Tony's Console Room Measurements

[tony farrell]

I began this thread by comparing the height of the Police Box's side panels (to their stepped sections) with the Tardis' main internal doors.



From this photo from "The Time Monster", it can be seen that the  Police Box prop is butted directly up against the Tardis' main doors; the Tardis' doors are only an inch or so taller than the stepped section on the Police Box's sides. Gene Fender's plans for the Police Box state this height as 81.5", therefore, the height of the Tardis' main doors must be approximately the same.


I've previously argued, if the plans for the Police box here on TB are accurate, the main Tardis doors must be made up of three 24" diameter roundels separated by two inch gaps and with a three to three-and-a-half wainscoting at the bottom of the doors (3 x 24=72") + (3 x 2" spacings = 6") + 3.5" (wainscoting) = 81.5". The photographic evidence from The Time Monster and the plans stated here on TB are clear - the heights of the Tardis' doors and the tops of the Police Box's sides are the same. There certainly isn't a three inch difference between the two!


And, for comparison, I've drawn the same picture but with roundels which are 25" in diameter (25" x 3 = 75" + 3 x 2" spacings + 3.5" wainscoting = 84.5").


So, either the Tardis' doors are the smaller size, or the Police Box prop is taller than stated here on TB.



The truth is that the Police Box prop's sides had actually been altered from their 1963 original measurements. As we've seen from my history of the Brachaki Police box prop, following its various refits, this prop's side panels (to the same stepped section) was actually 1.75" taller by the time "The Time Monster" was filmed.





This discovery means that not only are the Police Box's side panels taller, but, the Tardis' main internal doors and walls are taller too. Using the same methodology that I've used throughout this thread, it is possible to  re-calculate the dimensions of Peter Brachaki's Tardis Control Room based on the slightly taller Police Box sides:

In this photo, we can see the rear of the Tardis' main walls and how this compares to the height of the dividing screens used in the Living Quarters. We can also see how the doors to the living quarters compare to the screens and main walls:



Using a roundel diameter of 25" separated by a 2" gap for the main Tardis walls, I've drawn the dividing screens for comparison:



In these screen grabs, we can see how the dividing screens relate to the doors to the living quarters and how these doors relate to the Tardis' main doors:


The top  of the Tardis' main doors (in green) line up with the curved section above the doors to the Living Quarters - so, approximately four inches above the tops of the Living Quarters' doors. The relationship of the dividing screens' lower crossbar and the Living Quarters' doors can also be seen as can the relationship between the lower crossbars and the roundels on the main Tardis walls.

[tony farrell]

[tony farrell]

[tony farrell]

We know from this picture from Rob, that the floor plate is 10' wide


and, from this, I was able to estimate the proportions of the ceiling unit as being the same - i.e., approximately ten feet across. Rob then posted this:



There are some subtle differences between the ceiling unit (the Canopy) as planned and as ultimately built. The number of Perspex diffuser rings in the central 'drum' was reduced whilst between the recording of the first episode and "Edge of Destruction", the depth of the outer supporting sections (fins) was increased:


Later in this prop's history, it was reduced in depth (to reduce its weight) as this photo from "The Chase" shows:


These drawings show the various differences/alterations described above:

[tony farrell]

Again, taking the diameter of the main walls' roundels as 25", it is possible to calculate the heights of the panels which go to make up the Computer Bank/Fault Locator wall.




These screen grabs allow the widths of the computer panels to be judged in comparison to their heights:

[tony farrell]

What I've called the Scanner Assembly is nicely illustrated by this screen grab:


The Scanner Assembly consists of five semi-circular 'drums' under which are five shallow 'down-lighter boxes'; each 'box' contains a circular down-lighter. Of these five circular down-lighters, three contain 'diffusers' which are made up of Perspex rings - the down-lighters to either side and the rear of the scanner. Beneath and to the rear of the boxes are dividing screens. These screens appear to be identical in construction to those used in the Living Quarters. The central section of these screens is formed by a square (tower-like) structure or a supporting 'frame' for the scanner. This frame is mounted on casters.



As well as comparing the dividing screens to those used elsewhere in the Tardis Control Room i.e., the economy of scale Brachaki would have  achieved in re-using the  same screens, in establishing the widths of the Scanner Assembly dividing screens, reference was made to the hexagonal floor-plate which surrounds the console:
We now know from Rob49152 that the floor-plate is 120" wide (i.e., opposite side to opposite side) and that it was surrounded on five sides by a small white strip which is approximately 1" wide. So, the widths of the dividing screens can be calculated:


The floor-plate has been divided into 32. 140" divided by 32 = 4.375". Each dividing screen is between 10.75 and 11 multiples of this division. 10.75 x 4.375" = 47.03", whilst 11 x 4.375" = 48.125". So, the width of each section of the dividing screens is 48".

The central supporting frame for the scanner is a free-standing unit mounted on casters.



Again, for reasons of economy, it is logical that the same elements would have been utilised. So, the scanner's supporting frame is very likely to have been made up from the same metal frames 'sandwiching' a Perspex panel. This means the scanner's frame is 48" by 48". The height of the scanner's frame can be judged against the dividing screens. The photo of Susan in front of the Tardis' scanner shows that the rear down-lighter box is mounted inside the 48" square metal frame at the same height as the dividing screen's upper cross-bar's upper edge (so, 108"). The top of the rear box is at the same height as the down-lighter boxes in front of the screens, so, these too must be 108" high from the studio floor.

[tony farrell]

One last aspect of Brachaki's Control Room remains to be discussed: the variously called light boxes/computer towers/light columns/columns.

We know from Rob49152 that the main section of the column is Perspex fronted and measures 48" by 36". This main section stands on top of a smaller box which is 12" tall and is eight inches shorter on each side than the main section. The total height is ten feet. This plan is from Rob:

However, this part-plan doesn't reveal the full complexity of the columns. Neither does it make it particularly clear that each column is the mirror-image of its twin.
The plans posted by Rob indicate two rows of five holes in the column's base (and presumably top) for ventilation.
This grab shows four ventilation holes in the top's 'front' not five.



These four holes match the points on the top's rear where the cables for the fluorescent tubes exit the top. It would appear that the tops of each box were drilled symmetrically with four holes on the opposite wide sides which could function as holes for the wiring and/or ventilation.
In addition, the part-plans do not show the ventilation slots which are located on the sides just slightly set-back from the front just behind the Perspex panel.

[tony farrell]

As regards the number of columns of fluorescent tubes within each column, it is clear that there is a single column on the side of the box furthest away from us in the picture of Carole Ann Ford. These show the column from various angles and the brighter parts on the 'V' shaped side nearest us in the grab of Susan show that there were four columns of tubes on the rear panel (to match the number of ventilation holes in the top's rear).



The column of tubes which was behind Susan is visible behind William Hartnell here but is hidden behind William Russell in this:



The tubes in each column are off-set or staggered when compared to the tubes in the next so, the 'first' column comprised five tubes, the second four, the third five, etc.

What we might call the near-side of the column's main section consists of a 'V' shaped semi-transparent panel. On the rear panel, this translucent panel is much narrower being only about a quarter of the width of the panel and appears rectangular rather than triangular in shape.


From this screen grab, a shadow can be seen where this narrower panel joins the inside centre of the panel:

Clearly, this shadow and the way the light is cast from the tubes, shows that the narrower 'rear' recess does not join the inside of the panel at a right angle - there is a short tapered section between the recess and the fluorescent tubes in the centre of the panel furthest away.

[tony farrell]

Here are my drawings of the computer towers/light columns. Whilst we do not know the colour of the Perspex panel, we do know that it cannot have been black. Black Perspex is opaque and would not allow light to pass through it. So, it has to have been a lighter colour - I've used a grey/blue colour for illustrative purposes.



Tony

[galacticprobe]

Beautifully done, Tony! It's possible they used a lightly smoke-tinted perspex (say... a medium or so level of grey). It would light up nicely, but not too brightly (enough for you to see the interior of the cabinet as in the photos). When the lights were off, it would only "look" black; and with the medium tint it would still allow you to see inside - depending on the lighting in the room - again as in some of the photos when the cabinets' lights are off.

Again I'm only posing possibilities as I don't think we have a color reference for this one. (Unless the tint of the perspex is specified on Rob49152's drawings... still with us, Rob? I think we'd love to hear your take on this one.)

Dino.

[rob49152]

I have always been here. Hmmm sounds more like a Babylon 5 reference than Doctor Who.

Anyways looking at the plans it just says 'Perspex Color No. to be given later'.  I remember reading somewhere that they were blue'ish if not straight blue. Perspex was still pretty new in the 60s and I don't think they had a lot of colours back then.

When I have been doing 3D renderings of the set I've used the red or green channel of the final render to get the same look on the towers. If I use the blue channel they become almost totally see through and the reflections off the surface is crazy bright. I've also read that to simulate the look of old TV it was best to use the red or green channel. Thats why I use them.

The fact that the photos look dark if not black in some images makes me really think that they were a blue'ish tint.

[tony farrell]

Anyways looking at the plans it just says 'Perspex Color No. to be given later'.  I remember reading somewhere that they were blue'ish if not straight blue. Perspex was still pretty new in the 60s and I don't think they had a lot of colours back then.
The fact that the photos look dark if not black in some images makes me really think that they were a blue'ish tint.

Thanks Dino/Rob.... I'm intrigued that the BBC apparently allocated colour numbers to Perspex as well as paint colours. Discussions about colours probably should be in the Pale Green Console Room thread, but perhaps Rob could find where he read that the Perspex columns' fronts were blue....That would be very helpful.
T

[galacticprobe]

Tony, once again your work is amazing!

Dino.

[tony farrell]

Sorry, chaps I deleted my last post because I forgot the overhead view - Doh!  
Here it is!

Diagram showing the console showing two sides to follow....

Tony

[Rassilons Rod]

I think it might be handy on the plan view to show the depth of the panels (distance between long edge and short edge). Which I believe you have noted as 24.25" on the side view