Quarters
The term quarters referred to accommodations on board spacecraft and space stations and also to accommodations in a building. Quarters could be found all over mobile and stationary facilities, varying in size and detail. An individual room was called a cabin. One form of discipline was being confined to quarters.

The Vulcan s at the monastery at P'Jem had living quarters. They were not located in the eastern tower of the monastery and were not searched by the Andorian Keval when Thy'lek Shran asked him about the search progress. ()

Types of quarters 
Typically, a spacecraft or space station featured at least four kinds of crew accommodations:
Guest quarters: A living space assigned to a temporary resident of a space station or spacecraft. Standard guest quarters on a  starship were considered far more luxurious than those on board a 23rd century starbase, and were not the largest quarters available. () The guest quarters aboard Deep Space 9 were located in corridor H-12-A. ()
Crew's quarters: The majority of the enlisted crew and junior officers shared quarters and bunk areas on  and  vessels. (; ) On starships of the Galaxy-class, crew members ranked lieutenant junior grade or higher were given their own quarters while personnel up to the rank of ensign were required to share quarters. () The crew quarters aboard the space station Deep Space 9 were larger than the usual guest quarters. ()
Officers' quarters: Many starships featured separate quarters for higher-ranked officers. Usually, these staterooms were composed of two or more areas, featuring separate bed and bathrooms and a dedicated work and living area. ()
VIP and captain's quarters: Each starship typically featured a number of VIP staterooms, reserved for guests. Usually, the accommodations of the ship's commanding officer were similar to these staterooms, being slightly larger than the standard officers' quarters. () Sometimes, the captain's quarters were referred to as a "cabin". ()

Early Earth spacecraft 
In the mid-20th century, the earliest Earth spacecraft had the crew living and working in a crew cabin. Schematics of the Apollo Command/Service and Lunar Modules depicting the crew cabin were stored in the 's library computer database. This database was accessed by the Talosians in 2254. (, remastered)

Aboard the  freighter , guest quarters were located in room B3, whereas room B6 was Travis Mayweather's cabin. It was reassigned to another member of the Horizons crew when Mayweather left the ship to enter Starfleet. The room's occupant didn't mind giving up the cabin for a few days in 2153, while Mayweather visited the ship. Shortly prior to that visit, suspecting he might feel more at home surrounded by some of his former belongings, Mayweather's mother, Rianna, redecorated the cabin with them. The items included a model of the Phoenix. Upon Mayweather arriving back on board the Horizon, he initially assumed he was assigned to guest quarters and was therefore surprised to discover he had instead been allocated his old room, also astounded by the fact his mother had kept a star chart he had once created and which now adorned one of the cabin's walls. ()

Starfleet quarters 
Starfleet starships typically featured three kinds of crew accommodations, with enlisted personnel and junior officers sharing quarters, higher-ranked officers being granted separate quarters, and slightly larger staterooms being reserved for the ship's captain and guests. As the starships grew larger, so did their crew accommodations, logically progressing toward more luxury and comfort. Thus, officers' quarters on board vessels of the 23rd century Constitution-class were equal in size and comfort to the accommodations of junior officers on board the 24th century Galaxy-class. (; )

One could request a new room assignment if they were unhappy with whom they shared quarters with. ()

In times of emergency, crew quarters aboard Starfleet vessels could be converted into shelters for the crew. (; ; )

NX-class 
Crew quarters on board vessels of the  were located on Decks B through E. Very few had a view of space – usually only those of the higher-ranked officers and those reserved for guests, which were located on Decks D and G. () The structure and materials of the NX-class starship did not allow large transparent surfaces exposed to space; therefore, there were only a few small windows throughout the entire vessel.

Enlisted crew shared quarters aboard NX-class vessels. Shared quarters were small and very cramped, containing a set of bunk beds, a small desk and two storage lockers. () Officers' quarters were larger, containing a moderately-sized bed, a desk, several lockers, and various built-in shelves for further storage. (, et al.) The captain enjoyed the largest quarters, containing a double bed and multiple desk areas. All crew quarters had their own personal bathrooms containing a shower, lavatory, and sink. (, et al.)

In the mirror universe, at least some crew on NX-class battle cruisers also had to share quarters. Members of the captain's personal guard, however, were given their own quarters, as well as better food. ()

Crossfield-class 
 
 

Crew quarters were shared aboard  vessels. The room contained two desk areas and a bed on each side of the room. Crew quarters also had their own personal bathrooms. ()

Quarters for the senior staff were similar in shape and size. The only difference was that they had only one occupant. ()

Constitution-class 
Crew quarters on board starships of the  were located throughout the vessel's saucer section. On starships of the original configuration, the officers' quarters featured two areas, separated partly by a wall fragment. One area was allocated as a sleeping area, featuring a comfortable bed, and another as a work area, providing a desk and computer terminal. Entrance to a bathroom was provided through the quarters' sleeping area. Both areas could be configured to personal preference. (; )

On starships of the refit configuration, staterooms of the senior officers were composed of two areas which were separated by a retractable, transparent aluminum partition. The room's entrance opened into the living area. A library computer terminal and work desk were provided here. The room's corner circular nook, normally occupied by a dining booth, could be modified at the officer's request. The other half of the stateroom was a sleeping area, which held a single large bed that could double as a sofa during off-duty relaxation. A transparent door led into the bathroom area.

Later refits of the class reduced the size of the senior officer's quarters to one good-sized room which served both functions. Specifically, the officer's quarters contained a bed, desk, and computer terminal, all along the main wall of the room, with closet space off to the left. The room also contained a replicator. (; )

In 2266, Charles Evans was assigned quarters on the , while visiting the ship. After the cabin's door was rigged with a force field, Captain Kirk and Lieutenant Commander Spock attempted to trap Evans in his quarters, in an attempt to neutralize destructive proclivities which Evans had. His quarters were no match for Evans' mental abilities, as he simply dematerialized the bulkhead containing the circuitry powering the force field. ()

In 2268, on stardate 4372.5, while on board the Enterprise, the Dohlman of Elas, Elaan, complained to Captain Kirk about the small guest quarters she was given. Kirk replied that their communications officer (Nyota Uhura) had gladly vacated her quarters for Elaan's use. ()

Starbase 11 
In 2267, Starbase 11 included a set of guest quarters, where Captain Kirk resided while he was confined to the starbase. These quarters were visited by Samuel T. Cogley, who filled the area with books. ()

Excelsior-class 

On board the , senior officers, such as the captain, had private quarters below decks. (; ) Captain Hikaru Sulu's quarters were located on Deck 3. ()

There were also multiple Excelsior-class quarters for the enlisted crew, junior officers, and officers, many of whom shared quarters and bunk areas. Those rooms varied in occupant size from four to nine. (; )

Galaxy-class 
Most crew quarters on board the  starship were located within the ship's saucer section, in order to provide safety for civilian and non-essential personnel during a saucer separation. However, the engineering hull also contained crew quarters, generally containing engineering personnel and their families. (; ) Pets, including cats and dogs, were also allowed aboard ship. () The style of furnishing in Galaxy-class quarters was described as "Federation Decor". ()

The accommodations of junior officers were located on the interior of the ship and lacked windows. They were composed of a living area, a bedroom, and a bathroom. The living area contained a replicator terminal and was customizable with a variety of furniture and decorations.

The accommodations of higher-ranked officers lined the edge of the saucer section. () They contained a living area, a bedroom, and a bathroom area. Most of the senior officers' quarters had several vertical windows each, through which one could see the stars. These windows were set into an angled ceiling.

The captain's quarters, located on Deck 9, were similar to the accommodations of senior officers, yet were slightly larger, providing a large desk area and work terminal. VIP staterooms shared the same layout and were sometimes even larger. ()

In 2364, during a crisis between the Ornarans and the Brekkians, a pair of Brekkian representatives, Langor and Sobi, stayed in the guest quarters aboard the . The room was decorated with a model of a long range shuttle. ()

 The same year, guest quarters were equipped with a desk. An example was guest quarters used for Admiral Gregory Quinn, which included such a desk. ()

 In 2367, on stardate 44143.7, Jono stayed in guest quarters aboard the Enterprise-D after he was rescued from a disabled Talarian freighter. ()

 In 2369, on stardate 46125.3, Captain Montgomery Scott, after being rescued from the crashed , was shown his guest quarters aboard the Enterprise-D by Ensign Kane. Scotty remarked at the luxury of starship guest quarters compared to those in his day aboard the Enterprise. ()

Defiant-class 

Due to the limited space available on board vessels of the , all crew members had to share their quarters with at least one other crewmate during normal times of operation – with the exception of the vessel's commanding officer, who was granted a separate room on Deck 1, which doubled as the captain's ready room. Crew accommodations included twenty-two main cabins and ten contingency cabins, each equipped with a minimum of two bunks. These cabins could be outfitted with as many as six bunks, allowing for a potential total crew of 192. Each cabin was equipped with one replicator port and one standard computer terminal. Overall, crew quarters on board Defiant-class vessels were the most spartan in Starfleet. ()

Intrepid-class 

Crew accommodations on board vessels of the  were quite similar in furniture and layout to those on board Galaxy-class starships. Other than the difference of their grey color scheme, they were smaller than those on Galaxy-class starships but had similar amenities.

Sovereign-class 

Starships of the  featured crew accommodations similar in size and layout to those on board vessels of the Galaxy-class. The quarters of senior officers typically featured a living area in the center of the dwelling, which held a personal workstation, couch, replicator and a small dining area. Usually, the bedroom would be connected by a half-bathroom with washbasin, mirror, several drawers and a sonic shower. For members of the senior staff, this area was usually upgraded to a full-size bathroom with bath tub. ()

Deep Space 9 

Most quarters on space station Deep Space 9 were located in the station's habitat ring. Several of these accommodations featured two bedrooms located on either side of the large living area, several octagonal windows providing a view into space, a replicator unit and a door along the same wall offering egress into the corridor. Typically, spots of light were shone down through many circular holes in the ceiling, matching a lighting technique found in the station's corridors. ()

The location of the crew quarters was labeled on a schematic of Deep Space 9 that was seen in the station's wardroom. () 

A set of quarters which Jake Sisko and Nog occupied in 2373 featured a small living area between two sleeping areas, with egress provided on each side of the room to the station's corridors. ()

Romulan Guard quarters 

The crew quarters on board a Romulan  warbird were located on the ship's "C" Deck. They were sparsely furnished with a table and chairs in the center of the floor, and a set of bunk beds incorporated into the walls. Crew quarters could also have force fields integrated in and around their bulkheads. ()

Variations are known to include a bed fully detached from the wall, and a sink with a mirror along the far left wall from the entryway. ()

Quarter assignments 

 James T. Kirk
 Deck 5, Room 3F 121
 Spock
 Room 3F 125
 Leonard McCoy
 Deck 9, Section 2, Room 3F 127
 Harry Mudd
 Room 3F 125 (temporarily assigned)
 Janice Rand
 Deck 12, Room 3F 125 
 Deck 12, Room 3C 46

 
 B.G. Robinson
 Deck 8, Section 806, Room 0669
 William T. Riker
 Deck 8, Room 0912
 Beverly Crusher
 Deck 8, Room 2133
 Guinan
 Deck 8, Room 3150
 Jean-Luc Picard
 Deck 9, Room 3601

Deep Space 9
 Elim Garak
 Habitat Level H-3, Chamber 909
 Zim Brott
 Habitat Level H-43

 Susan Nicoletti
 Deck 4
 
 Deck 6
 Tuvok
 Deck 6
 Ayala
 Deck 7
 Hargrove
 Deck 7
 Kes
 Deck 8

Appendices

Background information 
The contents of crew quarters required much attention to detail. While working on , James Mees – who, as set decorator, not only worked on Enterprise but also on  (except for its first season) and  – commented, "When I have a permanent character I spend a lot of time thinking about it [....] If it's for a guest star, we generally try to use stock and rework it a bit." Due to having a theater background, Mees was inclined to base the personal items of the regular characters' quarters on their persona. "You not only do what is typical of him [or her], but also add something to their character," explained Mees. () He often took the input of the regular cast into account as well. "I like to have the actors personalize these spaces," he said, "so that they can reflect their ideas of what their characters are like in private." ()

Constitution-class info 

For , Captain Christopher Pike's quarters were designed by Franz Bachelin, who illustrated a concept sketch of the room. (The Art of Star Trek, p. 11) These quarters were, as evidenced by a call sheet, built on Stage 16 of Desilu's Culver City lot. 

It was decided during production of "The Cage" that the crew quarters would be contained in the saucer section of the Constitution-class. (The Making of Star Trek, p. 106) This information was not established on-screen until later in the series, however.

It was not made clear at any point during the run of the original Star Trek series whether the members of the Enterprises contingent of junior officers each had their own cabin or shared bunk rooms. On this topic, Gene Roddenberry stated, "My feeling about the crew was that indeed they did have their own staterooms. The services today have always annoyed me, putting up enlisted men like cattle. I think all men deserve dignity and it was my feeling that by that century, we would have come to understand that." (The World of Star Trek, 3rd ed., p. 39) D.C. Fontana commented that "bunk rooms and other variations of crew quarters" were never shown on TOS precisely because of the series' budgetary limitations. (The World of Star Trek, 3rd ed., p. 40) During the series run, only one set was built for all the crew quarters on board the Enterprise, which was on Paramount Stage 31 and was redressed as and when required. (; The World of Star Trek, 3rd ed., p. 38)

Captain Kirk's quarters were designed by Matt Jefferies. (Star Trek: The Original Series Sketchbook, p. 77; et al.) They were considerably different from the earlier-built set used as Captain Pike's cabin in "The Cage". ( text commentary, TOS Season 1 DVD) The smallness of Kirk's bed in the original series was not in keeping with his reputation as an habitual womanizer. (The Making of Star Trek: The Motion Picture, p. 90) Gene Roddenberry was not entirely satisfied with the decor of Kirk's cabin either, stating, "We should have had a head in Captain Kirk's stateroom, certainly." (The World of Star Trek, 3rd ed., p. 39) Initially, the script for  featured Kirk throwing cold water on his own face. In a memo of script notes from Robert Justman to John D.F. Black (dated ), however, Justman commented, "We have no provision for a bathroom or fire hydrant in Kirk's Quarters." The set for Kirk's cabin was positioned immediately adjacent to the set for a briefing room heavily used in  and . The set for Kirk's quarters had to be partially disassembled during the making of that two-parter, to make room for a projector to be placed far enough behind a screen in the briefing room set to allow for rear projection onto the screen. ("The Menagerie, Part II" text commentary, TOS Season 1 DVD)

In TOS, Spock's cabin was a redress of Captain Kirk's quarters. There weren't many differences between the two areas, though Spock's cabin did include a few unusual artifacts, presumably of  origin. ( text commentary, TOS Season 1 DVD) The script of the second season episode  erroneously noted that that episode was the first to show Spock's quarters. The same teleplay went on to state, "We may get the impression even Kirk does not visit here often. The room is distinctly Vulcan in decoration and mood. It may be faintly Oriental... most of what decoration we see will be simple, sparse, perhaps some indication of a warrior heritage."

The set for former captain Pike's quarters in "The Menagerie, Part I" was constructed with walls from Captain Kirk's quarters, though they were located in different spaces of the soundstage. ("The Menagerie, Part I" text commentary, TOS Season 1 DVD) For Sarek's quarters in season 2's , that episode's script specified the room was to be a "redress" too and "not made up to suit Vulcan taste."

Some of the earliest artworks by illustrator Michael Minor were featured in McCoy's quarters in the third season of TOS, having been purchased from Minor by Matt Jefferies. (The Making of the Trek Films, 3rd ed., p. 28)

One of the first things that Gene Roddenberry knew he wanted for the ultimately aborted spin-off television series Star Trek: Phase II was for Kirk to have larger quarters than he had been allotted in the original Star Trek series. (The Making of Star Trek: The Motion Picture, p. 90) The walls for the set of the Phase II captain's quarters were constructed by late . (Star Trek Phase II: The Lost Series, p. 40) The writers/directors guide for that series described the captain's quarters as "a two-room complex," with one room serving as a working area and an adjacent room being the captain's sleeping quarters. The guide noted that there was access between the rooms and that a corridor was also accessible from either room. The same document specified that the captain's quarters contained "viewing and communications devices" and instructed that Xon's cabin would be a redress of the set for the captain's quarters. The same was to have been true of various "passenger" quarters, except when larger passenger quarters were required (in which case, the Enterprises briefing room was to have been redressed as the sizable passenger cabin). (Star Trek Phase II: The Lost Series, p. 94) Mike Minor illustrated a concept painting for the captain's quarters aboard the Phase II Enterprise. (Star Trek Phase II: The Lost Series)

The only quarters referred to in the first-draft script of "In Thy Image" (which is fully reprinted in Star Trek Phase II: The Lost Series, pp. 122-230) were those assigned to Kirk. However, between that story's transformation from its original intended capacity as Phase IIs pilot episode to its eventual development into the film , some of the scenes set in Kirk's quarters were changed to being set elsewhere on the Enterprise (for example, the introduction of a showering Ilia probe was moved from Kirk's quarters to Ilia's own quarters, as can be seen by comparing the film to page 191 of Star Trek Phase II: The Lost Series).

The design of Kirk's quarters in The Motion Picture was influenced by Mike Minor's concept artwork for the Phase II version of the room. (Star Trek Phase II: The Lost Series) The movie depiction of the area was designed by art director Leon Harris and was constructed on Paramount Stage 9. (The Making of Star Trek: The Motion Picture, pp. 90 & 95) Kirk's quarters in the film include a colorful, waist-high wall console whose controls are representative of the color scheme that was intended for Phase II. (audio commentary, Star Trek: The Motion Picture (Blu-ray)) The massive translucent sliding-door in the same quarters was conceived by production designer Harold Michelson. A large wall display that alternates between a viewscreen and an example of minimalist artwork, featuring apparently randomly arranged blocks of color, involved a rare use of rear-projection (for the viewscreen) and was back-lit for the artwork. (audio commentary, Star Trek: The Motion Picture (The Director's Edition)) The furniture included in the set was covered with girdle material, which was extremely easy to stretch and dye. (The Making of Star Trek: The Motion Picture, pp. 88 & 91) In the Blu-ray audio commentary for the film, Michael Okuda states that a door which is also in Kirk's quarters but is always shown as closed, with its contents never revealed on-screen, actually led into "a little breakfast nook," including a little round table and a small couch. Non-canon reference guide writer Shane Johnson supported this claim, describing the table as a "corner booth/table unit." He went on to say, "It had a clear plexiglass tabletop and snazzy upholstery." 

The set for Kirk's quarters in The Motion Picture was redressed to serve as Ilia's quarters in the same film. (text commentary, Star Trek: The Motion Picture (The Director's Edition)) As with the set's other appearance in the movie, Ilia's quarters were designed by Leon Harris. (The Making of Star Trek: The Motion Picture, p. 90) The set remained on Stage 9, the modification costing US$3,000. (The Making of Star Trek: The Motion Picture, p. 95) The revamped layout included a sonic shower that was reused in  and a dresser with mirrors that, in an effort to avoid unwanted reflections for one particular scene of the movie, were temporarily replaced with black card. (text commentary, Star Trek: The Motion Picture (The Director's Edition))

For one scene in The Motion Picture, displays seen fleetingly on a monitor at Spock's science station were reused diagrams of Constitution-class crew quarters from Franz Joseph's Star Trek Blueprints. 

The same set as was used for Kirk and Ilia's quarters in The Motion Picture was again redressed, to serve as Spock's cabin in . (text commentary, Star Trek: The Motion Picture (The Director's Edition)) In fact, it was only the small bedroom portion of the two-room set for Kirk's quarters that was converted into Spock's cabin. (text commentary, Star Trek II: The Wrath of Khan (The Director's Edition) DVD) According to Shane Johnson, the meditation alcove in Spock's quarters replaced the unseen booth table from Kirk's quarters in The Motion Picture.  For Spock's quarters, producer Robert Sallin wanted the centerpiece of the set to be a tapestry of the Vulcan IDIC. Joe Jennings remarked, "In drawings, [it] made Spock's cabin look like an opium den." There was insufficient time to commission the tapestry, however. Instead, Jennings and Mike Minor retained Sallin's selection of the IDIC symbol and devised a cheaper, quick but colorful substitute, designing a wall mural that was composed of hundreds of small metal discs, thousands of sequins hung from pins. To some (particularly Southern Californians), the design may look like a certain company sign. (The Making of the Trek Films, 3rd ed., pp. 29 & 54) For instance, director Nicholas Meyer described the mural as "the Sparkletts water-truck motif." (audio commentary, Star Trek II: The Wrath of Khan (The Director's Edition) DVD) Leonard Nimoy made a similar comment. Related Meyer, "[He] looked at Spock's cabin for the first time and said, 'This looks like a Sparklett's water truck." (Star Trek Movie Memories, p. 132) The similarities between this style of water-truck sign and the IDIC mural extended from the latter's creation. "I was dubious at first," said Sallin, about granting permission for the mural to be crafted. "It looks expensive but wasn't. The chap who makes the signs came with his little kit, which is really only a punch, some swivel wire things, and all these tiny little reflective metal discs that come in a range of hundreds of colors and tones. He worked from a big design and put it together in no time." (The Making of the Trek Films, 3rd ed., p. 29)

The production design of Spock's cabin in Star Trek II highly disappointed Leonard Nimoy, who communicated this frustration to Nick Meyer in no uncertain terms. (audio commentary, Star Trek VI: The Undiscovered Country (Special Edition) DVD) Meyer characterized the actor's initial reaction to the set as one of "a few moments where I goofed" and said of Nimoy's opinion of the glittering mural, "He thought [it] was very cheesy." (Star Trek Movie Memories, p. 132; audio commentary, Star Trek II: The Wrath of Khan (The Director's Edition) DVD) Although the set also included a smaller but still highly decorative mirror that Meyer liked, the director was mainly in agreement with Nimoy's dislike of the set. Concerning the actor's opinion of the mural being "very cheesy," Meyer conceded, "I think he was right." Meyer stated about the set in general, "This was something that I did not attend to properly. Spock's room, as a Vulcan, I think, should have been atmospheric and mysterious and different [....] It should have been a very different [scene]." However, Meyer felt that the audience generally wasn't very conscious of how the room could have been improved. "Nobody too much minds, 'til I point it out to them, how dull the room is and how, sort of, over-lit the scene is," he reckoned. (audio commentary, Star Trek II: The Wrath of Khan (The Director's Edition) DVD)

During the production of Star Trek II, Robert Sallin decided that the decor of Kirk's shipboard quarters in the film should include nautical artifacts, mirroring the decor of Kirk's apartment on Earth. (The Making of the Trek Films, 3rd ed., p. 15) Kirk's quarters in Star Trek II look similar to how they appeared in The Motion Picture, though somewhat more comfortable. (text commentary, Star Trek II: The Wrath of Khan (The Director's Edition) DVD) In fact, the set used for the captain's quarters in the second film was the same set as used in the first movie. (text commentaries, Star Trek VI: The Undiscovered Country (Special Edition) and Star Trek II: The Wrath of Khan (The Director's Edition) DVDs)

For Star Trek III, Leonard Nimoy had an opportunity to improve the set for Spock's quarters, since he was the director of that film. Owing to his discomfort with the set, this was exactly what he had in mind. "I wanted to redesign and redevelop it," he admitted. (audio commentary, Star Trek III: The Search for Spock (Special Edition) DVD/Star Trek III: The Search for Spock (Blu-ray)) Although the room was made to look much as it had in Star Trek II, its layout was subtly altered, making the area darker and more mysterious. (text commentary, Star Trek III: The Search for Spock (Special Edition) DVD) Nimoy also changed Spock's quarters from the gray they had been in the previous film, feeling that this did not match the Vulcan color scheme he wanted for the third movie. He instead brightened the tonality of the set with deep red, orange and amber. (The Making of the Trek Films, 3rd ed., p. 54)

The same set was planned to be redressed for , as Gillian Taylor's apartment on Earth, though the proposed scene was thereafter removed from the film before it could be shot and the redressing, midway through, was halted. "[The set] was a mess. Stripped of its furniture and half remodeled and repainted," recalled Shane Johnson, who toured the set after the film was shot. The tour also enabled him to view the corner booth table unit that, he says, "always had been in Kirk's quarters but was never seen on film." 

When it came time for Nick Meyer to co-write the screenplay for  and to direct that film, he paid particular attention to how the movie depicted Spock's quarters, later recalling, "I was working overtime to make sure that he had a special place." (audio commentary, Star Trek VI: The Undiscovered Country (Special Edition) DVD) Meyer felt that he was slightly more attentive to such details by that point, having directed four non-Star Trek films in the interim between The Wrath of Khan and The Undiscovered Country. (audio commentary, Star Trek II: The Wrath of Khan (The Director's Edition) DVD)

The only crew quarters to be described in detail in the script for Star Trek VI was Spock's cabin. The script detailed this area thus; "In contrast with his Spartan personality, the room is a voluptuous incense-laden lair, filled with curtains and smoke." 

The quarters occupied by Kirk and Spock in Star Trek VI were actually the same set, simply redressed. Other than being decorated differently for the two characters, Spock's quarters also had a central support column that Kirk's cabin did not have. The set was the same as had served as Kirk's quarters in The Motion Picture and its reuses included representing Data's quarters in . Whereas the cabins for Kirk and Spock in Star Trek VI were reuses of the front half of Data's quarters, the back half served as junior crew quarters for the film. The set was demolished following the production of Star Trek VI. (text commentary, Star Trek VI: The Undiscovered Country (Special Edition) DVD)

Galaxy-class info 
In early production memos, Rick Sternbach noted that, even with a large ship's complement (8,000 crew and passengers) and allowing for "public areas" (corridors, etc.), each person would still have at least twenty-four square feet of deck space for quarters. Family accommodations would be roughly the same as that of a house. (Production memo to Ed Milkia, dated 2/26/87)

The script of  described the Galaxy-class captain's cabin as "much larger and more comfortable than the small battle Ready Room". 

A single set was used for the Galaxy-class crew cabins. (; ) Built to be extremely versatile, the set was designed for use in two main variants: quarters for senior officers (as well as guests) and those for junior officers. () The set was redressed with different furniture and divided up in different ways to serve as the living quarters of most of the regular characters. () Originally, the set was built as Captain Kirk's quarters for . Its usage as junior officer quarters – used for such characters as Data, Worf, and Geordi La Forge – would seem to suggest that Starfleet had upgraded its crew accommodations over the years. (text commentary,  DVD)

Construction on the set for the Galaxy-class quarters began on Paramount Stage 6 in March 1987. () The set remained on Stage 6 for a year (i.e., throughout the first season of TNG). (text commentary,  DVD; ) It was then relocated to the adjacent Stage 8, where it stayed from that point onward. ()

The Galaxy-class quarters set involved upward-sliding walls and modular wall units. Reversing these allowed for the set to be converted into its junior officers' quarters outlay. ()

The producers of TNG wanted the quarters for senior officers and guests to have many windows. "Originally, in the personal quarters they were to be floor-to-ceiling windows," remembered illustrator Andrew Probert, "but a bed or a sofa blocked it anyway so it was cut off." () Production Designer Herman Zimmerman designed these quarters to incorporate a window wall that could be tilted to resemble an outer location in either the lower or upper half of the Galaxy-class saucer section. () Despite this, the windows usually matched those on the upper surface of the ship's saucer module. Since the Galaxy-class miniatures included many hundreds of such windows, there were presumably hundreds of such living units on board the ship. After the set for the Galaxy-class quarters was constructed, the windows therein were backed by velvet backdrops to represent the stars. At first hand-cranked but later motorized, these backdrops avoided expensive visual effects when the stars were to be shown as if the ship was not at warp. ()

Even when used as quarters for senior officers and guests, the size of the set – consisting of five bays in total – was significantly adjusted from use to use. Stated Rick Sternbach, "We learned from Star Trek: The Next Generation that we could take our big five-bay quarter set and divide that into two bays, three bays, four bays." () Set decorator John Dwyer recalled, "Herman [Zimmerman] had designed the quarters with the wonderful flexibility of being able to put walls at each of the ribs. We could have four, three, or two bays; we never had less than two. The more bays you had, the higher up you were on the food chain." For example, Picard had four bays in his quarters. Another three-quarters of a bay was added especially for Lwaxana Troi's quarters. ()

The curvature of the angled ceiling in the senior quarters presented somewhat of a problem, as Richard James explained; "The quarters had that drop wall that went from ceiling to floor at a steep angle. After about two feet into that, you couldn't stand up." () Director Alexander Singer likewise stated about Data's quarters, "[It's] a very small set." ()

Former TNG writing staffer Ronald D. Moore similarly had a nitpick about the decor in several of the Galaxy-class quarters. "My big bugaboo with the quarters were always that they had pictures of space on the wall," he laughed, "which I always thought was absurd [...] If you've got a window looking out at space, do you then hang a big picture of space on the other wall?" (audio commentary,  DVD)

Intrepid-class info 
The crew quarters of the Intrepid-class were a lot more versatile than those of TNG and allowed more space than had previously been available. They involved individual setups that were changed in accordance with whichever character whose quarters were being depicted. Production Designer Richard James remarked, "They're modular, so they can take up anywhere between one and four bays depending on the person who's there." ()

The Intrepid-class crew quarters also intentionally reflected the exterior profile of the class. () For instance, Rick Sternbach commented, "The only place Captain Janeway's quarters logically fit was on deck three. It was the only logical place we could plant a bay consisting of five big windows." (Cinefantastique, Vol. 27, No. 4/5, p. 45) Another interior facet that mirrored the Intrepid-class' exterior design was the curved outer wall of the quarters. The angled ceiling of the Galaxy-class quarters was eliminated, however; this is what facilitated the increased availability of spaciousness. Richard James commented, "It allows the action to get right up to the windows now." ()

Rick Sternbach observed that the production team learned from the past in other ways too; having discovered the five-bay quarters set could be split into multiple arrangements of smaller bays, Sternbach oversaw that the variety of Intrepid-class quarters had a range of bays. "I made sure that there were anywhere from one to four window bays on the exterior hull, so we can say that Tuvok's quarters are there, Chakotay's quarters are there. Janeway is the only one who's got the full five bays." Although this distinctive feature of the captain's quarters meant that its location was obvious to the production team, determining where specific other crew quarters were would realistically have taken them considerably more investigation. ()

According to Rick Sternbach, some of the Intrepid-class junior quarters were built on the same area of Paramount Stage 9 as they had been since . () The captain's quarters were on Paramount Stage 8 and could be redressed as various other crew cabins. ()

A miniature tree included in Neelix's quarters was created by the company HMS Creative Productions, Inc. 

As can be determined from the second draft script of , Tom Paris' quarters were scripted to appear in that installment. This scene was changed, however, so that it was filmed on the set for Voyagers mess hall. The scene's scripted description made a judgment about the character of Paris based on the state of his quarters, stating, "Paris' quarters are a mess. Apparently, tidiness is not a priority for Paris."

NX-class info 
The set for the NX-class captain's quarters was built on Paramount Stage 8. ("A Day In The Life Of A Director – Roxann Dawson", ENT Season 3 DVD special features) The captain's quarters had to be decorated in such a way as to make their contents look unplanned, even though every detail actually had to be heavily scrutinized. "As mundane as, 'What are we going to put on the walls in my room?' And 'What does this guy do? And what things did he do in the past that we can bring on this trip?" related Jonathan Archer actor Scott Bakula. "This trip wasn't planned, so it's not like I had a designer come in and do my quarters." () In fact, Bakula had some strong notions about how Archer's quarters should look, such as suggesting that it include a vintage 1960s NASA ashtray he had been given by a fan. "He thought that this would be a great addition to Archer's quarters," recollected Set Decorator James Mees. "I also worked with Scott in choosing photographs for this set, and both he and Rick Berman suggested the sports artifacts used here. They felt these props would help the audience understand the kind of person Archer was before he came aboard Enterprise." ()

In unused dialogue from the script of , T'Pol told Phlox, when he invited her to dine with him in the mess hall, that she preferred to eat in her quarters. Phlox agreed that he initially did so too.

In an ultimately unused line of dialogue from the writers' second draft script of , ditanium was mentioned as being used in the construction of NX-class quarters (specifically, Travis Mayweather's quarters). In the same teleplay's stage directions, T'Pol's quarters (which first appear in "Breaking the Ice") were simply described as "small and austere." The episode's final draft script continued this description by adding that the room had "a bed, a desk, and a small, low table on which two or three unlit ceremonial candles sit. There are a couple of Vulcan artifacts on the wall." A metallic pentagonal wall-hanging in T'Pol's quarters was originally made for . ( text commentary, ENT Season 2 DVD)

In the script of , the crew quarters were described as "a small room with a set of bunk beds, a couple of desks, lockers, etc." The scene description, specifically describing quarters shared by Daniels and an unnamed bunkmate, went on to say, "A few personal effects are strewn about, giving the room a 'lived in' look." The final draft script of , describing the same room after having been sealed since "Cold Front", stated, "The room is exactly as it was the day it was sealed." Similarly, the final draft script of  stated about the same cabin, "The room hasn't changed since we saw it in 'Shockwave, Part Two."

In the final draft script of , a particular set of quarters were non-specified and no indication was given as to where exactly on Enterprise they were located. This differs from how these quarters are depicted in the final edit of the same episode, as they are clearly shown as T'Pol's quarters and their position is also clearly evident.

In the final draft script of , T'Pol's quarters from an alternate timeline were described thus; "The room looks very different from the one we're familiar with... it's been lived-in for well over a century, and is filled with a variety of Vulcan and alien artifacts."

In the final draft script of , 's quarters aboard the NX-class  were described thus; "A Spartan, modest room, with few personal touches."

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