Anthony Glasson understands that no matter how big a fan of the Star Trek franchise, you simply cannot enter the world of the eponymous 1960s television series through the TV screen. The next best thing is to delve into yacht designer Anthony Glasson’s trimaran superyacht concept, Project Enterprise. The 275-footer takes design cues from the fictitious starship featured in the hit American science fiction franchise. The head of M51 concepts admitted in a statement, “The exterior styling inspiration was only realized once finished: I had been watching the first season of Star Trek and unconsciously designed a yacht that resembles the original Enterprise.”
With all the trappings of a superyacht, the trimaran is characterized by a striking hull design with angular lines. The sharp triangle form of the hull recalls the show’s starship with a change of habitat. The main deck is where all the action takes place. The open plan area is filled with ample natural light owing to large 180-degree floor-to-ceiling windows. It also sanctions plenty of scenic beauty, making it a perfect location to socialize and enjoy the trimaran.
A forward lounge on the main deck opens to the captivating outdoor area with alfresco dining and a hot tub. An expansive courtyard sets the vessel apart, dotted with a well-equipped gym and a cozy day lounge with a glass partition for a climate-controlled environment. Project Enterprise will include not only but three Jacuzzis on the sundeck and main deck aft.
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Entertaining guests on the yacht is easy, with a spacious toy garage under the helicopter landing pad. This space can be turned into a helicopter hanger or tender garage, depending on what the billionaire desires more.
The sleek Enterprise yacht can sleep nearly 12 guests in eight suites. The best of the designer’s prowess is witnessed in a huge full-beam owners’ suite.
Glasson shared that Project Enterprise is one of his most recent works. ‘I started M51 Yacht Design after a decade plus working in the superyacht industry as an engineer for onboard yachts up to 80m. Living and working on yachts has given me a different perspective on the world of yacht design. I strive to design yachts that are truly unique yet practical yachts that just don’t just exist on a screen but can be built to sail the oceans, ’ he stated.
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Undoubtedly, the concept will be lapped up by a luxury-loving, star struck by Star Trek, deep-pocketed billionaire. Proof lies with another Star Trek fan, a Chinese billionaire and an ardent fan who enthusiastically spent $97 million to build his office in the shape of the USS Enterprise. The humungous office of wealthy tech entrepreneur Liu Dejian, chairman of NetDragon Websoft in Fuzhou, has sliding doors where employees playfully use 30-foot metal slides to move between levels., and that basic shape has become iconic in pop culture for being identified with the franchise; so iconic, in fact, that the original shooting model of the Enterprise has a home in the Smithsonian’s Air & Space Museum. A number of designs for the original USS Enterprise have appeared on television and film, with the latest showing up on
The redesigned Enterprise generated a lot of buzz, and there was even a bit of controversy, which was later clarified by CBS, explaining that design changes made to the ship were made by the creative design and VFX teams to take advantage of the latest technology. We now have insights into the development of the concept art for the redesign, thanks to the collectors’ magazine included in the brand new Eaglemoss USS Enterprise model, which tells the firsthand story of how the designers took on the daunting task of redesigning the USS Enterprise for
First season, the show’s art department had been reduced to a small team of Production Designer Todd Cherniawsky, Concept Artist/Illustrator John Eaves, VFX Art Director William Budge, and VFX Artist Scott Schneider. The Trek veteran of the group, Eaves, had already designed the NCC-1701-B in
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Eaves told Eaglemoss, “Before our Production Designer Todd Cherniawsky left, he gave us the Enterprise.” Eaves and the rest of the team had known that the Enterprise would be seen in
The production team’s process was straightforward: Eaves would produce initial sketches, Schneider would turn them into 3D models, Eaves would work with Schneider to paint extra details onto the model, then Budge would work on the final level of texturing and detail. All three actually worked remotely, with Eaves and Budge only having communicated over the internet at the time of publication.
When we started developing it, we had no script. We just had an outline, aside from a few minor notes on the way. There was very little feedback so it was pretty much left to the three of us. This was our golden hour.
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“There was an initial suggestion that the Enterprise would look very different from Matt Jefferies’ original version, and would have a design that was more in keeping with the other ships in the
Eaves began the process by producing a series of ten sketches to illustrate how the classic ship could be altered. Eaves wanted to streamline the Enterprise to give it the sleek,
Look, yet keep the form as close to the original. As the team was aware that the Enterprise they were designing for
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. They theorized ways their version could be refitted over the years to become the 2266 Enterprise. Their theory was that various components of the ship, such as the warp nacelles and impulse engines, would be swapped out over time, so the team set out to design primitive versions of them.
We were constantly trying to tie into both the past and future architecture of Starfleet ships. It was actually a fun part of the whole process. We tried to tie stuff into the NX-01 and stuff that would come in the future, like the Enterprise-B. So on the bottom of the impulse engines it has these little vent details that you’d see on the bottom of the B. We were trying to tie into the Discovery-era so we had a double-pronged antenna on the front [of the deflector dish] and a wedge on top of the lights [illuminating the ship’s registry].
During the team’s design process, Cherniawsky had moved on to another project and was replaced by Tamara Deverell. Like Cherniawsky, Deverell was keenly interested in making sure that the team respected the original. Schneider notes:
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There are little things that we did along the way where we were adding details in to try and keep it as close to the original as possible. In the beginning, we had the ball on the back of the nacelles, like they did on the original version built for “The Cage.” Later on, we got into a meeting with Deverell and we discussed it and I said ‘Really, time-wise we should be doing this.’ So we put the grilles in there instead. Hidden details
The team also added a number of details that are unlikely to be seen in the show, such as fleshing out what the markings on the bottom of the secondary hull meant. They added a warp core ejection hatch, and tailored the numbers on the secondary hull to honor the pioneers of Star Trek like Gene Roddenberry, Matt Jefferies, Andy Probert, and Doug Drexler. Hull codes were produced that included their birthdays, resulting in ‘GR0821’, ‘MJ0703’, ‘AP0946’, and ‘DD0353’.
They also added RCS thrusters, tractor beam emitters, and aft photon torpedo launchers and phaser banks (some of these features were first shown on the Enterprise’s sister ship, the USS Defiant in ENT “In Mirror, Darkly”). As phaser emitters and torpedo launchers were never shown on the underside of the saucer during
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The team also tackled the issue of Jefferies’ Enterprise having a turboshaft directly behind the bridge on the centerline, while the bridge set placed the turbolift doors off to an angle. This discrepancy had led many fans to speculate that the bridge was positioned at an angle, rather than facing directly forward.
“A cool thing that Schneider did that you’ll never see, ” says Eaves, “was to make the turbolift work. He came up with the idea that you get in the turbolift and it rotates in the tube, and then drops.”
Schneider adds, “You have an elevator shaft on the centerline and two standby elevators off to the side. So one would slide back and over and go down the tube and another one would come in. This is why you could get an elevator so quickly because there’s always at least two standing by and that explained why there is a center shaft.”
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After Schneider would render Eaves’ designs, Eaves would assist with coloring the hull. On some examples, Eaves experimented with an Aztec design that had been introduced with the refit Enterprise, and was being used on all
Era Starfleet ships. He also produced versions with a simple metallic texture that reflected Jefferies’ vision of the ship’s hull being made from an advanced material that could be molded to cover vast parts of the hull, instead of relying on the smaller hull plating that
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