1/ This is a thread looking at the Doctor Who work of BBC Set Designer Kenneth Sharp.

Sharp worked on stories with three different Doctors and three different directors.

2/ Sharp's first production was The Macra Terror in 1967 for director John Davies.
This is the set for the quarry outside the Colony (the TARDIS was situated up on a rostrum) plus the exteriors of the Colony itself with its angled walls.

3/ The colony entrance with its shiny metallic columns that were illuminated from within.

4/ The Refreshing Department where the TARDIS crew were pampered (but not in the animated version).
Like many of the rooms, it featured a large screen where the Controller's face would appear - Polly: "Who's that? He looks smashing" - classic swinging 60's term.

5/ The Colony Corridors/mine workings (old and new) featured horizontal stripes, a look that Sharp would often utilise.

6/ The Pipe Room that featured in the second half of the story. Like the mine, the walls also feature horizontal stripes. The set was dressed with stock machinery probably from Bill King's Trading Post company.

7/ The Pilot's Office had more horizontal stripes and of course the large screen for relaying important information such as:
"There's no such thing as Macra!! Macra do not exist!!!!"

8/ An example of one of the bedrooms in the Colony - very comfy... The shiny circular patterned strips around the walls were also featured in the previous story, The Moonbase, on the walls of the sick bay.

9/ Sharp returned in 1970 with the very colourful Claws of Axos, directed by Michael Ferguson.
The Exterior filming was amongst one of the first times an elaborate piece of set was taken on location - the entrance to Axos with painted backdrop within.

10/ For the interior of Axos, Sharp worked closely with special effects to produce a very living organism. The practical parts of the sets were backed by CSO screens where throbbing model effects could be inlaid.

11/ The main elements of the UNIT HQ designed by Raymond London for The Mind of Evil were reused by Sharp to maintain continuity. A new addition was a radar tracking room off the main office.

12/ Sharp oversaw the introduction of a new TARDIS console. The walls hadn't been seen since The War Games. The roundel left of the door had its Wheel in Space detail finally removed. The photo blow up walls were placed as a corridor outside the doors.

13/ The Light Acceleration Laboratory at the Power Station was a raised set with stock computers.

14/ The Claws of Axos saw another interior for the mobile UNIT HQ (the exterior being a BBC Outside Broadcast van).
[This story is so difficult to illustrate due to how Ferguson shoots it! - which I love]

15/ Sharp's next assignment on the show would be 1977's The Robots of Death for director Michael E. Briant.
In consultation with Briant (who was unimpressed with Boucher's script...), they decided on an art deco look for the Sandminer.

16/ The Sandminer Forward Scoop Deck that the TARDIS lands in was a raised set. The walls were made to look corroded. A blue CSO drape was hung beyond the large grill for model footage to be inlaid. The ground was covered in bits of cork (probably:))

17/ The Ore processing deck where the TARDIS was moved to. Michael E. Briant used a foreground miniature to make the location look larger.
The Hopper set was used at TV Centre and at Ealing film studios for the part 1 cliffhanger.

18/ The crew bedrooms for Uvanov and Toos were the same set repurposed and redressed.
Uvanov's quarters saw the first Who appearance of the Terrazza’ sofa designed by Ubald Klug - if you want to buy a set of four it would set you back around $39,000.

19/ The Corridors incorporated more of Sharp's favoured horizontal stripes design. One end of the corridor sometimes included CSO drapes for model extensions to corridor to be inlaid. The set had two staircases, one had a stained-glass window/secret door.

20/ The Sandminer Bridge featured a CSO screen to the rear, two sets of staircases, large angled buttresses and stock computers. The domed steering device was specially made (I think..).

21/ Other sets included the Crew Lounge, the Robot operating theatre (with specially designed Laseron probe logo), the yellow Robot Security Storage room and the Storage Locker (which would appear to be a redress/repurposing of the robot operating theatre).

22/ Kenneth Sharp's other design work includes Robin of Sherwood, Birds of a Feather, Love Hurts, Men Behaving Badly, Up Pompeii, Wycliffe, Play for Today: Abigail's Party and Crackerjack.
He won an Art Direction ACE award for 1988s "Codename: Kyril" starring Edward Woodward