually updated long-range sensor data and made automatic course corrections to adjust for minor variations in the density of the interstellar medium. ( Star Trek: The Next Generation Technical Manual , p. 35)

Operations management [ ]

The ops and conn consoles on the Galaxy -class bridge (rear)

Many shipboard operations involved scheduling resources or hardware that affected a number of departments. In many such cases, it was common for various operations to present conflicting requirements. It was the responsibility of the operations officer to coordinate such activities so that mission goals were not jeopardized.

The operations position, also known simply as ops, evolved from older 23rd century positions. The bulk of the duties held by the helm and navigation positions were combined into the conn position. Other functions of the helm panel, such as internal systems control, became the purview of ops, as well as some communications and sensor system usages.

The ops panel presented the operations officer with a continually updated list of current major shipboard activities. This list permitted ops to set priorities and allocate resources among current operations. This was especially critical in cases where two or more requests required the use of the same equipment, entailed mutually exclusive mission profiles, or involved some unusual safety or tactical considerations.

During away team missions or emergency situations, the ops station was supported by the science station, found at the rear of the bridge in Galaxy -class designs. ( Star Trek: The Next Generation Technical Manual , pp. 37-38, 40-41)

Security and tactical [ ]

The security station, integrated in the wooden handrail encircling the Galaxy -class bridge

The bridge station dedicated to defensive systems control and starship internal security was tactical . Parts of the default control layout presented the security officer with information readouts dealing with the internal protection of the starship and its crew. A wide variety of starship defensive systems were available to the chief tactical officer (sometimes doubling as chief of security), ranging from the defensive shields to phaser and torpedo systems, as well as intrusion detection systems.

Other systems that could be commanded by tactical included communications , long- and short-range sensor arrays , sensor probes , message buoys , and tractor beam devices.

Supportive stations [ ]

Every Starfleet bridge also included several supportive consoles and backup stations. These could include consoles for planetary sciences , engineering, mission operations, and environmental control. Most of these were meant to relieve the senior bridge officers of secondary duties during alert and crisis situations.

Mission ops provided additional support to the operations officer, and was specifically responsible for monitoring activity relating to secondary missions. Mission ops was responsible for assignment of resources and priorities according to guidelines specified by the operations officer and by operating protocols. This station was also responsible for monitoring away teams . ( Star Trek: The Next Generation Technical Manual , pp. 41-42)

The environmental control console provided similar relief to the operations officer, monitoring the starship's life support systems . Due to the highly automated nature of these systems, this console was unattended under normal circumstances, but became of crucial importance during alert situations to maximize crew survivability.

The bridge's engineering station duplicated in simplified form the chief engineer's primary status displays from main engineering . The purpose of this station was to permit the chief engineer to maintain supervision over the engineering system while on the bridge.

22nd century bridge design [ ]

Freedom class [ ].

• See Freedom -class main bridge

NX class [ ]

• See NX-class main bridge

Command area [ ]

The command area at the catwalk

When the crew of Enterprise NX-01 had to take shelter at the ship's catwalk in September 2152 , Commander Tucker and Travis Mayweather built a "command area" within one of the compartments to replace the main bridge. Conn and the communications station included, the small area also included a provisional captain's chair, a cargo container with a netting , and place for Archer and T'Pol to sleep. ( ENT : " The Catwalk ")

23rd century bridge design [ ]

Most of the bridges during the later half of the 23rd century shared a similar layout to that of the upgraded Constitution -class vessels, which evidently set the standard for bridge design and layout.

Kelvin type [ ]

Kelvin -type bridges were large with many consoles and three windows acting as the viewscreen. They shared the joint helm/navigation consoles of Constitution -class starships. ( Star Trek )

The Kelvin 's bridge in a deleted scene

Walker class [ ]

Unusually for Starfleet vessels, Walker -class ships had their bridge placed at the bottom of the saucer section. Like the Kelvin -type bridge, it used a large window as the viewscreen.

Crossfield class [ ]

The Crossfield -class bridge was placed in a spherical section within the inner negative space of the saucer section. It possessed a wide window as the viewscreen, similar to Kelvin -type and Walker -class ships.

Constitution class [ ]

• See : Constitution -class main bridge

Huron type [ ]

Huron bridge

Huron -type bridge. ( TAS : " The Pirates of Orion ")

Oberth class [ ]

• See : Oberth -class main bridge

Miranda class [ ]

• See : Miranda -class main bridge

Excelsior class [ ]

• See : Excelsior -class main bridge

24th century bridge design [ ]

In the early half of the 24th century , before the introduction of the Galaxy -class starship, bridge design was based on the successful layout of the Constitution -class starship, featuring a single captain's chair in the center of the room with two consoles directly in front of it and additional consoles surrounding this central command area.

The bridges of the Ambassador , Constellation , and Nebula -class starships were all redresses of the same set, first built, partially, for TNG : " The Battle ". The same set eventually also ended up being used for the Olympic -class starship USS Pasteur , Beverly Crusher 's ship in the anti-time future .

Galaxy class [ ]

• See : Galaxy -class main bridge

Intrepid class [ ]

The Intrepid -class starship bridge

The Intrepid -class bridge was ovoid in shape. At the bridge's rear was a large bank of consoles and data-readout screens. Center of that area was the master systems display . Control consoles flanked it on either side, mission ops I to starboard and mission ops II to port.

Starboard of that information center, past the starboard side turbolift , was the chief tactical officer's console. This area was maintained mostly for internal security and combat situations. An identical station could be found on the other side of the bridge, where the operations console was found.

Two turbolifts provided access throughout the ship, and there was an emergency ladder which connected the bridge with lower decks. Forward of the upper ship operations areas were doorways to the briefing room at one side, and the captain's ready room at the other.

Directly forward of the central command area (where the captain and first officer were seated) and sunken down by two steps was the Conn. From here, the flight control officer served as helmsman and navigator for the vessel. To the Conn's right sat the chief engineer. The console allowed complete control over all engineering systems. Directly opposite sat the chief science officer in a similar console. ( VOY : " Caretaker ")

Behind the captain's chair, there was a small secondary tactical console located on the handrail. On the USS Voyager , this station was typically unmanned, however Seven of Nine used this station on several occasions, particularly on encounters with the Borg . Other crew members, such as The Doctor and B'Elanna Torres , used this station on occasion.

In between the captain's and first officer's chairs there was a small console which could be folded down when not in use, or opened and accessed by either officer. Like the larger consoles on the bridge a phaser could be stored within this unit.

Background information [ ]

After six years as production designer on The Next Generation , Richard James was no stranger to the legacy of Star Trek and the production requirements of episodic television. When given the assignment to create a new starship from the inside out, he had to start up from scratch.

Nothing had yet been established, and thus for his first meeting with Star Trek: Voyager 's creators and producers, James decided to push the boundaries of everything that had gone before. Early concept sketches show bridge designs without the large viewscreen in the front of the bridge and command functions decentralized, obviously breaking the traditional bridge mold.

A Jim Martin concept art for the Voyager 's bridge

However, by exhaustively reexamining the dramatic requirements and technological underpinnings of the Star Trek bridge without preconceptions, James rediscovered the strengths of the basic template laid out by Matt Jefferies almost thirty years earlier. But with the broad strokes of the bridge's layout firmly embedded in Star Trek 's past, James and his team went on to bring a fresh new interpretation to the heart of every Star Trek adventure, investing it with a sleek, efficient, and welcoming appearance that made Voyager something of its own – the Star Trek for the nineties and beyond.

Sovereign class [ ]

The central area of the main bridge provided seating and information displays for the captain and two other officers. The captain's chair was raised from the rest of the bridge officers, to that of the surrounding level which included Tactical and Operations. The two officer seats were equipped with fully programmable consoles for a variety of uses.

The main bridge of the Sovereign -class starship

Directly fore of the command area was the conn officer, who faced the main viewer. To the port side of the conn officer, also facing the main viewer, was the operations officer's console, which was identical in size and design to the helm station. At the very front of the bridge chamber was a large viewscreen. In 2373 , when the screen was not active, a standard bulkhead was present.

Aft and to the left of the command area was an elevated platform on which tactical and security consoles were located. To the captain's right, behind the tactical console, was the mission operations section of the bridge. Against the port side walls of the main bridge were the consoles for sciences along with others that were programmable for a multitude of functions.

Located against the aft wall of the bridge was a large master systems display monitor, similar to the one in main engineering. All relevant ship information (such as damage, power distribution, etc.) was displayed on the cutaway image of the vessel. This monitor could be used to direct ship operations and could be configured for limited flight control if necessary. Also located against the aft wall of the main bridge was the large engineering console. This had a smaller cutaway diagram of the vessel, which displayed all engineering-relevant data and showed warp fields and engine output.

There were two turbolifts on the bridge that could handle normal transit around the Sovereign -class starship. In addition, there was an emergency ladder that connected the bridge to lower decks. There was also one door, on the aft platform of the bridge, that led to the observation lounge, directly aft of the main bridge, with another door leading to the captain's ready room. ( Star Trek: First Contact )

At least for Star Trek: First Contact , the Sovereign -class bridge was built on Paramount Stage 29 .

Defiant class [ ]

The Defiant -class' bridge at red alert

The bridge layout of the Defiant -class was compact, but nonetheless accommodated the familiar engineering, tactical, science, conn, and ops stations. The bridge module was sunken into a much larger deck 1 than on most Federation starships to provide added protection during combat situations. Access to the bridge was provided by two doorways at the back, located on both port and starboard sides. Just forward of the starboard entryway was the location of the ship's dedication plaque, as well as an auxiliary computer access panel.

The port side of the bridge housed the engineering and tactical I stations, while the starboard side featured the science and tactical II consoles. Because of its nearly exclusive role as a combat vessel, stations aboard Defiant -class vessels were designed with speed in mind.

The center of the bridge featured the lone captain's chair, which was on a raised platform and had a clear view of all bridge stations, as well as of the main viewscreen. On both sides of the command chair were separate control panels, allowing the occupant access to virtually every system aboard the ship. Between the command chair and the viewscreen was an integrated flight control and operations panel, capable of performing the joint duties of those stations' larger counterparts on other Starfleet vessels. Like all of the bridge stations on Defiant , the conn had been designed for maximum speed and efficiency of commands input by the operator, allowing the craft to be handled almost like a fighter when under the hands of a skilled pilot.

Flanking both sides of the viewscreen were two tactical stations, which had primary access to the ship's powerful pulse phaser cannons , torpedo launchers and various other special ordinance packages. Working closely with conn, the officers stationed at these consoles were responsible for firing the various weapons aboard the Defiant -class starship during combat operations. The purpose of the tactical II station was to lighten the load on its sister station, particularly in battle.

Prometheus class [ ]

• See : Prometheus -class main bridge

Nova class [ ]

• See : Nova -class main bridge

Luna class [ ]

• See : Luna -class main bridge

Dauntless class [ ]

In 2384 , the location of the main bridge for the USS Dauntless on Deck A was labeled on a master situation display . ( PRO : " Mindwalk ")

A clear view of the MSD was provided by Dominique Rossier of Wardenlight Studio. [2]

Non-Starfleet bridge design [ ]

Klingon vessels [ ], k't'inga class [ ].

• See : K't'inga -class main bridge

Bird-of-Prey [ ]

• See : Klingon Bird-of-Prey main bridge

Vor'cha class [ ]

• See Vor'cha -class main bridge

Romulan vessels [ ]

• See Romulan Bird-of-Prey main bridge

D'deridex class [ ]

• See : D'deridex -class main bridge

Valdore type [ ]

• See : Valdore -type main bridge

Scimitar [ ]

• See : Scimitar main bridge

Narada type [ ]

The Narada 's consoles were dotted around the ship due to the ship's spacious design. ( Star Trek )

According to the Blu-ray 's "Starfleet Vessel Simulator", each of the crew's consoles were altered to be separate from each another so they could privately mourn the destruction of Romulus .

Bridge designs of other species [ ]

The Borg possessed the only known vessels not to have a discrete bridge, but whose controls were instead highly decentralized, being run collectively by the Borg drones . ( TNG : " Q Who ") However, Borg ships did have a command center known as the central plexus .

Dominion [ ]

Jem'Hadar attack ships had a bridge that was very peculiar in that it had no chairs, and only two head-mounted Virtual sensory displays instead of a viewscreen. Only the Jem'Hadar First and leading Vorta were allowed to view the outside of the ship. ( DS9 : " A Time to Stand ")

• See : Ru'afo's flagship main bridge

Mirror universe bridge design [ ]

Bridge of the NX-class ISS Enterprise ( 2155 )

The bridge of the Terran Empire 's NX-class ISS Enterprise was quite similar in appearance to that of its counterpart from the prime universe, only that it featured Terran Empire emblems painted on the walls. ( ENT : " In a Mirror, Darkly ") The bridge of Admiral Black 's flagship , the ISS Avenger , was similar in appearance to that of the Enterprise . ( ENT : " In a Mirror, Darkly, Part II ")

Bridge of the Constitution -class ISS Enterprise ( 2267 )

Similarly, the only differences between the bridge of the 23rd century ISS Enterprise from the mirror universe and its counterpart from the prime universe was the appearance of Terran Empire emblems appearing on walls and doors, and a high-backed throne-like command chair. Also, guards were stationed on the bridge under all circumstances. ( TOS : " Mirror, Mirror ")

The bridge of the Terran Rebellion 's ISS Defiant was similar to that of the Defiant -class bridge from the prime universe, the vessel's schematics being based on specifications stolen from Starfleet at Deep Space 9 . ( DS9 : " Shattered Mirror ")

Alternate reality [ ]

The alternate Enterprise bridge

Forward view

The alternate reality 's Constitution -class bridge retained the largeness of the Kelvin -type bridges, as well as the use of the viewscreen as a window. It was larger than the prime or mirror universe's bridge, featuring more consoles in addition to the command chair , science station , communications station , helm , and navigation consoles , which were roughly in the same place. It was aesthetically much brighter and smoother, with white paint, blue monitor screens, more lights (that would bathe the room red when red alert was signaled), and even transparent touchscreen boards. A turbolift was located on the port side, while airlock doors were on the starboard side. ( Star Trek )

Production designer Scott Chambliss explained on the Blu-ray that the bridge was inspired by Pierre Cardin 's architecture.

Appendices [ ]

See also [ ].

• Bridge control monitor
• Bridge control relay
• Command deck
• Command module
• Operations center

Further reading [ ]

• Star Trek: The Next Generation Technical Manual , Michael Okuda and Rick Sternbach , Pocket Books, 1991.
• The Art of Star Trek , Judith and Garfield Reeves-Stevens , Pocket Books, 1997.

A diagram of an Intrepid -class bridge, showing what each monitor would display during a particular scene

• " Family " was the only episode of Star Trek: The Next Generation in which no scene was set on the bridge of the Enterprise -D. Previously, " The Slaver Weapon " was the only episode between Star Trek: The Original Series and Star Trek: The Animated Series in which no scene featured the bridge of the original Enterprise .
• The concept of replaceable bridge modules on Starfleet vessels allowed for the usage of different bridge layouts for the same starship class, and so explains why the bridge of the USS Enterprise -A was different in all movies it appeared in and why both the Miranda - and Galaxy -class starships were seen with different types of bridges. ( citation needed • edit )
• The precarious location of the bridge was finally addressed in ENT : " Twilight ", when the Xindi shot off the Enterprise NX-01's bridge, killing the entire bridge crew (in an alternate reality), as well in Star Trek Nemesis in which the Scimitar fired at the Enterprise 's bridge and destroyed the frontal area, exposing it to space and killing at least one crewmember.

External links [ ]

• Bridge at Memory Beta , the wiki for licensed Star Trek works
• Bridge (nautical) at Wikipedia
• Bridge Gallery at Ex Astris Scientia
• Interview with designer Andrew Probert  at Forgotten Trek
• Interview with Matt Jefferies (X) at BBC Online
• 1 USS Enterprise (NCC-1701-G)
• 3 Daniels (Crewman)

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‘Star Trek’ Fans Can Now Virtually Tour Every Starship Enterprise Bridge

An interactive web portal explores the vessel’s evolution over nearly six decades

Daily Correspondent

For decades, many “ Star Trek ” fans have imagined what it would be like to work from the bridge of the starship  Enterprise , the long-running franchise’s high-tech space-exploring vessel. Through various iterations and seasons of the series, created by  Gene Roddenberry in the ’60s, the bridge has remained a constant, serving as the backdrop for many important moments in the show’s 800-plus episodes.

Now, die-hard Trekkies and casual watchers alike can virtually roam around the Enterprise’s bridge to their heart’s content, thanks to a sophisticated and highly detailed new  web portal that brings the space to life.

The site features 360-degree, 3D models of the various versions of the Enterprise , as well as a timeline of the ship’s evolution throughout the franchise’s history. Fans of the show can also read detailed information about each version of the ship’s design, its significance to the “Star Trek” storyline and its production backstory.

Developed in honor of the “Star Trek: Picard”  series finale , which dropped late last month on Paramount+, the portal is a collaboration between the Roddenberry Estate, the Roddenberry Archive and the technology company OTOY. A group of well-known “Star Trek” artists—including Denise and Michael Okuda , Daren Dochterman, Doug Drexler and Dave Blass—also supported the project.

“Through new technology, we can bring audiences back in time as if they were there on set during the making of ’Star Trek,’ providing a window into new dimensions of the ‘Star Trek’ universe,” says Jules Urbach, OTOY’s CEO, in a  statement .

The voice of the late actress  Majel Roddenberry , who played the Enterprise ’s computer for years, will be added to the site in the future. Gene Roddenberry  died in 1991 , followed by Majel Roddenberry  in 2008 ; the two had been married since 1969.

The portal’s creators also released a short video , narrated by actor  John de Lancie , exploring every version of the Enterprise ’s bridge to date, “from its inception in  Pato Guzman ’s 1964 sketches, through its portrayal across decades of TV shows and feature films, to its latest incarnation on the Enterprise-G , as revealed in the final episode of ‘ Star Trek: Picard ,’” per the video description. Accompanying video interviews with “Star Trek” cast and crew—including William Shatner , who played Captain Kirk in the original series, and Terry Matalas , a showrunner for “Star Trek: Picard”—also explore the series’ legacy.

The interactive, 3D bridge models contain a surprising level of detail, right down to the consoles and turbolifts. The site, however, has so far been hit or miss for users, suggesting that the team behind it may still be working out a few of the technical kinks, reports the  Verge ’s Sean Hollister. And as Kyle Barr writes for  Gizmodo , one big downside is that the models don’t contain any “Star Trek” characters, who he says are “the beating heart of the show and its ideals.”

“Sitting in the captain’s chair, with all the stations empty beside you,” he writes, “is enough to make one wistful.”

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Sarah Kuta is a writer and editor based in Longmont, Colorado. She covers history, science, travel, food and beverage, sustainability, economics and other topics.

Creating Star Trek’s First Bridge

Gene Roddenberry knew he wnated the bridge to be at the center of the action in Star Trek . Beyond that, his designers, Matt Jefferies and Pato Guzman, had little to go on.

Jefferies was still designing the Enterprise itself in early 1964. He had honed in on a design that separated the warp engines from the main component of the ship: the saucer section. It made sense to place the ship’s command center on top of the saucer. Which meant the bridge was going to be circular.

“It was pretty well established with the model that the thing was going to be in a full circle,” Jefferies recalled years later. “From there it became a question of how we were going to make it, how it could come apart, where the cameraman could get into it.”

Guzman proposed a domed “Control Room”, which introduced two now-familiar features: a viewscreen in the front and the captain’s chair in the center.

Roddenberry writes in The Making of Star Trek that he wanted the captain to be in the center, “so he could swivel around and see every vital station. His people should be in contact with him easily.”

Practicality

Guzman left the series in October and was succeeded as art director by Franz Bachelin. By that time, Jefferies had become skeptical of the direction in which they were going.

“I had to come up with the construction drawings to actually build these sets,” he told William Shatner for his book Star Trek Memories , “and my problem was in trying to figure out just what the hell Bachelin had done such a pretty painting about.”

I mean in terms of practicality, his paintings just didn’t work; the construction crew would have gone out of their minds trying to build what he’d painted.

A self-styled “nuts-and-bolts man,” Jefferies began thinking from the position of the ordinary bridge worker.

The idea of the whole thing was that if a guy’s supposed to be on his toes and alert for hours, he’s going to have to stay sharp, and if you can make him comfortable it will help. So I felt that everything he had to work with should be at hand without him having to reach for it and at a comfortable angle.

That resulted in the design of the consoles around the edge of the bridge.

Building the set

Jefferies disliked placing the consoles at a higher level than the center of the room, where the captain and pilots were seated, but he didn’t have much of a choice: they needed to be able to roll sections in and out.

The set consisted of eight such “wild” sections: one for the turbolift, one for the viewscreen and six work stations. When assembled, the eight components formed an octagon, approximating a circle.

Construction started in November 1964 and took six weeks to complete. The electric wiring alone required hundreds of man-hours. All the instruments could be controlled from a single panel off-stage or individually by the actors. Miles of wiring were needed to connect everything.

At the behest of “The Cage” director Robert Butler, the set was painted in bluish-grey. This was changed when “The Cage” was rejected by the studio but Roddenberry was asked to produce a second pilot. Contrasting blacks and reds were added to the railings, turbolift doors and navigation console. That color scheme would remain for all of Star Trek ’s three seasons.

Franz Joseph’s Star Trek Star Fleet Technical Manual (1975), now considered apocryphal, suggests that the bridge was rotated 36° port to allow turbolifts to travel down the centerline of the saucer section. No reason was given as to why the bridge crew would be looking in another direction than the ship was traveling, although with artificial gravity limiting any sense of momentum, and electronic displays instead of windows, there is no reason either why the crew should face directly forward.

Can anyone comment on why the SF Tech Manual is considered “apocryphal”? What source of equivalent detail exists that’s considered canon?

I was wondering that as well.

There aren’t any canon reference materials such as tech manuals, or the encyclopedia, the chronology, medical reference manuals or blueprints. It’s all licensed to various publishers just as the novels are.

That’s not a scene from “The Cage”. Yes, it was the bridge used in “The Cage”, but that’s Shatner in the back (behind him, Sally Kellerman?) and actor Gary Lockwood next to the captain’s chair. This is the episode “Where No Man Has Gone Before”.

Thanks for pointing that out. I’ve changed the caption.

That’s an interesting photo of the bridge from “Where No Man Has Gone Before”. Not yet in the red color scheme, which it had in the broadcast version. Maybe this is a still from an early rehearsal before they modified it?

In so far as the “canon” question of Star Fleet Technical Manual . As someone else mentioned these materials are just licenced to publishers. However, bits and pieces of information from the SFTM had made it into the films and a couple episodes for television over the years. For example, some of the schematics were used as displays, and ship names (only mentioned in SFTM previously) were used. It’s considered “apocryphal” because since 2002 the Star Trek Encyclopedia , Star Trek Chronology: The History of the Future and The Star Trek: The Next Generation Technical Manual are considered the “official” reference point for all licenced tie-in material according to the Star Trek franchise. So if you want to publish say an owner’s manual for the Enterprise , the info has to be consistent with those three references. Your site is great, by the way.

Franz Joseph’s work was firstly based on the only “canon” source for Star Trek available: the TOS episodes themselves. He literally reverse-engineered from film frames. A work licensed by the studio, The Making of Star Trek , whose author had access to the studio, sets and production personnel (including Roddenberry) was consulted. Joseph also used actual production drawings by Matt Jeffries. He also corresponded with Roddenberry, whom was enthusiastic and encouraged his work. Which was at the time actually endorsed by the studio. The sheer lunacy of having a canon relating to a work of imagination and fiction aside… I can’t imagine anything being more “canon” than Franz Joseph’s work. Certainly in terms of being closer to the source material in timeframe. The idea of people going back after the fact and saying his work was inaccurate or incorrect is pretty wacky. He was working based off sets that changed on an almost weekly basis. Creating the inner workings of a starship that didn’t actually exist by matching sets in episodes with the only consistent aspect being the exterior model of the ship, and the dimensions decided upon by Roddenberry and the production staff once production of the series proper actually began. He did a splendid job and stuck beautifully with the details of the show, using creative license only where absolutely necessary, because no detail existed. Or because the details of the the exterior didn’t match up with the interior without modification. Or where details of the set were changed for creative reasons, but made no mechanical sense. Since supposedly canon only relates to what is shown on screen, then all we really have today is the three seasons worth of episodes that were filmed in the 1960s. Anyone working on technical renderings of The Original Series has no more canon to work with now than Franz Joseph did then. Unless you count subsequent Trek series, and those were created after the fact. If they were written and created properly, they should be created to fit into the canon that existed, instead of retconning their reality. The studio owns the show and they can do whatever they want to for their official licensing. But the idea of publications today being more official than official publications from back then has everything to do with copywriting and marketing, and nothing to do with what’s faithful to the source material or makes sense. Kind of like revisionist historians that rewrite history after the fact. Lol. Oh well, we love it, but it’s just a TV show.

The picture of the black-and-white bridge from “Where No Man Has Gone Before” is actually a photoshop job. The bridge in that episode had the red railings and turboshaft door. Here’s a shot from the episode. This is the photo was was altered because someone (who?) wanted to see what Kirk, etc. would look like on “The Cage” bridge. Notice that all the actors are in exactly the same position. The position of their bodies and all their arms and legs line up perfectly. This tells us that it can’t be that the black-and-white bridge photo was taken during a rehearsal and the “red bridge” was taken later after the bridge was repainted. It’s just one photo (of the red bridge) photoshopped to look like “The Cage” bridge. Also note that the Burke chairs in the black-and-white photo have the leather extensions that actually weren’t used in that episode.

You’re right! Thank you so much for pointing this out. I’ve taken that picture out.

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Star Trek: Ranking The Main Bridges

A listicle that talks a lot about carpet on spaceships.

Depending on which Star Trek series you grew up with, the bridge of the Starship Enterprise, USS Voyager, Defiant, even Discovery can be as familiar and comfortable as your own living room. These futuristic command centers are in many cases as iconic as Star Trek's starships themselves and as recognizable as any famous television or movie settings.

The interior styles of the main bridges have developed and evolved over the years, from the "cardboard" set of The Original Series to the literally metal bridge of Pike's Enterprise in Star Trek: Discovery. They've also been a distillation of the tone and feel of the shows themselves, cushy and comfortable during The Next Generation years, rougher around the edges on Enterprise, and blindingly futuristic in the Abrams films.

You definitely already know which starship bridge you've secretly dreamt of sitting at the center of, but here's our ranking of Star Trek's most iconic bridges from great to greatest.

14. Honorable Mention: Deep Space 9

Let's just get this out of the way up front: Space station Deep Space 9's Operations Center is not a main bridge. Ops is also not really the heart of Star Trek: Deep Space Nine (that would be the Promenade, the most identifiable location on the station and the setting for most of the action in the show).

DS9's Ops is a set that's emblematic of the series – a confusing, hard-edged, Cardassian-styled location that in no way looks like a great place to work (Raktajino-dispensing replicators aside). Ops is dark and shadowy, with various steps and raised consoles arranged with seemingly no real reason, and an elevated commander's office looming over everything like a micromanaging boss.

As a set, DS9's Ops is an incredible achievement by veteran Star Trek production designer Herman Zimmerman (you'll hear a lot about him), a jumbled up mess of a command center that's a far cry from the easily recognizable, ergonomic Starfleet bridges that both the characters and the audience had been used to for decades.

I played Shipyard Bar Patron (Uncredited) in Star Trek (2009).

Industrial Light & Magic’s Everlasting Star Trek III Starship Designs

45+ years | 500+ film and tv credits | 135+ awards.

Sep 12, 2024

Take a deep dive into the history and lore behind the starship designs created by ILM and introduced 40 years ago in The Search for Spock .

By Jay Stobie

Written and produced by Harve Bennett, Star Trek III: The Search for Spock (1984) afforded actor Leonard Nimoy his first opportunity to direct a Star Trek feature. With Ken Ralston as visual effects supervisor, the film also supplied Industrial Light & Magic with the chance to leave its own indelible legacy on the Star Trek franchise. ILM’s work on Star Trek II: The Wrath of Khan (1982) had included a collaboration with the Lucasfilm Computer Division which yielded the first all-CG sequence in a feature film, yet the company had an even greater impact on the film series’ third installment.

Among its many contributions to Star Trek III , ILM tackled the monumental task of designing and building five major starship and space station models that were introduced in the film. Though crafted specifically for this project, those steadfast exterior designs became staples in the Star Trek universe and appeared in prominent scenes across numerous films and television series. As we celebrate The Search for Spock ’s 40th anniversary, let’s examine the long-lasting nature of ILM’s iconic creations and explore the circumstances in which they were employed in later Star Trek productions.

The Merchantman: A Criminal Craft

A small, boxy vessel with a curved forward section lurked in deep space during the first act of Star Trek III , referred to as a merchantman by the film’s script. The ship carried a Klingon passenger (Cathie Shirriff) who had purchased intelligence related to the terraforming device known as Genesis. A much larger Klingon ship (more on that in a moment) lowered its cloaking device, becoming visible long enough to receive the data. Unfortunately, the Klingon operative had glanced at the information, prompting the vessel to swoop around and obliterate the merchantman with its weaponry.

From the earliest stages of pre-production on Star Trek III , the team at ILM — including Ralston, visual effects art directors Nilo Rodis and David Carson, supervising modelmaker Steve Gawley, and modelmaker Bill George — presented their creations to Nimoy and Bennett, who suggested alterations before final approval. Rodis and Carson generated concepts, while Gawley and George offered input and spearheaded model construction. The meticulous process was adaptable to each model’s role in the script, as the merchantman’s brief appearance meant it was fabricated in a relatively short amount of time. “The merchant ship was a design we threw together in a couple of weeks from a bunch of model parts,” visual effects cameraman Donald Dow told writer Brad Munson in Cinefex . “It was going to be blown up right at the very start, so there was no sense putting a lot of time into it.”

Yet, for a vessel not expected to see much screen time, the merchantman ultimately proved to be a testament to ILM’s dedication to quality, as the ship fulfilled its purpose in the film and went on to experience a revitalized livelihood in future productions. Boasting slight modifications in each instance, the merchantman reappeared as different vessels on six occasions. From a Sheliak transport carrying colonists in Star Trek: The Next Generation ’s (1987) “The Ensigns of Command” to a Cardassian freighter targeted by saboteurs in Star Trek: Deep Space Nine ’s (1993) “The Maquis, Part I,” the merchantman turned into a reliable resource for both series, as well as for Star Trek: Voyager (1995). In an intriguing twist, the merchantman — best known for being destroyed by a Klingon Bird-of-Prey in The Search for Spock — was even reconfigured to become a Klingon vessel in Deep Space Nine ’s “Rules of Engagement.”

The Klingon Bird-of-Prey: A Fearsome Fighter

An imposing warship with a head-like bridge section and angled wings, the Klingon Bird-of-Prey easily outmatched the merchantman. Commanded by a Klingon named Kruge (Christopher Lloyd), the Bird-of-Prey was armed with a cloaking device that concealed it from its enemy’s scanners. Kruge sought the power of the Genesis device, traveling to the Genesis Planet and making quick work of the U.S.S. Grissom . Despite its swift victories over lesser foes, the Bird-of-Prey soon found itself squared off against the legendary U.S.S. Enterprise . Of course, unbeknownst to Kruge, James T. Kirk’s famed vessel had been severely damaged in Star Trek II and only maintained a skeleton crew on its bridge.

Perhaps the most distinctive starship ILM assembled for Star Trek III , the Klingon Bird-of-Prey model featured an intimidating green color scheme and motorized wings that could be raised above its primary hull. On top of bringing the vessel’s exterior to life, ILM pioneered the visual effect that permitted the Bird-of-Prey to decloak and become visible. “[Optical photography supervisor] Ken Smith came up with the optical effect,” Ralston shared with Nora Lee in American Cinematographer . “By using a ripple glass he threw the color sync off on each separation, so that everything is just a little out of whack. Then it all gets in sync and forms the ship.” The design impressed creatives to such a degree that, following the U.S.S. Enterprise ’s destruction (yet another visual effect executed by ILM) in The Search for Spock , Kruge’s captured Bird-of-Prey — playfully renamed the H.M.S. Bounty by Kirk’s defiant crew — inherited the role of hero ship in the film’s Nimoy-directed sequel, Star Trek IV: The Voyage Home (1986).

However, the Bird-of-Prey’s prolific career was only just beginning. The ship’s signature profile played key parts as other nefarious Klingon vessels across the next three Star Trek films — Star Trek V: The Final Frontier (1989) , Star Trek VI: The Undiscovered Country (1991) , and Star Trek Generations (1994) — and popped up in numerous The Next Generation , Deep Space Nine , and Voyager episodes. As with many starships that began as physical models, the Bird-of-Prey was ultimately supplemented with a CG build in the latter stages of Deep Space Nine ’s seven-season run. The craft even ended up in animated configurations for Star Trek: Lower Decks (2020) and Star Trek: Prodigy (2021). Nevertheless, all the Bird-of-Prey models that followed were based on the look established by ILM’s initial build. Furthermore, the 22nd century iterations of the Bird-of-Prey and Klingon D5-class variants which debuted in Star Trek: Enterprise (2001), a prequel series set over 100 years before The Search for Spock , were tailored to reflect their lineage as in-universe predecessors to ILM’s original Bird-of-Prey from Star Trek III .

Earth Spacedock: A Safe Haven in Space

As the U.S.S. Enterprise glided through the solar system on its way to a much-deserved respite from action, it was greeted by the sight of Earth Spacedock. With a mushroom-shaped upper section atop a stem extending downward, the gargantuan space station permitted entire starships to enter its massive superstructure and dock at a central core complete with repair facilities. Abuzz with ships and various shuttles, the lively starbase watched over Earth and kept the Federation’s fleet ready to serve missions of exploration and defense.

ILM’s Spacedock assignment necessitated three separate builds; namely the station’s illuminated exterior, its cavernous interior docking bay, and an interior view through the windows of a small, lounge-type set. Approximately five feet tall and three-and-a-half feet in diameter, the exterior model relied on a complex lighting system, which Ralston described in American Cinematographer . “[The Spacedock exterior] had lights inside after the door opens up and running lights that go inside. Sometimes it is hard to sync up all those functions with the motion control system. But I think it worked nicely.”

The issue of conveying the sheer size of a docking area able to house a multitude of starships received ILM’s innovative attention and expertise. “We found that the interior demanded some degree of atmospheric haze, even though there probably wouldn’t be any in outer space. It just needed help to look slightly degraded — not so crisp and clean,” visual effects cameraman Scott Farrar shared in Cinefex . “We ended up using blue gels on the lights and shooting in smoke for the basic fill look. Then, when we went to the light passes, we used a diffusion filter.”

As timeless as Earth Spacedock’s inaugural performance turned out to be, the station’s unveiling soon led to its return to the big-screen. In addition to being featured in the three Star Trek films which followed immediately after The Search for Spock , Earth Spacedock appeared as several other Federation starbases — Starbase 74, Lya Station Alpha, Starbase 133, and Starbase 84 — in The Next Generation via the use of stock footage. A version of Earth Spacedock seemed to be in the midst of orbital construction in the Star Trek: Discovery (2017) episode “Will You Take My Hand?,” while the design was translated into animated form to represent Douglas Station in Lower Decks . According to in-universe lore, Earth Spacedock was retired from service and transported to Athan Prime, where it was last seen as the central hub of the Fleet Museum in Star Trek: Picard ’s (2020) third season.

U.S.S. Excelsior: The Transwarp Testbed

Dubbed “The Great Experiment,” the U.S.S. Excelsior acted as a testbed for an advanced faster-than-light propulsion system known as the transwarp drive. The Excelsior was spotted while berthed in Earth Spacedock, though the starship soon found itself attempting to engage its experimental engines as it pursued Admiral Kirk’s unauthorized departure aboard the Enterprise . Unfortunately for the Excelsior , Montgomery Scott (James Doohan) — the Enterprise ’s chief engineer — had sabotaged the transwarp system, causing the vessel’s trial run to stall out in an abrupt and unflattering fashion.

As outlined in Star Trek: The Official Starships Collection , early U.S.S. Excelsior concepts devised by Nilo Rodis and David Carson led to Bill George’s own distinctive study model and a 7 ½-foot studio model constructed with the oversight of Steve Gawley. Our first encounter with the starship coincided with the Enterprise ’s arrival at Earth Spacedock, resulting in an arduous challenge for ILM — Excelsior needed to appear stationary within the confines of the station’s interior. “[The Excelsior ] was shot separately from everything else. [Visual effects cameraman] Sel Eddy shot that stuff,” Ralston told American Cinematographer . “We had to match the moves so that it looked like it was locked right into the space dock. It was a pain. We had to cheat on some of the shots where there was so much trouble with the moves.” Their diligence paid off, as the majestic sequence endures as one of The Search for Spock ’s most awe-inducing visuals.

The Excelsior returned in The Voyage Home and The Final Frontier , but it received its biggest chance to shine in The Undiscovered Country , which also featured visual effects by ILM. Now captained by Hikaru Sulu (George Takei), the U.S.S. Excelsior rescued the U.S.S. Enterprise -A during a crucial battle against a rogue Klingon Bird-of-Prey. The model was heavily modified for fresh cinematic escapades in Star Trek Generations , then bearing the legendary registry of the U.S.S. Enterprise -B. The Enterprise -B variant was also utilized as the U.S.S. Lakota , an upgraded Excelsior -class vessel, in Deep Space Nine ’s “Paradise Lost.”

ILM’s Excelsior design prevailed via cameos in The Next Generation , as exterior shots of the vessel — now deployed to represent an entire line of Excelsior -class starships — debuted in the show’s first and second season premieres, “Encounter at Farpoint” and “The Child.” These views were subsequently reused as stock footage to depict various Excelsior -class ships in no less than ten additional episodes of the series. As with the Klingon Bird-of-Prey, ILM’s original Excelsior model served as the basis from which all future Excelsior -class physical and CGI builds stemmed. Deep Space Nine aficionados will point to the abundance of Excelsior -class vessels dispersed throughout Dominion War-era battles in “Sacrifice of Angels,” “Tears of the Prophets,” and the series’ finale, “What You Leave Behind,” as evidence that the starships were an integral part of Starfleet’s defense armada. In fact, at least three Excelsior -class vessels stayed in active service long enough to have been prepared to confront the vaunted Borg Collective in Voyager ’s own season finale, “Endgame.”

U.S.S. Grissom : A Scientific Scout

On a research mission to study the Genesis Planet, the U.S.S. Grissom was classified as a relatively small science vessel. After detecting an anomalous lifeform on the planet’s surface and beaming down a landing party consisting of Lieutenant Saavik (Robin Curtis) and Doctor David Marcus (Merritt Butrick), the Grissom remained tragically unaware as Kruge’s Klingon Bird-of-Prey approached under cloak and jammed all outgoing transmissions. The Bird-of-Prey dropped its invisibility field and coalesced into view, pouncing on the Grissom and destroying the Starfleet ship with a single blast.

The Roddenberry Archive notes the U.S.S. Grissom was yet another Star Trek III design conceived of by Nilo Rodis and David Carson and built by Steve Gawley and Bill George. The Grissom stood as a departure from the traditional Starfleet aesthetic in which a ship’s primary saucer was affixed to its secondary hull by a neck-like connection. A gap separated the two elements on the Grissom , with the only structures linking them being thin pylons extending from the vessel’s warp nacelles. The ship’s tragic fate didn’t merely come down to creating the biggest explosion, as plot considerations factored into ILM’s take on the Grissom ’s destruction. “I didn’t think we should do something flamboyant at that point,” Ralston pointed out in Cinefex . “If we played all our best cards at the start, we’d have nothing left to show when it came time to blow up the Enterprise .”

The Grissom ’s grizzly demise did not spell the end for the distinctive vessel, as the model functioned as the template for what would become known as the Oberth -class starship line. The design reemerged as a different ship of the same class berthed within Earth Spacedock in Star Trek IV before earning a recurring spot as a variety of Oberth -class ships that encountered the U.S.S. Enterprise -D in seven episodes of The Next Generation . The design garnered a great deal of attention in “The Pegasus,” an episode in which it was presented as the U.S.S. Pegasus , a testbed for an illegal Federation cloaking device. One Oberth -class ship assisted in the rescue of the Enterprise -D’s surviving crew at Veridian III in Star Trek Generations , while others could be found in the background at the Battle of Wolf 359 in Deep Space Nine ’s “Emissary” and the ILM-orchestrated Battle of Sector 001 in Star Trek: First Contact . Like Earth Spacedock and the Klingon Bird-of-Prey, the Oberth -class design found itself turned into animated form for Lower Decks , this time in the episode “First First Contact.”

The Search for Spock ’s Legacy

Crafting memorable starships and space stations for any production is a tremendous responsibility, yet Industrial Light & Magic’s contributions to Star Trek III: The Search for Spock accomplished this lofty goal and so much more. Having not one, but five major designs go on to resurface in significant roles is an achievement beyond all expectations. A recent scene in Star Trek: Picard ’s third season exemplified ILM’s incredible feat, as Kruge’s Klingon Bird-of-Prey and the U.S.S. Excelsior were both positioned around Earth Spacedock as part of the Fleet Museum’s honorary assemblage of classic starships. The everlasting nature of the designs speaks to the eternal appeal of ILM’s work. Whether the new studio models that ILM designed and built for Star Trek III were reused as they were originally constructed, recreated by other visual effects companies at a later date, or called upon by future artists to inspire their own takes on starships, the original models’ extensive influence on the Star Trek universe cannot be overstated.

Jay Stobie (he/him) is a writer, author, and consultant who has contributed articles to ILM.com, Skysound.com, Star Wars Insider , StarWars.com, Star Trek Explorer , Star Trek Magazine , and StarTrek.com. Jay loves sci-fi, fantasy, and film, and you can learn more about him by visiting JayStobie.com or finding him on Twitter, Instagram, and other social media platforms at @StobiesGalaxy.

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Characters Other People Locations Symbols and Script Equipment Other Images Abramsverse Discoverse

Here are various pictures of characters, species, equipment and places in Star Trek - scans, digital photos and HD screen caps. You can find more pictures of people, places and props in the richly illustrated Investigations section. If you are looking for starships, please go to the Starship Gallery .

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TOS Main Characters - Kirk, Spock, McCoy, Scotty, Uhura, Sulu, Chekov, Chapel, Rand

Spock Moments - memories of Leonard Nimoy as Spock from TOS, movies, TNG and Abramsverse

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TNG Main Characters, Part 1 - Picard, Riker, Data

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Each image in this gallery is individually attributed. Many are from legacy print publications such as The Art of Star Trek , the Star Trek Fact Files , Star Trek: The Magazine, or STTNG: The Continuing Mission . Some of the newer ones are publicity photos released by the studio. Please contact me, if other sources have to be credited. No infringement upon Paramount's or third-party copyright is intended.

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