Page - 1 Ashish Nikhanj IHM BTI HK Semester 6

Ashish Nikhanj –IHM BTI
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Ashish Nikhanj IHM BTI HK semester 6
BHM354 - ACCOMMODATION MANAGEMENT – II (THEORY)
HOURS Topic Weight

ALLOTED: 30 Hours age
MAXIMUM
MARKS: 100 S.No.
01 SAFETY AND SECURITY 06 20%

A. Safety wareness and accident prevention
B. Fire safety and fire fighting
C. Crime prevention and dealing with
emergency situation
02 INTERIOR DECORATION 15 50%

A. Elements of design
B. Colour and its role in décor –types of colour
schemes
C. Windows and window treatment
D. Lighting and lighting fixtures
E. Floor finishes
F. Carpets
G. Furniture and fittings
H. Accessories
03 LAYOUT OF GUEST ROOMS 06 20%

A. Sizes of rooms, sizes of furniture, furniture
arrangement
B. Principles of design
C. Refurbishing and redecoration
04 NEW PROPERTY COUNTDOWN 03 10%

TOTAL 30 100%
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Safety pertains to the things such as disasters, emergencies, fire prevention and protection. It also includes the
prevention of injury or any sort of damage to property.
On the other hand, security is the freedom from fear, anxiety and doubts concerning human as well as
protection against thefts of guest, employee or hotel property.
Three “E” of Safety
Safety Education
Employees should be encouraged to come up with ideas for inculcating safety into hotel methods because
safety programs and policies are only effective when practiced accordingly. Proper training should be provided
to each staff.
 Teaching safe method, with emphasis on areas of potential danger and how they can be guarded.
 Demonstration of use of safety equipment
 Ability to recognize the sign of hazard around them.
 Teaching legal implication of non-adherence to safety procedure.
Safety Engineering
It is done in the designing phase of the establishment. Generally, equipment, furniture and fittings are allocated
the space in accordance with the safety measures.
Safety Rules Enforcement

Rules are not meant only to be made. Proper implementation and following the rules become quite necessary.
Motivation and enforcement are to be ensured.
Safety Awareness and Accident Prevention

Safety awareness should be an ongoing programme at all establishments. Various laws and rules for ensuring
the safety in the establishments have been devised out by the Government. Safe work environments and
safety of the employees should be taken care by the Management.
In order to raise AWARENESS, following points should be kept in mind:
 All employees should be well aware of the potential hazards in their respective department.
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 H.O.D. should ensure that employees follow safe job procedures, correct unsafe conditions
immediately and do not work in hurry to avoid accidents.
 Housekeeping Safety Manual enlisting safety rules should be prepared.

Basic Guidelines for the Prevention of Accidents

Prevention is better than cure. If we prevent accidents to happen, then it becomes easy for us to provide the
maximum efficiency during work.
Following guidelines should be following in order to prevent accidents:
1. Always follow instruction while using any cleaning equipment.
2. Replace cap on cleaning chemicals immediately and securely after dispensing.
3. Label cleaning agents clearly.
4. Keep floors clean and dry.
5. Place warning signs around the area while cleaning.
6. Always dry hand before touching any electrical pieces of equipment or wiring.
7. Clean away broken glass carefully.
8. Mark faulty equipment as ‘OOO’ ( Out Of Order )
9. Dispose off rubbish carefully.
10. Never place sharp objects or cigarette butts in trash bags.
Action in case an accident occurs

An accident may happen anywhere, anytime with either the guest or employees. Following preventing
measures can be used:
 With the help of another person, check if the victim requires any assistance.
 Report the matter immediately to the manager concerned.
 Either administer First-Aid or get help from trained personnel.
 Transport the victim immediately to a hospital if required.
 Fill in the accident report form.
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Accident Report Form
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Crime prevention
It is imperative that all properties have a crime prevention committee or a security committee.
The committee should consist of key management personnel, including department heads.
Supervisors & other selected employees can also be roped in for valuable information & inputs.
The committee members should meet on a scheduled basis periodically to review past plans &
form new ones. The general responsibilities of this committee should be to
 Design a security booklet for all employees.
 Develop orientation & training programs on crime prevention in coordination with the
training department.
 Analyze & resolve recurring security issues & investigate any security-based incidents.
 Conduct spot security checks & inspections of the property.
 Liaise with the local police department.
 Monitor the keeping of records & documentation of all security-related incidents.
Emergency Handling
An emergency is any unplanned event that can cause death or injuries to faculty, staff, students,
or the public, or that can shut down business, disrupt operations, cause physical or
environmental damage, or can threaten the institution’s financial standing or public image.
There are set procedures for dealing with emergencies which should specify:
What procedures are to be followed.
Who will be responsible? Employee duties and placements.
How the procedures will be followed
When the specified procedures should be followed. When should the guests be notified of a
bomb threat, when the evacuation process should be initiated.
Planning for an Emergency
 Employee training
 Emergency resources: names and telephones number of an outside agency.
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 Emergency checklists: each dept head should develop a checklist outlining the actions
that he/she must have to take in the case of an event.
 Drills
 First aid training.
Dealing with Bomb Threat
1. Remain calm
Without letting the caller know, try to alert another staff member that this is a bomb threat so this
person can notify security officer and request a phone trace. Attempt to keep the caller on the
line as long as possible using following techniques.
2. Ask or note the following:
a. When is the bomb going off?

b. Where is the bomb located?
c. What does the bomb look like?
d. What kind of bomb is it?
e. Did the caller place the bomb?
f. Why was the bomb placed?
g. Who is the caller (man, woman, child)?
h. The exact wording of the bomb threat.
i. Was there an accent, background noise, etc.?
j. Time the call was received.
3. If you believe there is an immediate threat of a bomb explosion, pull the fire alarm, evacuate
the facility and contact security dept.
4. Share your information with the security officer.
5. Return to the building only after being given the “all-clear” sign by the officer.
Dealing with Earthquake
1. If you are inside a building, take cover under a desk or table or under a doorway and hold on.
2. Stay away from windows or anything that could fall.
3. If outdoors, stay away from buildings, utility lines, and streetlights.
4. When shaking stops, evacuate the building. Assist people with disabilities.
5. Follow the instructions of emergency officials when present.
6. Proceed with any necessary cleanup and recovery of items if it is safe to do so and allowed
by authorities.
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Dealing with Death
1. Call or contact the HOD of your dept.

2. Clear the area of the scene.
3. Secure the scene and do not touch or move anything.
4. Assist in directing emergency personnel to the scene.
5. Do not give out any information to the media.
6. Contact the Associate Director for Facilities.
7. The Associate Director will contact Employee Assistance as needed for a post-crisis meeting
for any other employees affected by the situation.
Dealing with the Explosion
 Assess the situation to determine the risk of additional explosions.

 If no apparent risk exists, use a fire extinguisher to put out any small fires.
 If a risk exists, activate the nearest fire alarm.
 Assist everyone in the area to get out.
 Close doors and windows behind you to contain the problem.
 Call security to report the explosion.
 Keep upwind (keep the direction from which the wind is blowing) of the explosion.
 Handle any medical emergencies.
 Report the explosion to your supervisor.

Dealing with the Fire
If you smell smoke or see fire:

1. If the fire appears controllable, try to extinguish it by using an available fire extinguisher.
Attempt this for no longer than 30 seconds.
2. If the fire appears difficult to control, call for help of the security members.
3. Put on the fire alarm and assist persons with disabilities.
4. Do not use elevators.
5. Survey people outside for injuries and information about people who might still be in the
building. 6. Do not re-enter the building until the all-clear signal is given by security personnel.
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FIRE FIGHTING
The housekeeping staff needs to know various types of fires and fire extinguishers. The staff
must be trained to handle small fires.
Fire is classified into the following types −
 Class A − Class A fire consists of ordinary combustibles such as wood, paper, trash or
anything else that leaves ash behind. It needs water under high pressure to extinguish this fire.
 Class B − This fire occurs in inflammable liquids such as oil and grease and needs
blankets or sand to extinguish.
 Class C − This fire occurs in electrical equipment. Use of non-conductive agent is
required for extinguishing this fire.
 Class K − Class K Fires are fires that involve cooking oils, grease or animal fat and can
be extinguished using Purple K, a typical agent found in kitchen or galley extinguishers.
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Prevention of Fire
Fires may be prevented if fire hazards are identified & eliminated. Some unsafe practices that
may lead to fires are as follows:
 Guests smoking in bed.
 The hotel not providing sand urns or sufficient & appropriate ashtrays in rooms as well
as public areas.
 Using high-wattage light bulbs in lamps.
 Leaving linen chute doors open.
 Storing rags & cloths with residues of cleaning polish still on them.
 Not unplugging electrical appliances when not in use.
 Using faulty electrical equipment or sockets.
 Leaving magnifying glasses where the sun can catch them.
 Using furnishing materials that are easily combustible.
 Each establishment must conduct fire drills on a periodic basis & ensure that all staff
attends these drills so that they know what is to be done during a fire emergency.
Fire Warning System
These may be electrically powered manually operated systems, automatic fire detection system,
or a combination of both. The usual components of these systems are discussed here:
Fire alarms: These can be set off by smoke detectors, heat detectors, sprinkler systems, or pull
stations. The most common types of fire alarms are the ones operated by pull stations located in
corridors, lobbies, & near elevators.
Sprinklers: These are found in most hotel establishments, especially in corridors & rooms.
They are situated on the ceiling & automatically spray water when the temperature rises above
a certain level.
Smoke detectors: These are set off by smoke. The two types of smoke detectors available are
photoelectric detectors & ionization detectors. Photoelectric detectors are alarms triggered off
when smoke blocks a beam of light emanating from the detector. In the ionization type of
detector, the alarm sounds when the detector senses a shift in electrical conductivity between
two plates.
What to do in case of Fire Emergency
In case a fire breaks out, follow the guidelines given below:

 Immediately switch on the nearest fire alarm.
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 If possible, attack the fire with suitable equipment, remembering to direct the
extinguishers at the base of the flames. Do not attempt to fight a fire if there is any danger of
personal risk.
 Close windows & switch off all electrical appliances, including fans & lights.
 Close the door to that affected area & report to your immediate supervisor for
instructions.
 Carry out instructions
 Remain at the assembly point until instructed to do otherwise.
 Do not use the lifts.

Fire-fighting Equipment
Staff should be trained in operating the fire-fighting equipment. Types of fire-fighting equipment
vary from simple ones such as buckets of sand & water, fire blankets, & hose reels to more
complex fire extinguishers. Water buckets should be constantly checked for adequate water
levels & sand buckets should be kept dry. Water should not be used in case of fire involving
electricity.
Types of fire extinguishers
Fire extinguishers can be of various types:
Dry powder: These are usually meant for multipurpose use with various types of fire. They
contain an extinguishing agent & use a compressed, non-flammable gas as a propellant.
Dry chemical foam: These are primarily used on flammable liquids, oils, & fats, but may have
the multipurpose use.
Halon/vaporizing liquid: These contain a gas or volatile liquid that interrupts the chemical
reaction that takes place when fuel burns. This type of extinguisher is often used to protect
valuable electrical equipment as they leave no residue to clean up & have a limited range up to
4-6 feet.
Water-gas or soda-acid extinguishers: These extinguishers contain water & compressed gas
& should only be used for Class A fires.
Carbon dioxide: These CO2-based extinguishers are most effective on Class B & C(liquids &
electrical) fires. Since the gas disperses quickly, these extinguishers are only effective from a
distance of 3-8 feet. The carbon dioxide is as a compressed liquid in the extinguisher; as it
expands on release, it cools the surrounding air.
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Fire-extinguisher ratings
Most fire extinguishers available are rated according to the type of fire they extinguish:
Class A extinguishers
Put out the most basic fires, such as those that started with wood or paper. Their numerical
rating refers to both the amount of water inside & the extent of the fire they can extinguish.
Class B extinguishers
These types are recommended for use with fires that involve flammable liquids, such as
gasoline, oil, or grease. The numerical rating refers to the number of square feet of liquid fire
that the average untrained person can expect to put out using this equipment.
Class C extinguishers
These are of electrical fires. They do not have numerical ratings; it is the ‘C’ designation that
shows that the extinguishing agent inside is non-conductive.
Class D extinguishers
These are for use with flammable metals & are often made for use with a specific metal. They
do not have numerical ratings, nor can they be used on the other types of fires.
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The elements are components or parts which can be isolated and defined in any visual design or work of art.
They are the structure of the work and can carry a wide variety of messages.
Elements of Design
Line
A line is a mark made by a moving point and having a psychological impact according to its direction, weight,
and the variations in its direction and weight. It is an enormously useful and versatile graphics device that is
made to function in both visual and verbal ways. It can act as a symbolic language, or it can communicate
emotion through its character and direction Line is not necessarily an artificial creation of the artist or designer;
it exists in nature as a structural feature such as branches, or as surface design, such as striping on a tiger or a
seashell. It can function independently to suggest forms that can be recognized, even when the lines are
limited in extent. This can be seen in drawings such as the Saul Steinberg illustration shown here, or in
Alexander Calder’s minimal wire sculptures, which convey a great deal of information about the figure with the
most limited line.
Lines can be combined with other lines to create textures and patterns. This is common in engravings and pen
and ink drawings such as the one on the right (click and enlarge to see linear detail). The use of line in
combination results in the development of form and value, which are other elements of design.
Horizontal lines suggest a feeling of rest or repose. Objects parallel to the earth are at rest in relation to
gravity. Therefore compositions in which horizontal lines dominate tend to be quiet and restful in feeling. One of
the hallmarks of Frank Lloyd Wright’s architectural style is its use of strong horizontal elements which stress the
relationship of the structure to the land.
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Vertical lines communicate a feeling of loftiness and spirituality. Erect lines seem to extend upwards beyond
human reach, toward the sky. They often dominate public architecture, from cathedrals to corporate
headquarters. Extended perpendicular lines suggest an overpowering grandeur, beyond ordinary human
measure.
Diagonal lines suggest a feeling of movement or direction. Since objects in a diagonal position are unstable in
relation to gravity, being neither vertical nor horizontal, they are either about to fall or are already in motion, as
is certainly the case for this group of dancers. In a two-dimensional composition, diagonal lines are also used to
indicate depth, an illusion of perspective that pulls the viewer into the picture-creating an illusion of a space that
one could move about within. Thus if a feeling of movement or speed is desired, or a feeling of activity,
diagonal lines can be used
Horizontal and vertical lines in combination communicate stability and solidity. Rectilinear forms stay put in
relation to gravity and are not likely to tip over. This stability suggests permanence, reliability and safety. In the
case of the man in this family group, the lines seem to imply stability to the point of stodginess.
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Deep, acute curves, on the other hand, suggest confusion, turbulence, even frenzy, as in the violence of
waves in a storm, the chaos of a tangled thread, or the turmoil of lines suggested by the forms of a crowd. The
complicated curves used to form the mother in the family group shown above suggest a fussy, frivolous
personality.
Curved lines do vary in meaning, however. Soft, shallow curves suggest comfort, safety, familiarity, relaxation.
They recall the curves of the human body and therefore have a pleasing, sensual quality.
The quality of the line is in itself a fundamental visual language, to an extent that cannot be claimed for any
other single element. Its use is so universal that we are all profoundly sensitive to it. Even without an artist’s
training, we can extract considerable meaning from the kind of line used in a drawing. It is possible to recognize
the soft, irregular lines of a quick sketch from life, as seen in this study of a lion.
On the other hand, the crisp, carefully placed lines of the rhinoceros are typical of a more studied, scrupulously
worked studio drawing. The lines suggest that this was not drawn from life, but from hearsay. This is also
evident from the fact that Durer drew this rather inaccurate image in fifteenth-century Europe when he could
only have known of this African animal from travellers’ tales.
The quality of line in itself contributes to the mood of the work, and for the master artist, the quality of line is a
fundamental expression of his/her style. This drawing of a nude by Matisse demonstrates his ability to create
his image through a minimal number of expertly placed lines-lines that by their placement and movement on
the page identify this work with this artist as surely as a signature.
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Form
Form and shape are areas or masses which define objects in space. Form and shape imply space; indeed they
cannot exist without space.
There are various ways to categorize form and shape. Form and shape can be thought of as either two
dimensional or three dimensional. A two-dimensional form has width and height. It can also create the illusion
of three-dimensional objects. The three-dimensional shape has depth as well as width and height.
Color
Color is described with the words hue, value, and intensity. Hue refers to the name of the color—red or blue, for
example. Value tells the lightness or darkness of a hue. Intensity refers to the brightness or dullness of a hue.
You can use a colour wheel and learn how colours work together in the publication,
Texture
The texture is the surface quality of an item. It’s how something feels when touched, or looks like it would feel if
touched. Sandpaper is rough. Velvet is smooth. A drawing of a tree stump could show rough outer bark and a
smooth inner surface. Search for ways to add texture to your projects. Texture adds variety and interest.
Space
Space refers to the area that a shape or form occupies. It also refers to the background against which we see
the shape or form. Space can be defined as positive and negative. The positive space of a design is the filled
space in the design—often it is the shapes that make up the design. Negative space is the background. The
negative space in design is as important as the positive area.
Color is the visual perceptual property in humans to the categories called red, green, blue and others. Color
derives from the spectrum of light (distribution of light energy versus wavelength) interacting in the eye with the
spectral sensitivities of the light receptors. These physical or physiological quantifications of colour, however,
do not fully explain the psychophysical perception of colour appearance.
Dimensions of Colour
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There are three dimensions to colour-hue, value and intensity. This makes a color multidimensional-any colour
appearance can be described in terms of these three dimensions.
Hue
Hue refers to the names of the colours. It is the contrast between redness, blueness and greenness. We most
typically think of hues as coming from white light divided into the visible spectrum-red, orange, yellow, green,
blue and violet or as a “circle of hues” or “colour wheel”.
Value
Value refers to the lightness or darkness of a colour. It is often related to a grey scale where white is the
lightest value followed by a series of greys to black, the darkest value. The hues are located somewhere in
between the extremes of white and black in value. A colour value scale is a hue mixed with white to form tints
and with black to form shades of that hue. Red plus white make pink. Pink is a tint or light value of the hue red.
Red plus black makes brown. Brown is a shade or dark value of the hue red.
Intensity/Chroma
Intensity refers to the purity or impurity of a hue. The more pure hue a given colour contains, the more intense it
is. Opposing terms used to describe this contrast are intense vs. grey, saturated vs. desaturated or bright vs.
dull. When a colour is too bright and its intensity needs to be reduced, we will often say,” Gray that colour.” The
most typical ways to grey a colour are to add grey (black and white) or by adding some of the complementary
colour. The complement of a hue is the hue opposite it on the colour circle. Red and green, orange and blue,
and yellow and violet are examples of complementary colours.
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Warm and Cool Colours
Warm colours are vivid in nature. They are bold and energetic. Warm colours are those that tend to advance
in space; therefore, caution needs to be taken so you do not overwhelm your content with eye-catching hues. If
an element in your design needs to pop out, consider using warm colours to do that.
Cool colours are soothing in nature. They give an impression of calm and rarely overpower the main content
or message of a design. Cool colours tend to recede; therefore, if some element of your design needs to be in
the background, give it cool tones.
Advancing and Receding Colour

Warm hues seem to advance and cool ones to recede. A cool light colour on the wall thus helps to make a
small room look larger. A warm colour visually draws the walls in, lowers a high ceiling makes a room that is
too large look more compact.
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Tints and Shades
In colour theory, a tint is the mixture of a colour with white, which increases lightness, and a shade is the
mixture of a colour with black, which reduces lightness. Mixing a colour with any neutral colour, including black
and white, reduce the chroma, or colourfulness, while the hue remains unchanged.
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Colour Systems
1. Prang system
It is based on Brewster-Newton theory. It deals with primary, secondary, and tertiary colours. There are 12
basic hues in the prang colour system, namely: three primaries, three secondary and six intermediates.
Color Classification
Primary colours – the root of all colours.
 Yellow
 Blue
 Red
Secondary colours – produced by the mixture of any two primary colours.
 green (yellow and blue)

 orange (yellow and red)
 violet (red and blue)
Intermediate colours- produced by the mixture of a neighbouring secondary colour in the colour chart.
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 yellow-green
 yellow-orange
 red-orange
 Red-violet
 Blue-violet
 Blue-green
Tertiary colours – produced by the mixture of two secondary colours.
 russet or reddish brown (violet and green)
 olive or brownish yellow (orange and green)
 slate or bluish grey (violet and orange)
Quaternary colours – produced by the mixture of two tertiary colours.
 buff (russet and olive)
 sage (olive and slate)
 plum (slate and russet)
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2. Munsell system
Disregards primary and secondary colours. According to Munsell, it gives an excess of orange and yellow in
the chart. The system establishes five principal hues: red, yellow, green, blue, and purple. The five intermediate
hues are yellow-red, green-yellow, blue-green, blue-purple, and red-purple.
Colour Harmony & Scheme (Planning Colour Schemes)

Color harmony means a pleasing, effective, congruent and balanced combination of two or more colours or
shades. It does not imply a random mixing of colours but a purposeful selection of a number of colours to get
the desired effect. It is usually achieved by combining related or contrasting colours.
Related Color Harmony

1. Monochromatic harmony — is otherwise referred to as one-mode or one hue harmony. It combines
different intensities or values – lightness and darkness or brightness and dullness – of one colour only.
Examples are blue, light blue, dark blue
2. Analogous harmony — means a combination of two or more neighbouring colours in the colour chart. An
example is a yellow dress, with a yellow-green collar, and ruffles with green buttons and laces.
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Contrasting Color Harmony
1. Complementary harmony — is achieved by a combination of any opposite colours in the colour wheel.
Blue and violet, for instance, are complementary colours.
2. Double complementary harmony — is the combination of two directly adjacent colours and their
complements in the colour chart. For example, yellow and yellow-orange when combined with violet and blue-
violet may achieve harmony.
3. Split complementary harmony — is made by combining a primary or an intermediate colour in the chart
with colours on each side of its complement. This is a scheme of colours placed in the chart as to describe the
letter Y.
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4. Triad harmony — In this combination, the three colours are placed in the chart as to mark out the three
points of an equilateral triangle.

5. Tetrad colour scheme– The rectangle or tetrad colour scheme uses four colours arranged into two
complementary pairs. This rich colour scheme offers plenty of possibilities for variation. The tetrad colour
scheme works best if you let one colour be dominant.
6. Neutral and a colour– this is a combination of a colour and black, white or grey.
Consideration for Planning Colour Schemes

There are certain factors that must be taken into consideration when planning a colour scheme for a room:-
 Purpose of room
 Size & proportion of the rooms
 Relationship to other rooms
 Amount of light received by an area
 Type of surface
 Law of chromatic distribution – Law of Chromatic Distribution: As areas reduce in size, the chromatic
intensity can be increased. Using less of a bright colour, will make it look brighter, and emphasize it. Too much
intense colour can be irritating, uncomfortable because the eye has no place to rest. Balance small areas of
intense colour with large areas of neutral ones.
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Dominant areas- walls, floors and ceilings
Medium areas- draperies, bed covers etc
Smaller areas- sofa sets small pieces of upholstered furniture
Psycho Effects of Colour & Its use in Decor
Red
Red has proven to be a color of vitality and ambition it has been shown to be associated with anger.
Sometimes red can be useful in dispelling negative thoughts, but it can also make one irritable. Pink has the
opposite effect of red. Pink induces feelings of calm, protection, warmth and nurture. This colour can be used to
lessen irritation and aggression as it is connected with feelings of love. Red is sometimes associated with
sexuality, whereas pink is associated with unselfish love.
In decoration, red gives the impression of splendour, warmth, hospitality, and exhilaration. It is cheerful but not
restful, and so must be used discreetly. There are fine reds, such as the Chinese red, which can be used
without modification in small quantities, as for example on a chair, in book covers or flowers, or as a note in the
drapery colouring. There are also rich reds that are used freely in Italian and Spanish rooms.
Yellow
Yellow is a happy and uplifting colour. It can also be associated with intellectual thinking: discernment, memory,
clear thinking, decision-making and good judgment. Also aiding organization, understanding of different points
of view. Yellow builds self-confidence and encourages optimism. However, a dull yellow can bring on feelings
of fear.
In the home, decoration yellow is indispensable because more than any other colour it gives the effect of light.
The modified yellows, such as buff, cream, ivory, beige, ecru, and pale lime yellow, are the most useful wall
colours there are because they have the happy faculty of pulling together and harmonizing the colours used in
curtains, carpet, and chairs. Yellow is a friend to the person with a limited income because it has the power of
making inexpensive cotton, linens, and woollens look beautiful. Gilt and gold colour are valuable in bringing life
to sober rooms. A plain gold Japanese screen will bring cheer to a dull room of the more elegant type. Small
objects of yellow in the living room supply permanent sunshine in it.
Orange
Orange has shown to have only positive effects on your emotional state. This colour relieves feelings of self-
pity, lack of self-worth and unwillingness to forgive. Orange opens your emotions and is a terrific
antidepressant. Orange is the brightest, most stimulating, and most decorative hue that exists. It possesses the
qualities of both red and yellow, and in its pure state, it is so warm that it should be used only in small
quantities. It expresses energy, spirit, hope, courage, and cordiality.
One of the most-used colours in decoration is orange in its neutralized forms, some of which are tan, peach,
rust, cedar, and copper. These soft warm colours are highly desirable colours for living-room backgrounds, that
is, ceilings, walls, and floor coverings. They radiate hospitality and cheer. They are autumn colours and should
be used especially in autumn and winter furnishings
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Green
Green creates feelings of comfort, laziness, relaxation, calmness. It helps us balance and soothe our emotions.
Some attribute this to its connection with nature and our natural feelings of affiliation with the natural world
when experiencing the colour green. Yet, darker and greyer greens can have the opposite effect. These olive
green colours remind us of decay and death and can actually have a detrimental effect on physical and
emotional health. Note that sickened cartoon characters always turned green.
Since it is composed of yellow and blue, one warm and one cool colour, it may be used with cool or warm
schemes, as it appears warm if enough yellow is added or cool if more blue is added. There is such a large
variety of usable greens that it is possible to find one that is harmonious with any scheme.
Blue
We usually associate the colour blue with the night and thus we feel relaxed and calmed. Lighter blues make
us feel quiet and away from the rush of the day. These colours can be useful in eliminating insomnia. Like
yellow, blue inspires mental control, clarity and creativity. However, too much dark blue can be depressing
Blues are not as friendly with one another as other colours are, and therefore have to be selected with
additional care under both daylight and artificial light. Since blue is not an aggressive colour, it does not have to
be neutralized as much as some of the other colours. There are pale green-blues that are successful as wall
colours for south bedrooms. The pale blue tint known as baby blue is the most anaemic colour that exists.
Purples
Purples have been used in the care of mental of nervous disorders because they have shown to help balance
the mind and transform obsessions and fears. Indigo is often associated with the right side of the brain;
stimulating intuition and imagination. Violet is associated with bringing peace and combating shock and fear.
Violet has a cleansing effect with emotional disturbances. Also, this colour is related to sensitivity to beauty,
high ideals and stimulates creativity, spirituality and compassion.
Purple paint is the bane of the house decorator as it is hard to mix and is likely to fade. A pink glaze over a
bright blue coat of paint makes a satisfactory purple, but the process can not be reversed. Artificial light turns
purple into brown at night so that by deliberately exaggerating this effect it is possible to have one colour
scheme by day and a different one by night.
Brown
Brown is the colour of the earth and ultimately home. This colour brings feelings of stability and security.
Sometimes brown can also be associated with withholding emotion and retreating from the world.
Magenta
Magenta is the favourite colour of modern decorators. It is a vivid red-purple and is extremely decorative. It is
an exciting color, yet the purple element in it makes it mysterious and a bit restrained. It is particularly good with
purple and vermilion, its neighbours. When using magenta in decoration it is well to have it in small areas such
as flowers
Black and White

As no more powerful contrast is possible than black and white, it should be handled with care. Black and white
floors should be used only in palatial rooms that require ornamental floors because of their size and
emptiness .While comforting and protective, black is mysterious and associated with silence and sometimes
death. Black is passive and can prevent us from growing and death. : White is the color of ultimate purity. This
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color brings feelings of peace and comfort while it dispels shock and despair. White can be used to give you a
feeling of freedom and uncluttered openness. Too much white can give feelings of separation and can be cold
and isolation.
A window is an opening in a wall (or other solid and opaque surface) that allows the passage of light and, if not
closed or sealed, air and sound. Windows are usually glazed or covered with some other transparent or
translucent material. Windows are held in place by frames, which prevent them from collapsing in. Windows
also perform another major function in that they allow for the indoor, outdoor relationship. A room with a view
appeals to almost everyone but even when a beautiful view is not possible we need the psychological
association with the outdoors that windows provide. It is necessary to consider doors as well as windows in
finishing a room. The placement of these openings will influence the arrangement of furniture as well as the
door of the room.
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Parts of a Window
Head Jamb – Groove at the top of the window which allows the window sashes to slide into place and seat
inside the window frame
Side Jamb – Grooves in the window that allows the window sashes to slide up and down or side to side.
Casing – Molding of various widths, thickness and shapes applied to the framework of window and door units.
Muntin – Applies to any short or light bar, either vertical or horizontal, used to separate glass in a sash into
multiple lights.
Sash: It is wood or metal frame that holds the glass panes and is usually movable.
Sill: It forms the base of the window on which the casement rests.
Apron: The strip of a wood sometimes placed underneath the sill for support is called the apron.
Types of Window
The treatment of windows may be determined to a large extent by the type of window as well as its placement
and size. For most windows, a casing is built into a wall structure. This is the fixed part of the window designed
to hold the sash.
The sash is a wood or metallic frame that holds the glass and frame that holds the glass and is usually the
moving part. In some windows, there is a sill at the bottom. An apron is a strip of casing below the sill. The
sashes hold the small individual panes.
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The various types of windows include
1. Double Hung: It is the most commonly used type of window with sashes that slide up and down.

2. Arched Window: A curved arched arrangement at the window or the door may have glass panes or top of
which is part of the design on the wall.
3. Awning Window: Wide horizontal panels that open outward from the bottom to any desired angle.
4. Hopper Window: These are similar to awning windows except that they are fixed at the bottom and the top
of the frame is pushed out to open the window.
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5. Bay Window: A composite of three or more windows, usually made up of a large centre unit and two
flanking units. The angles most commonly used on the inside corners of the bay are 90, 135 and 150 degrees.
6. Bow Window: A composite of four or more window units in a radial or bow formation
7. Cathedral Window: A slanted window set high in the wall close to a cathedral ceiling.
8. Clerestory Window: These are shallow windows that are set high on the wall usually near the ceiling.
9. Corner Window: Various types of windows are designed to form the corners of the room.
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10. Dormer: When a small alcove projects from the room, a window is often placed at the end. Mostly found in
attics.
11. French door: These can be used whenever ordinary doors are used and also serve the purpose of the
windows. They are useful when easy access to another area as important. An ordinary door cuts out too much
light.
12. Jalousie: Narrow strips of glass mounted at different angles.
13. Picture: The window may be one large pane of glass that remains fixed. It may have sections that slide.
These windows give a good view of the exteriors.
14. Skylight: Small windows of one or more fixed panes of glass set into the roof or ceiling of the room.
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15. Sliding Casement: Window panels that operate by sliding from side to side in horizontal sashes.
16. Swinging Casement: Window panels hanged at the side so that the full area of the window is operated
when the panel is moved.
17. Window Wall: Here an entire wall of glass may be sectioned in various ways so that some panels are
stationary, oth er act as windows and still others act as a door.
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Decorative Treatments
Also known as a window treatment. The ultimate purpose of any window treatment is to make the window
function and to make it attractive from both the outside and the inside. In most rooms control of the amounts of
light and air that enter is important. At times it may be desirable for sunshine to flood the room and at other
times it may be appropriate to block out odd sunlight. Also at times, privacy may be particularly important.
1. Exterior Window Treatments:

They are usually not emphasized or decorative in nature. Some of these treatments are:
a. Awnings: Which protect the window from rain, sun and wind
b. Outside Shutters: These are seldom used. They are popular in Mediterranean countries to temper light,
heat and cold.
c. Grills: These may be made of wood, plastic, aluminium or steel and help in controlling privacy, sun and
wind.
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d. Overhanging Roofs: Are exterior shading devices that do not control privacy but offer some protection from
the sun.
e. Hard Indoor Window Treatments: These combine function with a beauty and are available in a wide
variety of styles and colours. Anyone of them can provide a complete window treatment or can be used with
draperies, curtains, valances and cornices. How they are to be used in a room depends on the style of
furnishing and the amount of money available.
f. Blinds: Also called Venetian blinds. These actually originated in China and are available in a variety of styles
and materials. Blinds are popular for their light filtering and room darkening qualities as well as for providing
privacy and controlling air. They are mostly made of metal, wood or plastic and are available in many colours,
textures and thicknesses. Blinds can be used with or without draperies. Blinds have been supplemented by a
newer version called shade cloth vertical blind which consists of vanes of shade cloth approximately 11⁄2-6
inches wide. They can be cut to fit the regular sized windows or the floor to ceiling type. They can be wall or
ceiling hung.
g. Shutters: Although shutters are expensive, they have a long life and require little maintenance. As well as
being decorative they can disguise problem windows, concealed, air conditioners and enhance the architectural
elements of a window. They allow maximum flexibility in light control and ventilation. They also ensure privacy.
Shutter panels are designed with movable or fixed louvres of cane, wood, stained glass etc. shutters can be
used with draperies or instead of them.
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h. Shades: Shades fit windows of all sizes and can be made to suit any decorative finish. They come in plain
or textured material, i.e., either opaque or translucent. The opaque material ensures complete room darkening
qualities and the translucent material allows light to filter through. They are basically of four types:
 Pull down shade
 The Roman shade (Shirred and Draped)
 The Austrian shade (Pleated and Draped)
 Bottom-up shade
i. Beads: Strands of beads can be purchased in many colours in opaque, gem-cut crystal and in wood. They
are permanently fused to nylon chord and can be cut to any length and mounted on a bead track.
j. Lambrequins: They provide a decorative frame for a window. They are usually made of wood and covered
with fabric or adhesive paper. They are available in interesting shapes.
k. Shoji Screens: Are paper screens serving as wall partitions or sliding windows. They are used in many
oriental homes.
l. Panel Track: It is a sliding fabric panel that looks like a shoji screen. It is ideal to be used with contemporary
or oriental furnishings.
2. Curtains and Draperies:

a. Curtains
 They are made of sheer lightweight fabrics.
 They cannot be used alone and are always accompanied by draperies.
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 The term ‘curtain’ refers to various types of fabric covering that may extend only over a part of the
window, all of it or from the top of the window to the floor.
 Are always hung next to the glass.
b. Draperies
 They are made of heavy fabrics.
 Can be used alone or with curtains.
 Draperies extend from the top of the window to the sill or the floor and cover the entire window.
 They are hung next to curtains if used.
Similarities in Curtains and Draperies
1. Both can be tied back to leave the windows uncovered.

2. Both may be used with or without shades or blinds. But most windows have all three, i.e.,
shades/blinds, curtains and draperies.
3. They are useful in controlling light and air and in providing privacy.
4. Both are decorative window treatments and add a feeling of warmth to a room.
5. They may also be useful for reducing noise in some areas.
The style of curtains and draperies should be in keeping with the spirit of the room. However, texture, colour
and pattern of the fabric play an important role in determining the appearance of the window. E.g. plain curtains
that that hang straight at the windows may be cheerful or may be rich and elegant depending on the fabric.
Different curtain styles suggest different degrees of formalities. E.g. short curtains tend to be more informal
than those that extend to the floor. Also, some special treatment at the top of the window may provide a
particular note of interest. Frequently the top of the window is used for concealing a source of light.
Types of Draperies, Curtains and Headings
1. Café Curtain: These are short curtains that lower a portion of a window. They are often hung on
decorative rods by means of tags, clips, loops or hooks.
2. Cornice Curtains: This is a stiff box like treatment at the top of a window. It may be made up of wood
or metal. The width of a cornice is less than 1/8th of the overall length of a floor-length drapery.
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3. Criss-Cross Curtains and Pricilla: Wide panels mounted so that they overlap and then tilt back.
These are usually made of sheer fabric. Pricilla curtains are similar to criss-cross but they do not overlap.
4. Draw Curtains Or Draw Draperies: These are mounted on a transverse rod so that they can be
drawn open or close. Different types of transverse rods permit a wide variety of treatments. Some may have a
two-way draw while others one-way. Curved and angled, transverse rods are also available for the bay and
bow window.
5. Glass Curtain: These are made of sheer fabric in simple straight lines. These usually cover the whole
window and are used with draperies.
6. Jabots: These are pleated or draped lengths of fabric that hang down the side of the window. Jabots
may be of floor length or only a foot long.
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7. French Pleated Or French Draperies: Draperies that are pleated at the heading and are most
commonly used.
8. Sash Curtains: These are similar to glass curtains mounted on a rod attached to the sash or frame.
These may cover only part of the window.
9. Swag and Cascades: Swag is a draped section of fabric at the top of the window. This is usually
accompanied with short pieces of fabrics at sides to form cascades. They are suitable for a formal window
treatment. They are suitable when the depth of the swag is about half of the drapery length.
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10.Tier Curtains: Two or more short curtains in horizontal rows mounted to overlap.
10. Valence Curtains: Is a decorative finish at the top of a window. This may be a pleated or gathered
flounce or fabric. The width of a valence is approximately 1/7th of the overall length of the drapery.
Types of Curtain Pleats
1. Goblet pleat
2. French Windsor pleat
3. Triple pleat
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4. Box pleat
Fabric Selection for Window Treatment
 Durability which will be judged by

 material
 soil, heat, abrasion, fire, sunlight, & water resistant
 yarn quality &yarn thickness(denier)
 construction
 Pest and moth resistant
 crease-resistance
 Fast-colors, should not run or bleed
 Drapability
 Fabric stabilizers
 Price
 Fabric backing e.g. milium
 Design and pattern are also the factors to be considered in selecting fabric. The pattern or the lack of
it will depend on the amount of pattern already in the room. The colour of draperies may be white, off-white,
beige or a colour that blends with the wall colour. Duplicating exact wall colour may be monotonous and may
give a unified and spacious look to the room. The texture must agree with the mode and style of the room and
will largely depend on the type of fabric and weaving method.
 Large patterns are preferred in small rooms.
 Amount of artificial light entering the room.
 Color, theme and décor of the room.
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Measure for Draperies
Length: Length should be calculated keeping in mind that the pelmet rod is fixed four inches above the
window. One height of a curtain rod from the floor + 3” for hemming + 6’ for turning at the top + 1-2% for
shrinkage.
Width: Minimum 11⁄2-2 times the length of the pelmet + 6’ for hemming on both sides.
Measure for Lining of Curtain

Length should be 6-8” less than the length of the curtain.
Lighting
Lighting plays an important role in the comfort and safety of occupants of the building. Lighting contributes to
the décor of a room and should be both decorative as well as functional without causing glare or appearing flat
and dull lighting needs.
1. Function: Certain specialised activities will require specific amounts and possible certain kinds of light,
function must be evaluated in terms of both quality and quantity of light. E.g. reading, writing etc. all demand
proper illumination. Functional lighting will prevent eye strain and make it possible to carry out the activities in a
comfortable and efficient manner.
2. Safety: Improper lighting is a particular hazard in several areas that may escape notice. E.g. staircases or
doorways where there is a step up and step down. Another aspect of safety involves adequate wiring and
sufficient outlets for all needs. It is dangerous as well as unattractive to use long extension cords. Electric wires
should never be placed under rugs where traffic is more.
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3. Beauty: We begin to appreciate light on a decorative medium when we see a room bathed in a pleasing
glow of illumination. There is also a close relationship between the type of light and appearance of colours.
Measurements of Light
Lumen is the unit of luminous flow that is the amount of light emitted per second in a cone of a certain size by a
point source of known intensity. The lux is the unit of illumination equal to 1 Lumen per mt. sq.
Lumen: It is a unit for measuring the quantity of light emitted at the source.
Lux: It is the measure of illumination level at or on the surface being illuminated.
Illumination: The distribution of light on a horizontal surface is called its illumination. It is measured in
footcandles.
Footcandles: A foot-candle is a lumen of light distributed over the one-square-foot area.
Glare: It is defined as dazzling brilliance which can obstruct vision. It can also produce eye damage and should
be avoided. It is caused by:
 Natural sunlight streaming in through a window.
 Reflected light from mirrors, shiny surface.
 Direct light rays from a light bulb or a spotlight.
It can be reduced or eliminated by:
 Using frosted bulb.
 Using diffused light.
 Using fluorescent tubes, lamp shade or venation blends.
 Correct positioning of light.
Types of Lighting
Direct Lighting: In case of direct lighting the fittings throw the light onto the surface below producing over bright
areas and hand shadows resulting in glare. E.g. down lighting-a direct light is hung pointing down to become a
downlight used to highlight.
Direct lighting does not require elaborate electric wiring and may be used to throw light on an empty textured
wall. This process is called wall washing. It can also be used to spotlight a collection of pictures.
Indirect Lighting: Is produced by a light source that is hidden. The light is directed to the ceiling or another
surface from which it is reflected back into the room. Indirect lighting creates no shadows when used next to
the ceiling. Indirect lighting reflected down from the ceiling tends to raise the ceiling height. E.g. up lighting-
canister shapes are used in a variety of locations on the floors, in corners of rooms, at either side of sofa or
behind plants.
Diffused Lighting: When fittings are completely closed or concealed, the light is diffused as it passes through
cover.
Direct/Indirect Lighting: It is distributed evenly in all the directions. Here some light is diffused through bowl and
some light is reflecting from the ceiling.
Semi-Direct: In semi-direct fixtures, 60% of light is directed down to work surface and remaining amount is
directed upwards.
6. Semi-Indirect: It is converse of semi-direct. Here 60%-90% of light is directed to the ceiling and other 10%-
40% is directed towards work surface.
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Kinds of Lighting
General Lighting or Overall Illumination: Should be provided at various intensities so that by pressing
different buttons or dimmers, we can produce bright, dim or medium light. General lighting may be direct,
indirect or a combination of both.
Task Lighting or Local Lighting: Is particularly needed while reading, working, grooming, playing indoor
games etc. it can be brought up by using lamps.
Accent Lighting-For beauty
Without general lighting, the task lighting will produce a glare accent lighting emphasising a centre of interest in
the room.
Methods of Lighting
 Day Light
 Architectural Lighting
 Non-Architectural Lighting
1. Day Light
Only about 10% of normal daylight enters a room, in spite of this, it is brighter than artificial light. Colours look
different in daylight. It varies in intensity and colour throughout the day. Another aspect is that it gives a colder
and less variable light and is better for areas where colour matching is important. Most large buildings require
artificial lighting even during the day.
Advantages of Daylight
 It costs nothing except the cost of making a few windows.

 It is natural.
 It varies according to the time of the day so it is soothing and possibly causes less fatigue. But it can
cause hindrance to the human eye.
 The windows and the changing light add another dimension to the room and the view from there can
be refreshing.
Disadvantages of Daylight
 The variation in the strength of daylight can change the atmosphere of the room.
 Brilliant sunshine fades some colours and rots some materials.
 The heat from the sun rays can cause discomfort.
 Daylight does not uniformly illuminate a room.
 A window should be kept clean to get the maximum advantages from daylight.
 Supplementary light is required since daylight is not constant.
 Large windows with a southern or western aspect can make a room unbearable in summer and too
cold in winter.
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2. Architectural Lighting
Includes portable lamps, ceiling and wall fixtures. Lamps provide a certain amount of flexibility in that they can
be moved from one place to another. There are no rules about where to use lamps and mounted fixtures. The
ultimate goals are to provide the type of light needed and to choose designs that are in keeping with the
decorative schemes. In choosing lamps the following points must be considered:
 A sturdy and heavy base prevents limping.
 A lamp that has a diffused bowl will give a less glare.
 A harp makes it possible to adjust the height of the shade or to tilt the shade if necessary.
 A table lamp intended for reading should have the lower edge of the shade about 40-42 inches from
the floor. The lower edge of the shade of a floor lamp should be around 49 inches from the floor.
 Lampshade should be used according to the colour or texture of the food.
Ceiling and Wall Fixtures:
In choosing fixtures these points may be implied:

 Adjustability of position often increases functionalism. E.g. chandeliers that may be raised or lower will
provide a variety of lighting effect.
 Diffused light is more pleasant in many fixtures. The bulb may be exposed giving an irritating glare.
 The design of the fixture should be in harmony with the character of the room.
Types of Fixtures
i) Filament Bulb: This has a glass container with a vacuum or is filled with an inert gas. In these containers is
a highly resistant filament element to which an electric current passes heating it sufficiently to make it
incandescent. This filament maybe single coil or a coiled coil. The latter maintains a higher temperature and
emits more light but it is susceptible to damage from knocks and vibrations.
Advantages
 Easy to install.
 Give an acceptable with little colour distortions.
 The amount of light required can be altered by simply changing the bulb for one of greater or less
strength.
Disadvantages
 They are not of uniform quality so its makers and the supplier should be reputable.
 The light does not mix comfortably with daylight.
 Except for a few decorative types they are rather ugly and unpleasant.
 The bulbs are connected to the light source with an additional crew fitting.
They can have various glasses for various effects:
 Clear Glass: Through which the filament can be easily seen. It is suitable where sparkle is required
and is used with shade.
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 Pearl Glass: Is frosted on the inside to mask and diffuse the glare from the filament.
 Color Bulbs: Used for decorative purposes.
 Opal: Is heavier white internal silica coating which diffuses the light more than the pearl. The filament
is invisible and shadow is minimized.
 Redactor: Are used for floodlights and spotlighting. The internal silver surface reflects the light with
greater intensity towards the definite area.
ii) FluorescentTubes: They are also referred as strip lights. These are long tubes vapour filled with florescent
powders. The light is produced by ultra-violet radiations from an electrical discharge falling on the powder.
Different powders produce different colour light. These can be placed behind pelmets at the window on the wall
or in front of mirrors. Tubes are much cheaper than a filament bulb and have a much longer life.
These are of 2 types:
 Hot Cathode Tube: Are the most commonly used. Light efficiency is better but they are slow to light
up and flicker before lighting fully.
 Cold Cathode Tube: these can be produced in a variety of shapes. They light up immediately without
flickering. They are more expensive than the hot cathode tube and they require a higher and normal voltage.
They require special fitting so installation cost is higher.
3. Non-Architectural Lighting
a. Glamorous Effects
For general lighting. May be achieved by the mounting of simple fixtures in valances, cornices, coves etc. One
may light a window area wall, ceiling, floor or any special area for emphasis. Fluorescent tubes are useful for
such lighting because they provide an even line of light.
 Valance Lighting: the light source is mounted so that some of the light is directed towards the ceiling
and come down over the draperies. Fluorescent tubes are installed behind the valance frames which are
painted white to reflect the light. At least the 10 inches space between the top of the valance and ceiling is
necessary. The frame will conceal both the fixtures the top of the draperies
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.
 Cornice Lighting: Can be used to give general illumination. In this fluorescent tubes are placed
behind the cornice which is at least 6 inches in depth. It is built at the junction between the ceiling and the wall.
It is good for low ceiling room because it gives the impression of the greater ceiling height.
 Cove Lighting: It implies a rough light arrangement. Usually near the ceiling with the light directed
upwards. Cove lighting creates an effect of openness and the quality of the light is soft.
 Brackets: Are located at a lower height than valances and are not necessarily related to window
treatments.
 Soffit Lighting: Is the underside of an architectural member. Often space provides housing for a light
source and is mostly used in bathrooms, kitchens, bookshelves and mirrors.
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 Recessed Lighting: this includes built-in panel fixtures that provide concentrated light. The fixtures
can be round, square or rectangular metal boxes set in a ceiling or wall.
 Sky Light: Is the glared opening in the roof of a house constructed to allow a natural light into space.
 Translucent Panel: Are set on a surface that reflects light. The light source is concealed under the
panel which may be on the floor or the ceiling or a free-standing decorative unit. These are used in
discotheques, kitchens, bathrooms or other work areas and provide comfortable glare-free illumination.
 Track Lighting: These are lighting fixtures fitted on the track. This may be used to throw light to
highlight the wall or the contents of the wall.
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b. Suitable Room Lighting:
 Living Room and Family Room: Lighting a wall surface improves visual purpose as well as makes
the wall and the ceiling appear lighter and more attractive. This is achieved by either valance, cornice, cove or
recessed lighting. Table lamps or floor lamps provide general illumination.
 Kitchen: Good lighting is required. The ceiling fixtures provide general lighting and should furnish at
least 150-200 watts of incandescence or 60-80 watts of fluorescent for each 50 sq. ft. of space. Long
fluorescent tubes may be attached under the cabinets to light the work surface.
 Bedroom: Bedroom lights should usually be local light in the place where needed. Lights for reading
may be on floor lamps or attached to the wall or ceiling. For applying makeup and grooming, lamps with
translucent shades should be on either side of the mirror approximately 36 inches apart. The centre of the
shades should be at the height of the face. Strip lighting can be used on the sides and the top of the mirror.
 Bathroom: Requires both general and task lighting. The bathroom mirror must be lighted either by
soffit or strip lighting. A vapour proof lighting fixture is useful near the tub and the shower so that when the
shower curtain is closed there is still general lighting.
 Stairways, Hallways and Closets: Hallways and stairways must be well lighted for safety reasons.
Recessed lighting may be secured to the risers on the stairs and give a feeling of elegance to the room while
adding to the safety of the stairs. Lighting near the baseboards in the hallways create a warm glow and gives a
good effect to the area. Closets with automatic switches that activate when the door is opened and deactivate
when the door is closed are convenient as well as energy saving.
 Lobby and Reception: Must be adequately and without any obstructions be lit with good general
lighting and brighter but concealed lighting at the reception desk, where guests, as well as the staff, have to
read and write. Small table lamps can also be used giving pools of soft light and making these areas attractive
and welcoming by creating a small focal point in the large lobby area.
 Restaurant: These are often dimly lit to create an atmosphere but there should be attractive pools of
light. Fast food cafeteria and restaurant require a brisk atmosphere for a fast turn over. So the lighting should
be bright but not harsh or glaring and adequate enough to see that the table cutlery is clean. A hotel restaurant
or a luxury restaurant requires soft lighting for a relaxed atmosphere. Individual lamps on table or candles give
adequate task lighting to read the menu and see the food or the skin color of the customer. Individual table
lamps must have shades which protect the eye of the customer from the glare of the bulb.
 Cloak Room and Toilet Area: The lighting should be overall of such a level that one can see that it is
clean mirror light and shade should be neutral in order not to distort makeup colour.
 Function Room (Banquet): Since these rooms are used for a variety of purposes like conferences,
meetings, dinner, dance etc. they need to have a flexible, decorative and functional lighting. Source of lighting
may be concealed like cornice, valance etc. Standard lamps might complement with the décor together with a
track or spotlight. Dimmer switches are used which will reduce the light when a subdued light is required.
 Out Door Lighting: A picture window that frames an attractive view all day long can be merely a dark
area on the living room wall after sundown. When the garden is lighted, it is possible to have a good view day
and light outdoor lighting on the house or in a tree 12-20 feet above the ground. Aim to light flower and bushes
at an angle that is 45°-90° from the principal viewing angle. A beautiful tree should be lighted from 2-3
dimensions to avoid a flat appearance. Lighted steps and walkways invite one to tour the garden after dark as
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well as preventing dangerous slips and falls. Outdoor lighting also discouraging trespassing. Small fixtures
need to be near the entrance to welcome guest and aloe them to see the house or apartment members.
Factors to Consider when Planning a Lighting System
1. Amount of light required for an area will depend on various factors like:
 Location and direction of the light sources.
 Reflected qualities of colour.
 Textures used in the room.
 The number of lamps and fixtures.
 The wattage of bulbs and tubes.
2. If artificially lighting a room check on heat gains.
3. Design and durability.
4. Ease of replacement especially if lampshades are used.
5. Cleaning-they should be easily cleaned.
6. Cost.
Recommended Value of Illumination
 General Labs- 400 Lux

 Reading Tables- 600 Lux
 Bars- 50-70 Lux
 Kitchens- 200 Lux
 Restaurant Tables- 100 Lux
 Bedroom- 100 Lux
 Hospital Wards- 50 Lux
 Stairs and Corridors- 100 Lux
Principles of Lighting Designs

The use of lighting is visually pleasing when it follows the following principles:
1. Balance: Is achieved by placing light sources throughout the room avoiding a concentration of light on
any side or area of the space. Balance can be symmetrical or asymmetrical.
2. Unity: Can be achieved by duplicating the fixtures as well as repeating the materials, finishes, colours,
textures and maybe lampshades.
3. Variety: Can be created by using similar but not identical fixtures. Variety can also be created by
having general and local lighting also by changing the level of illumination with dimmers.
4. Emphasis: Is given by highlighting. Lack of emphasis in an interior causes boredom, confusion and
uncertainty as to the design content and intention.
5. Rhythm: The sequence of lighting will create a luminous rhythm giving the space a dynamic quality.
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6. Scale and Proportion: The fixtures must be in proportion and scale to the room, themselves and to
the relative objects in the room.
7. Harmony: If the contrast between general and accent lighting is too strong there will not be enough
luminous transaction and the lighting composition will lack harmony.
Flooring Finishes
Flooring is the general term for a permanent covering of a floor, or for the work of installing such a floor
covering. Floor covering is a term to generically describe any finish material applied over a floor structure to
provide a walking surface. Both terms are used interchangeably but floor covering refers more to loose-laid
materials.
Floor surfaces cover a large area of the room and are subject to constant wear. They are expensive and
replace less frequently than other furnishings. Improperly laid floors or damaged floors can cause accidents
and damage to the equipment. Floor surfaces must be comfortable and quiet besides contributing to the décor
of the room. The traffic in the area and utility of the room must also be considered.
Factors Determining the Floor Finish

Appearance: Colour, pattern and texture of the floor surfaces should be compatible with the size, décor and
activity of the room. Pale colours provide a cool appearance of warmth. Patterned surfaces add interest to the
room.
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Comfort: Foot fatigue should be reduced by use of soft resilient surfaces. Floor surfaces should not be noisy
or slippery.
Durability: Grit, dragging of furniture and placement of equipment or circulation of heavy traffic should not
damage the floor surface. They should also not be affected by the cleaning reagents and food spillages.
Life Expectancy: Since floor surfaces are not changed frequently, they are expected to last for longer time.
Safety: Safety to the guests and occupants must be considered. Fire resistance, slip resistance and accident
proof surfaces must be selected.
Ease of Cleaning: Ease of maintenance and cleaning costs must be considered while selecting them.
Cost: The cost of the floor surface, cost of laying and maintenance should be considered before selection.
Types of Floors Surfaces/Finish

Floor surfaces are divided into two types hard and soft floors. A subfloor is laid below the floor surface, which
may be made of softwood or hardboard. It should be free from dampness, dirt and unevenness. This protects
the top floor.
HARD FLOOR SURFACES
Stone Floor Surfaces: These are commonly used in areas that must withstand heavy traffic, repeated
washing and movement of goods. These floors are extremely durable and hygienic.
Concrete: It is composed of cement and sand. Pigments may be added to provide colour. This floor can
withstand large weights but is damaged by acids and alkalis. It is suitable for stores, sub-floors, laundry,
staircase etc. Concrete is extremely porous, hard and soiled easily. A scaler may be applied to make it stain
resistant. These floors are suitable in halls, lounges, corridors, and bathrooms and as tabletops.
Wooden Floor Surfaces: These floors are used in all types of establishments for corridors, dance floors, bar
areas, dining halls, game rooms etc. They are more attractive than stone but are very porous and easily
damaged by moisture and pests. A ceiling polish must be applied to increase durability. Strips of wood are cut
into varying lengths and laid on a subfloor. The colour of the floor will depend upon the type of wood used.
Oak and teak are the common types of wood used for flooring. Designs can be created by varying the colour of
wooden tiles (blocks) and arranging them in different patterns.
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Cork Tiles: Cork is obtained from the bark of the cork of oak tree. It is the least resistant of the hard floor
surface. It is a good insulator, warm, resilient and quite easy to maintain. It has a high degree of slip
resistance but the tiles cannot withstand heavy furniture, grease, and moisture and alkalis. The colour of
natural cork is brown and pigments may be added to obtain other colours e.g. Green.
Resilient Floor Surfaces: These floor surfaces include certain plastics or finishes which make them moisture
and grease resilient.
Terrazzo: This consists of marble chips, set in cement. It may be plain or coloured and ground smooth. This
is not used in small areas but preferred around pools and in gardens. These floors are porous and damaged
by acids, alkalis and grease. They are unharmed by water and have good slip resistance when polished. The
common colours are white, green, blue and black.
Ceramic Tiles: Ceramic tiles are made of clay and fired at high temperature. They are hand or machine made,
glazed and unglazed. Shapes of the tiles may be square, rectangular or hexagonal. Tiles are waterproof and
impervious to cleaning liquid. They are commonly used in bathrooms, kitchens, laundry, canteens, bars etc.
These floors are hard, noisy and tire the feet. Ceramic floors should not be polished since that would make it
dangerously slippery.
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s
Mosaic: They are made of glass, silica and clay. They may be set directly on the floor or made as tiles and
laid on a subfloor unaffected by pests or fungi and the glass can be retained for a long time.
Timber: Well-maintained timber floor surfaces provide attractive hygienic, warm and serviceable floors for a
long time. They may be laid as strips, boards or blocks. Floorboards are made from softwoods while strips are
constructed from hardwoods. The colour of the floor depends upon the natural grain. A sealer may be applied
or a polish given to the wooden floor to make it glossy and dirt resistant.
Chip Board: Chipboard is obtained by mixing wood chippings or sawdust with resin or cement at high
temperature and pressure. Unlike timber, it does not warm or split.
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Linoleum: This is made up of lignum, i.e. flax and ileum in oil. Ground corkwood, linseed oil and resins (gum)
are pressed on to a jute backing. This is prepared in sheet or tile form. Plain colours marbling or patterns may
be applied for decorative effect. Linoleum may crack if laid on the poor quality subfloor. It is hard wearing,
resilient and warm, but may peel, rot and gets destroyed by alkalis. It is non-flammable but burns marks can
be seen. This is suitable for the linen room, store pantry, kitchen stores.
Rubber: Rubber floors are usually made by a combination of natural and synthetic rubber. They may be laid in
sheets or tile form. They may be coloured and mottled with inlaid patterns. The floor is hard wearing, resilient,
quiet and waterproof. It is non-slip and maybe grease resistant. Damage may occur due to alkalis, acids and
spirits. They are not affected by mould, bacteria and pest infestation. It is commonly used in kitchens,
bathrooms, health clubs, near swimming pools etc.
Thermoplastic Floors: These are made of asphalt, fibres, mineral fillers and pigments or synthetic resins with
a vinyl binder. The tiles are usually dark coloured and quite durable. They have good thermal insulation and
are resistant to water. They are damaged by heat, acids and alkalis. They are useful in canteens, corridors,
shops and offices. PVC may be added to make hard thermoplastic more flexible.
Vinyl: Vinyl is made from asbestos, fibres, mineral pigments and PVC. They are very hygienic and deal in
hospitals, kitchens, dining area, nurseries, common rooms, lifts etc. They are water and oil resistant and can be
made slip resistant. They are damaged by cleaning gels, high temperature and acids.
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Floor Coverings or soft floors
Floor coverings or soft floors are used for variety in colour, texture and design. They are warm, durable, quiet,
slip resistant and economical. Various types of colourings may be used in different areas depending upon the
cost of maintenance, cost of installation, attractiveness and use. Soft floor coverings commonly consist of two
types: Carpets and Rugs.
Carpets: Carpets are used extensively in hotels and institutional establishment. The type of carpet selected
will depend upon the suitability and traffic in the area. They may be used in bedrooms, lounges, TV rooms,
restaurants, office and corridors. A good quality carpet should be able to withstand spillages, cigarette ash and
grit. They must also be resilient to heavy furniture.
Carpet Construction: Carpets consist of three layers: a pile, a background and an underlay. The pile is held
into the backing with knots and adhesives. The underlay acts as a shock absorber between the backing and
the subfloor. It makes the carpet softer and provides insulation. Underlay may be made of felt, rubber, foam or
jute with polypropylene backing.
Backing: Natural materials like jute, hemp, glue and starch are used with resin, synthetic rubber and
polypropylene to form the backing. A secondary backing may be added to improve resilience.
Pile: The carpet pile absorbs most of the wear. It should be strong and resilient, shrink- proof, moth proof and
flameproof. The carpet pile is frequently made of blends of fibres.
Wool: Woollen carpets are warm, soft, resilient and do not attract dirt. However, they are difficult to maintain
and quite expensive. They may be blended with 20% nylon.
Acrylic: This is close to wool in appearance, wears well, is warm and resilient but soils easily. This is not easy
to clean and not fire resistant.
Polyester: This is often blended with nylon. This is waterproof, easy to clean, soft and hard wearing.
Viscose Rayon: This is inexpensive and not hard wearing and is sometimes used in blended carpets along
with nylon.
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Carpets
Many homeowners choose carpet because it is warm and soft underfoot. When you select a carpet you
generally buy it with the expectations that your new carpet will look just like the sample in the store for many
years. Having some general knowledge about the different characteristics of carpet will help you choose the
best carpet to meet your expectations. Carpet is a popular floor fitting, prized for its warmth, versatility,
insulation abilities and the protection it provides unfinished floors.
Benefits/Advantages of Carpets
Safety
First and foremost, a carpeted floor is a safer floor. The soft surface and cushioned under-padding not only
reduce the impact of a fall, but also the likelihood of it happening in the first place. Carpet is inherently slip-
resistant, meaning it’s harder to slip and fall.
Sound Reduction
If you live in a busy home with lots of traffic, you know how loud wood or laminate floors can be. Carpet stifles
noise and reduces echoes in three ways; absorbing the impact of foot traffic, soaking up room sounds and
echoes and finally, by blocking sound from carrying between floors (especially helpful in condo apartments or
multi-family homes).
Warmth & Insulation

Carpet provides excellent warmth underfoot, making it a great choice for chilly bedrooms or stark offices.
Carpet also acts as an insulator. The combination of the carpet and its under-padding acts as an additional
layer of insulation in your home and depending on the weight and grade of your carpet – it can even add to the
R-value of your home.
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Ease of Care
Most carpets made today are made to be highly stain-resistant, meaning clean up is easy. With just a damp
cloth or a quick vacuuming, your floors look as good as new. Because carpets trap dust and allergens, they can
also improve the air quality in your home as long they’re properly cleaned and vacuumed on a regular basis.
Flexibility and Style

Carpet isn’t limited to just a few colors or grains. You can get carpet in any style, design, color or pattern that
you want. Because of its versatility, carpet fits in well in any design scheme.
Low Cost
Typically, carpet costs significantly less than other types of flooring like tile, marble or hardwood. Even with
professional installation, carpet tends to cost much less than other types of flooring options.
Warranty
Unlike many hard surface flooring, most carpeting comes with an extensive manufacturer’s warranty that
covers pile, installation and craftsmanship.
Listed below are some of the advantages of using carpet in your home:
 Carpet is much quieter than hard surfaces floors.
 Carpet comes in a wide variety of colour tones and hues.
 Carpet is easy to decorate with and offers many solid colour tones for rooms with patterned wall
coverings.
 Carpet can hide many subfloor irregularities that would not be permitted with hard surfaces floors.
 Carpet can go on a variety of substrates and on all grade levels, even concrete slabs in basements.
Parts of Carpets
Major parts of Carpets are
 Underlay/Padding
 Backing
 Pile
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Underlay/ padding
It has numerous purposes ranging from making the carpet feel better underfoot, to providing extra insulation
against heat loss. It works to protect the carpet backing from the substrate, protecting it from dust, dirt and
moisture. It aids in the soundproofing of a room and protects the carpet from premature wear. We look for
similar characteristics in underlays or carpet cushions as we do when selecting carpet, strength resilience and
durability. Today we have three types of underlay available to choose from: Felt Underlay (cushion), Foam
Sheet Underlay (cushion) and Rubber Waffle Underlay (cushion).
Backing
The backing is on the underside of the carpet; it secures the tufts of the pile & gives additional strength &
stability to the carpet. Most carpers have a double backing; a primary backing, to which the yarn is attached, &
an outer backing called the secondary backing. A layer of latex adhesive is sandwiched between the two layers
to seal the pile tufts to the primary backing.
Types of backing include jute, polypropylene (a synthetic thermoplastic resin), & foam rubber. For expensive
carpeting rubber covered jute is preferred. However, synthetic backing is more resistant to mildew, odor, &dry
rot, &is no allergic.
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Pile
1) Loop Pile: A pile surface with the looped yarns left uncut. The loop can vary to any height depending on the
pattern desired. Loop pile is often referred to as the ground wire.
2) Two Level Loop Patterns/ sculptured pile: This type is an extension of a single-level loop. The second
levels of loops are added to create interest and to make the carpet bulkier and heavier. Level loop pile is made
by weaving even loops of yarn into carpet backing at both ends. This type of carpet is very durable and track
resistant because of its strong loops. Higher loops create a more luxurious appearance. Level loop piles with
short and densely packed loops are easy to clean. They prevent dirt from filtering into carpet. This type of
carpet is ideal for high traffic areas.
3) Cut Pile: Can be simply described as a loop pile that has been cut.They can be of 2 types:
 Plush Pile: a cut pile which has very dense construction. The yarns are equally packed in so tightly
that the yarn ends stand straight up and support each other.
 Shag Pile: Is a tall, long, loose plush pile with a deep and long surface yarn. This pile ranges from 3⁄4
to 3 inches in height.
4) Cut and Loop Pile: Is a plush pile with a pattern cut through it and tightly loop yarns. Cut and loop pile
combines cut and looped fibers. It provides a variety of surface textures or sculptured effects for medium
durability. Cut and loop pile carpets are available in solid or multiple colors. The different levels in this type of
carpet can hide dirt and footprints in formal and informal areas.
5) Twist pile: Also called hard twist or frisé. This style of carpet features yarn that has been tightly twisted to
form a pile with an irregular textured surface. This hard-wearing texture minimizes tracking (footprints), shading
(irregular light and dark areas in the pile) and fluffing which makes it a very popular and practical carpet.
Types of Yarns
 Chain Yarn: This is also referred to as the chain binder since it binds all the construction yarns
together. It runs alternatively over and under the yarn.
 Stuffer Yarn: It is a lengthwise yarn added to give the carpet body and extra weight.
 Carpet Yarn or Surface Yarn: Piles are made from this which forms the weary surface of the carpet.
 Wrap Yarn: Is the term used for those backing yarns which run lengthwise through the carpet.
 Weft Yarn: These are also called shots which run through the carpet in a crosswise manner.
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Types and Characteristics of Carpets
This falls into two main categories:
1. Woven Carpets
 Wilton
 Axminster
 Oriental
2. Non-Woven Carpets
 Tufted
 Pile Bonded
 Needle Punched
 Electro Statically Flocked
In woven carpets, the backing and surface pile are produced together during the weaving process but in non-
woven carpets, the surface pile is attached to a pre-made backing.
Woven Carpets
These are constructed on three types of looms- velvet, Wilton, & Axminster. They always have yarns in backing
called warp & weft. Warp yarns run lengthwise, weft run crosswise.
1. Wilton Carpets
The Wilton carpet is made of a jacquard loom. A traditional woven Wilton carpets have pile threads that run in a
continuous fashion into the carpet and are lifted above the surface of the backing with either wires or hooks.
Generally cut or loop pile, it is the different types of yarn that give the Wilton carpet different textures and
appearance. Because of this method of construction and the waste yarn produced, the Wilton Carpet is unable
to match the Axminster carpets ability to have complex patterns and designs
There are not more than 5 colours. Since the incorporation of more colours will result in very bulky carpets.
These can be
 Patterned Wilton- made on a jacquard loom with jacquard apparatus.
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 Plain Wilton- is plain without pattern thus having extra jute threads called “stuffers”.
 Cord– these are plain Wilton carpets with an uncut pile.
 Brussels- these are patterned wilton carpets which have uncut piles.
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2. Axminster Carpet
Axminster can accommodate any number of coloured yarns & produce precise complicated patterns. Pile
height is always even & the back is heavily ribbed. There the main character is that pattern can be seen on
another side. there are three types of Axminster carpets.
 Spool Axminster- single piece has unlimited colours in the pattern. Its woven in such a way that the
pattern is visible on another side too.
 Gripper Axminster- same as above but the only difference is that only eight colours are used.
 Chenille Axminster
3. Oriental Carpets
These are available in variety of sizes. Names based on country of origin .e.g. Chinese, Indian, and Persian
etc. these are only made as carpet pieces that are standalone rectangles the carpets density is a useful
indicator of fineness & durability of the carpets. A fine oriental carpet will have 500-1000 knots per square inch.
Non -Woven Carpets

1. Tufted
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In these thousands of needles, threaded with pile yarns & extending 12 to 15 feet across the machine, are
forced through the backing material to form loops or tufts. The backing may be woven fabric such as jute & the
loops anchored under the jute backing(Hessian) with a hot layer of latex compound. The pile yarn is inserted
into a pre-woven backing by a long row of needles and loops are formed. This may be left cut or uncut mixture
of high and low piles cut and looped areas may be found in the same carpet. The pile is firmly held to the
backing material by the needle as well as by an application of natural or synthetic rubber adhesive. Its main
limitation is that intricate, precise, multicolored patterns cannot be produced except for printing, on tufted
carpets.
2. Bonded Carpets
These are neither woven nor tufted. They are hardwearing & make economical floor covering with good pile.
a. Pile Bonded/ knitted-Here the pile is made and stuck to PVC. These generally have a pile of nylon or
polypropylene which is stuck into a PVC backing. Pile Bonded carpets are also available as tiles.
b. Needle Punched-these carpets are made by a process that compacts & mechanically joins fibers to form a
felt like surface. Needles literally ‘punch’ the fiber into a foam or latex backing. Usually these are used for
outdoor installations.
c. Electro Statically Flocked-These are produced by projecting electrically charged fibers downwards into an
adhesive coated backing material. These are hard wearing easy to clean and quick to dry. They are mostly
used in very wet area. Swimming pool and in kitchen area.
The forms that various carpets come in are:
 Broadloom – rolls 12ft. or 15 ft. wide
 Rolls – 27 in. wide
 Squares (“tiles”)-usually 18 in. square with semi rigid backing for easy replacement.
3. Berber Carpets
These carpets have short tufts; pile is dense & lopped, characteristically made of natural un-dyed sheep’s wool.
Berber carpets are a modern style of carpet, distinguished by a loop pile construction type, and usually contain
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small flecks of dark color on lighter shades of background colors. They are typically in a plain color mix with no
pattern, and are relatively cheap and durable, so popular for areas with relatively heavy use such as offices.
4.Knitted Carpets
These are produced by interlacing yarns in a series of connected loops. As in woven carpets the pile & the
backing are produced simultaneously. Multiple sets of needles interlace the pile, backing, & stitching yarns
together in one operation.
Selection of Carpets
Following are the factors that are considered for selection of the appropriate carpet:-
SIZE
On the basis of size the carpets can be classified as follows.
 Body/ strip carpeting— best suited for close fitted or wall-to wall carpeting. Width is either 27 inches
or 36 inches.
 Broadloom carpeting— body width is wider than above. Widths available are 9ft , 12ft & 15ft. tufted
carpets are available in width of 9ft 101/2 or 13 ft101/2.
 Carpet squares— usually 6ft 9 in x 4ft, 12 ft squares or 9ftx 12ft rectangles. Carpet tiles — range from
9 in square to 20 in square.
 Rugs & mats-— can be used in areas of heavy use to save wear & tear of carpets.
PURPOSE
Where exactly the carpeting is to be done can be tallied with the manufacturer’s classification i.e.
 Light domestic use.
 Medium domestic use, for hotel & home bedrooms.
 General domestic use for home, hotel bedroom use or public areas that have a medium use.
 Heavy domestic use for public areas e.g. Banquets, restaurants etc.
 Heavy contract use for areas like shops etc.
 luxury
CONSTRUCTION
Most commonly used carpets are the tufted carpets. For outdoors needle punched are preferred.
PILE DENSITY & WEIGHT

How well a carpet will perform is mainly a matter of density of pile which in turn is a function of many
characteristics— the gauge, the pitch, pile height stitches per inch, pile weight, yarn size & so on.
Average pile density is the weight of pile yarn in a cubic yard of carpet.
Average pile density = 36 x face weight / pile height
The density of carpet face fibres is the best indicator of durability. In general, the greater the density, the better
grade of carpet. It keeps stain & dirt at the top of fibres, preventing deeply embedded soiling. To determine how
dense a carpet is, bend a corner of the carpet & see how much backing shows underneath the pile. The less
the backing shows the denser the carpet.
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In carpets of equal density, the one with higher pile & tighter twist will generally be a better product. Carpet that
is more tightly twisted is more resilient & thus will retain its appearance better.
In tufted carpets, the pile density is expressed in “GAUGE”. A medium carpet would have a gauge of 1/8, a
heavy-duty carpet 5/64.” Gauge” is based on the number of needles per widthwise inch. The first of the fraction
indicates no. of inches; second half, the number of tufts.
For a woven carpet, the term “PITCH” indicates no. of warp (lengthwise) yarns in a 27-in width of carpet. A
standard pitch for Wilton is 256, for Axminster 189 & for velvet 216 the no. of tufts per lengthwise inch I
expressed in “rows for Axminsters”, “wires” for Wiltons” & velvets & may vary from 4 in inexpensive carpets to
13 in a densely woven luxury carpets.
Yarn/ face weight is the number of ounces of yarn per square yard. On an average greater the weight more
durable is the carpet.
PILE HEIGHT & STYLE

Carpet pile height is how far the carpet extends above the primary backing. It’s simply how tall the carpet is.
Obviously, the higher a carpet extends the more material it consists of which in turn bumps up the price.
Viewing a carpet’s pile height in addition to its density is critical in determining carpet quality. While you might
want a lower carpet pile on your stairs, generally the higher the pile the better. When considering various carpet
samples with comparable twist and density, keep in mind that the one with the greater pile height will usually
wear better, and feel more comfortable underneath one’s feet. The lower the pile height, the denser the weave
should be.
PILE FIBER
 Nylon: This is the most popular synthetic carpet fibre used today. It offers tremendous value,
performance, and ease of maintenance. Nylon provides brilliant colours and hides soil and traffic well. Today’s
most advanced nylon carpet fibres actually reduce dirt and soils ability to stick or transfer onto the surface of
the carpet. These specially treated fibres will even bead up liquid spills rather than allowing soaking in. This
makes carpets manufactured with these new generation fibres much easier to keep clean and looking like new
longer than ever before.
 Soft Carpet Fibers: Some fibre manufacturers are producing fibres that feel as soft as cotton, yet will
outperform many other conventional carpet fibres. The difference is the nylon filaments are really much finer
than the typical filaments (finer than a strand of hair) but twice as many fibres are packed into the strands of
yarn. This gives these carpets its softness and strength
 Olefin: This fibre is also called polypropylene. Olefin is extremely popular in Berbers; level loops
carpets and outdoor turf products. Olefin carpets are highly stain static, mould, and mildew resistant. They can
be used for indoor or outdoor carpets. Olefin’s resistance to matting and crushing is not quite as good as nylon.
 Polyester: Gives excellent colour clarity with a soft feel to the carpet. But lacks the durability as of a
nylon carpet
 Acrylic: Has a real wool look and appearance, used mainly in level loops, bath mats, and some velvet
carpet styles. Offers good mould and mildew resistance with low static levels.
 Wool: Although somewhat expensive, wool still offers great bulk, performance and an elegant look.
Wool is not stain resistant and can smell when it gets wet.
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RESILIENCE
DYEING
If carpet colours must last in strong sunlight or heavy wear, solution dying is, of course, the most likely to
succeed.if more than 600sq. yd, of carpet in same one area is needed, beware of piece dying because there
may be a slight variation in colour between different batches.
 SOLUTION DYING—synthetic fibres spun from a coloured solution, in this the filament is completely
impregnated with pigments.
 STOCK DYING—- fibres are dyed before spinning.
 YARN DYING—yarns dyed before tufting or weaving.
 PIECE DYING —. fabric dyed in one piece after tufting.600 yards is a maximum length which can be
handled in one batch.
Following are some terms associated with carpet colours.
 Bleeding – loss of colour when wet due to improper dyeing or poor dyestuff.
 Crocking – colour rubbing off due to improper dye penetration or fixation.
 Fade-o-meter –standard laboratory device for testing carpets colour fastness to sunlight.
 Greige goods – goods just of the tufting machine or loom waiting to be dyed or finished.
 Mordant – chemical used in some textile fibres to increase their affinity for dyes
AESTHETICS
For aesthetics rules of interior design are to be used.
BACKING
UNDERLAY/PADDING
REPUTATION OF THE DEALER
Suitable methods for Fixing Carpets
1. Glued: The carpet made stuck to the sub-floor.

2. Tackless Gripper: Steel pins protrude from plywood or metal strips fixed to the floor or the stairs and
hold the carpet in place.
3. Sunken: The carpet is laid in a sunken area and the edges are covered with brass or wood mostly
used as doormats.
4. Turned and Tacked: The edges of the carpet are turned under and taits put through the double
surface.
5. Pin and Socket, Press Studs, Ring and Pegged: These methods are especially suitable where a
carpet needs laying frequently. E.g. banqueting areas.
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Cleaning of Carpets
Cleaning is necessary in order to remove dust and soil, remove stains, and prevent damage from insects and
to retain the original appearance of carpet as long as possible.
1. Daily Cleaning
Superficial dust and crumbs may be removed daily with a carpet brush but the soil which has gone into the pile
must be removed by suction. The longer the pile, the more through the vacuum cleaning must be. In any case,
the vacuum cleaner must pass over a surface at least 2 or 3 times. Stains should be removed as soon as
possible. Is the stain is in liquid form, blot it up with a clean, dry, absorbent pad. If a semi-solid or greasy
material is present, scrape it up. Wipe the area with a damp cloth. If the stain persists use a solution of
synthetic detergent or carpet shampoo.
2. Special Or Weekly Cleaning

At frequent intervals, the edges of the carpet require special attention with a damp duster, a brush or a vacuum
cleaner and the whole carpet at the ends need a thorough vacuum. Clean. If the pile is very long, it needs to be
racked afterwards to make it stand up.
3. Periodic Cleaning
This involves deep cleaning of the carpet and one of the following methods may be used:
1. Shampooing-When shampooing, the detergent solution is released from a tank on the rotary scrubbing
machine and the surface of the carpet is lightly scrubbed and then left to dry. Finally, the loosened soiling and
detergent resident residue are pushed up by suction.
The following points should be observed:
 The detergent used should be one which dills to a powder so that a sticky residue is not left on the
carpet.
 Excess water should be avoided so that the backing of the carpet does not become too wet.
 No metal or legs of furniture should come in contact with the damp carpet.
 Walking or replacement of furniture on the damp carpet should be avoided.
2. Hot Water Extraction Machine-These are expensive machines with no rotary action. Hot water and
detergent are shot into the carpet with high-pressure spray nozzles. The dirt is flushed to the surface and is
picked up by suction. It is inbuilt in the same machine. The advantage of this machine over the rotary
shampooing machine is that the drying time is cut to a minimum.
3. Deep Foam Extraction-A cylindrical brush type machine lays down moist foam, brushes it in and
immediately extracts the soil-laden foam with a built-in vacuum head located behind the power brush.
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FURNITURE ARRANGEMENT IN DIFFERENT ROOMS
The foremost rule in furniture arrangement is that the furniture should be bought keeping in mind the
size and shape of the guestroom in which it will be used. The floor plan of the rooms should indicate
where doors and windows are let into the walls. In guestrooms that do not have any architectural
features, a focal point of interest can be created and the furniture grouped around it. Consider
convenience as well as aesthetics. Whenever possible, the furniture planning in a room should
accommodate more than one use. Making allowances for traffic patterns is also crucial to furniture
arrangement. This can be easily achieved by studying the floor plan. Determine the traffic paths that
cross it, that is, the ways in which people are apt to enter and leave the room.
While placing furniture, arrange the larger pieces first and then distribute the smaller ones in stages. Do
not place any piece of furniture in such a way as to touch the wall; else it may leave lines of dirt or stains
on the wall. On the other hand, it is unwise to let a piece of furniture too far out into the room, unless it
is being used as a space divider.
Bedroom furniture is usually easier to arrange since the size of the bed usually dictates where it must be
placed and everything must defer to it. Certain fundamental points to consider in furniture arrangement
are given below.
· Keep accessories in proportion to the furniture. For instance, a lampshade too big for a bedside
table may not only look out of place, but may also topple off the table.
· Keep furniture in proportion to the space. For instance, placing a three-seater sofa between two
closely placed doors is not advisable aesthetically or functionally.
· Use a blend of symmetrical and asymmetrical arrangements.
· Place furniture with due regard for keeping ‘traffic spaces’ free. Consider placing larger pieces
against a wall rather than in the middle of the open space in a room. One can also place furniture
around a focal point of interest, perhaps a good painting or a fireplace.
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Principles and Elements of design
In achieving an aesthetic arrangement of furniture, the following principles and elements of design need
to be heeded:
· Balance
· Scale and proportion
· Line
· Colour
· Texture
· Rhythm
Furniture arrangement in Guestroom areas

Some points relating to the placement of furniture are given below, area by area:
· ENTRANCE OR VERANDAH – This area should have a furniture arrangement that
expresses warmth, cheer, and pleasantness. The furniture here may include a chair or two and a low
table. Attention should be paid to the kind of material used, as not all materials will be suitable for
verandas and entrances. These are ideal places to use cane, wicker, or painted wrought – iron furniture.
These types of furniture have a lightweight feel in visual terms.
· LIVING ROOM – The living room in larger guestrooms usually contains upholstered furniture
to seat the maximum number of people who may occupy the room and one or more to accommodate
guests. Each large chair should be within easy reach of a table on which an ashtray or refreshments may
be placed, and should, if possible, face the door so that those entering the room can be seen and
welcomed. Tall pieces of furniture should be placed parallel to a wall. Small chairs may be placed
diagonally. Other furniture to be placed in this area are a television cabinet and sometimes a chest of
drawers.
· DINING AREA – In the rooms without a separate dining area, a large coffee table and a few
chairs suffice for any meal served in the guestroom. Hotels can experiment with the furniture of bright
cheerful colours for this grouping, in harmony with the colour scheme of the room.
· BEDROOM – The usual set of furniture in a guest bedroom is a bed, two bedside tables, a
dressing table, a chest of drawers, a coffee table, chairs, a luggage rack, and a writing table. Most
economy guestrooms are primarily bedrooms with regard to their function. All furniture except the
coffee table with its chairs and perhaps the bed are best placed against the wall.
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· KITCHEN – Some hotel guestrooms have a small kitchen, where usually modular cabinets are
utilized as furniture. It is mainly storage furniture that is found in the kitchen, in the form of cabinets and
basket drawers.
EXAMPLE:
HOW TO ARRANGE FURNITURE
Position your furniture in a way that’s fun, functional, and fetching.
You Will Need-
 A focal point
 And traffic paths
Determine what purpose the space the furniture occupies has and the purpose of each piece of furniture. This
will have an effect on how space might be divided up and furniture arranged. Some furniture may not belong in a
given space.
Measure the room and write down its dimensions. Do the same for your furniture.
Make a flat scale drawing of the room using graph paper as if seen from above. (For example: 1 little square
represents one quarter of a square foot [3"] and four of those equal one square foot.) You may want to shade the floor
close to what is already there (beige if the carpet is beige) if there is a need to coordinate colors just make sure you
can see the lines on your graph paper.
Draw flat scale drawings of your furniture as if seen from above. Don't get too detailed. At the very least you need
the size and shape in relation to the room; Color the piece if you think it's important and then label it.
Take your scale drawing of the room's floor plan and rearrange the scale drawn pieces of furniture on it until
you see a configuration you like and think works best for the space and furniture's purposes and traffic flow.
Tape the pieces down with small pieces of tape (so that you can easily move them if you change your mind) and
begin preparing to move your furniture into that configuration.
1. Place the Largest Pieces First
The article notes: “The major piece for the primary activity of the room must be considered first —
the sofa in the living room, the bed in the bedroom, the desk in the office. This piece in most cases
should face the focal point of the room.”
2. Know the Focal Point of the Room
Since the furniture should be arranged in light of the focal point of the room, this means that (a) every
room should have a focal point and (b) you need to decide what that is. There can also be secondary
and tertiary focal points. The furniture should be arranged to focus on the primary focal point,
however.
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3. Then, Place Pieces Relating to the Main Piece
This gives a helpful ordering of priorities: Place the main piece(s) first, then the pieces relating to it.
Note that it relates to purchasing furniture as well as placing it. You identify and purchase the main
piece of furniture (say, the couch) first because that gives guidance to the rest of what you do.
Often times there are many different directions which you can take when it comes to the secondary
pieces. You are going to feel scattered — and the room will probably lack unity — if you try to obtain
those pieces before knowing the color and style of the main piece.
When placing the secondary pieces, remember whenever possible you should “keep pieces of similar
scale together” and “try to balance pieces of furniture opposite one another.” For example, “a pair of
upholstered chairs is visually more balanced across from a sofa than a pair of small scale occasional
chairs.”
4. Add Accent Pieces for Secondary Activities
Examples would be a reading corner in a bedroom or a kids play area in the family room.
5. Place your Furniture Where it Looks Best
Well, that’s a bit too obvious. Sorry!
6. Guide Traffic Patterns Through Furniture Arrangement
You can set up the furniture to create the traffic patterns you want to have. Also, “leave a minimum of
two and a half feet for walkways and avoid flowing traffic through a conversational grouping if
possible. Guide the traffic around the room’s perimeter to create a less disruptive environment.”
Don't overload it. Don’t overload rooms with furniture. Not only do rooms appear larger and cleaner
when they’re less cluttered, but studies show they make people feel more relaxed.
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Furniture and Fixtures
In any organization, furniture covers a wide variety of different item, which will be in constant use and yet
should retain their overall good appearance. People are seldom as careful of other people’s property as they
are of their own and the handling of furniture by large numbers of people results in harder use than if one
person was using it all time.
Therefore furniture needs to be:
 Practical in design, size etc.,

 Comfortable to use,
 Sturdy to withstand considerable wear and tear (maintenance free),
 Easy to clean and maintain,
 Price must be within the means of the establishment.
Whatsoever the type of an establishment is, each piece of furniture must be fit for its purpose and meet the
requirements of the guests and the housekeeper.
The following points should be considered when choosing individual pieces:
 type of guest expected and standard of accommodation,

 guests’ length of stay,
 atmosphere to be achieved, e.g. modern, ‘old world’, and degree of comfort,
 shape and size of article in relation to the human body (the science of ergonomics)
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 the durability of the article,
 versatility and flexible for movement etc.,
 ease of cleaning, e.g. castors on heavier items, shelves instead of drawers,
 drawers with wipe-easy surfaces rather than lined, use of shelf-shine protective coatings,
 standardization – items may be moved from room to room as required.
Style, Design and Construction

The style of any piece of furniture must tone in with the rest, though it will not necessarily be of similar design.
Design and size are closely related to comfort, for inappropriate design or size may interface with the proper
function or the serviceability of an article. The width of the seat and the shape of the back of the chair are
important to its comfort: the height of the table and the chair in relation to each other, the height and depth of
the wardrobe and the length and width of the bed are other examples. Ergonomics is important when
considering shape and size of pieces of furniture in relation to the body.
Serviceability will also depend on design; shelves are probably more serviceable in the bedroom than drawers,
and ‘built-in’ furniture can save space, labour, floor and wall coverings.
Flexibility and movability of furniture may be required in some places to enable the rooms to be put to different
uses like extra bed, conversion of room to syndicate room for conferences, exhibitions etc., when not only has
the room to be set up in the morning but also returned to normal in the late afternoon or early evening.
Easily cleaned furniture, because of its design and the material from which it is made, is of importance in all
establishments but especially so when there is the possibility of a quick turn round of rooms (fast check in –
checkouts).
The method of construction and materials used will affect price, appearance and durability and
the finished article should:
 be free from rough, unfinished edges or surfaces,

 be free from surplus adhesive,
 have the correct type of joints which fit well,
 stand firm on the floor and be rigid in use,
 if a cupboard or wardrobe, be stable and balanced whether empty or full,
 have drawers which run smoothly,
 have doors which fit properly and have stays to prevent them opening too far,
 have sliding which runs smoothly,
 have efficient locks, catches, hinges etc,
 have handles conveniently placed, comfortable to hold and free from sharp edges,
 have castors with no sharp edges.

When selecting furniture the following points should also be considered:

1. The furniture should be in proportion to the size of the room, dimensions of the room and available space
should be kept in mind at the time of selecting furniture.
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To bring in harmony in furnishing its proportion should relate to the rooms architectural design. E.g. Rectilinear
rooms look good with rectilinear furnishings. If we have carved or curved openings, carved or curved furniture
should be selected.
2. The furniture should be of plain design. Unless an article of furniture is useful as well as beautiful it should
not be allowed occupy space.
3. The furniture should be comfortable and sturdy. Nearly all the furniture should be made for a person of
average height. A standard easy chair is 22-24” deep and is 17” high and a bit lower at the back. Other chairs
are about 19” deep and 18” high. Arms should be at least 7” above the seat. The seat back should normally be
17*19” high.
4. At the time of selecting furniture, one must take care of its construction. One should make a complete
examination of it; its draws, joints, surfaces, edges, backs and undersides should be examined. Check the:
 RIGIDITY: All furniture should stand firmly by jiggling. All the legs should be even and firm. One should
place a hand firmly on a table or chest or drawers etc. and try to rock it back and forth. It should be sturdy
enough to withstand firm pressure. Any place which wobbles or jiggles is poorly constructed.
 UNEXPOSED PARTS: The finishing on the underneath part of a table, chair etc. should be sanded
smooth with a sandpaper and stained to match the rest of the piece. On poor quality furniture, these unexposed
areas may have little finishing. The wood may be rough and uneven and the colours may not match.
 JOINTS: The various sections of a piece of furniture must be joined firmly and securely. Careful joinery
is an art that is of utmost importance to the consumer. Nails, screws, glue are also used to hold sections
together at points of strain. Nails are the least desirable but they are quick and cheap to use. Various methods
are used to join the framework of chairs, tables, desks etc. On high-quality furniture, the joining is nearly
perfectly matched as smooth and tight. Few types of joints are
 Butt: A butt is a simple joining made by nailing or glueing two ends together. It will not
withstand much strain.
 Dovetail: A series of projections fit into a series of grooves. The grooves are often fan-
shaped. This is a secure joining and indicates good craftsmanship.
 Dowel: A small peg of wood is used to join two edges. The dowel pins are used for various
types of joining on chairs, frames etc.
 Double-Dowel: Provide added stability.
 Lap: Two pieces have equal sized grooves so that they join firmly when placed together.
 Miter: Square corners are often mitred. Each edge is cut at a 45° angle and the two are held
together with glue or nails.
 Mortice and Tenon: This is one of the strongest joints for frames of chairs. A groove also
called a mortise on one edge is cut to fit a projection called tenon on the other edge. The projection and the
groove may be square, rectangular or triangular. Sometimes glue or screws are added for extra stability.
 Tongue and Groove: A projection on one edge fits into a matching groove on the other edge.
 CORNER BLOCKS: Triangular pieces of wood are often used to support and reinforce the frames of
tables, case goods and seating pieces. They are screwed and glued into place to keep one side from pulling
away from the other.
 GRAIN: Grains of wood in legs or posts of furniture should run vertically otherwise the chair or article
might split with the grain.
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 FINISHES: The surface of the wood is treated and polished to develop a beautiful patina colour.
Patina is the mellowness or glow that comes from rubbing and polishing. The grained pattern is carefully placed
to enhance the design of the piece. The initial steps of finishing may be done by a machine but the final
operations in high-quality furniture are usually done by hand. Several sanding and applications of stain develop
a uniformity of colour and bring out the beauty of the grained pattern. Some woods must have a sealer to close
off the pores of the grain. Wood finishes are applied:
 To produce or develop colour.
 To seal off the pores and produce a smooth and levelled surface. To protect the wood from
heat and moisture.
 To decorate the surface.
 DRAWERS: the drawers should glide back and forth easily. They may be mounted on metal tracks,
with wheels or ball-bearings to ensure easy movement. A drawer stop or a tiny lock on the back of the drawer
prevents it from pulling all the way out. The inside of the drawer should be smoothly finished and treated with
varnish. The top edges on the back and sides are rounded for smoother operations. All handles and hardware
on any piece of furniture should be in keeping with the design of the piece. They should be firm and substantial
enough to withstand strain over a long period of time.
 TABLE TOPS: The joinery on the table top should be barely visible. The table leaves need to fit
perfectly when inserted in the table.
 CABINETS: Open and close all the doors making sure that they do not sag. Check to see if the doors
fit well.
 LOCKS: If buying in bulk care should be taken to ensure that all locks are different and that duplicate
or replacement keys are available.
Classification of Furniture
 Wooden furniture
 Wicker and cane furniture
 Metal furniture
 Plastic
Upholstery Material
The upholstery coverings will to great extent determine the appearance, durability and cost of the piece of
furniture and may be made from textiles, i.e. woven fabrics, hide or plastics. The covering required to be:
 Resistant to abrasion, snagging, creasing, soil and fading,
 Non-flammable,
 Non-shading,
 Pest proof,
 Easily cleaned
 Elasticity & resiliency
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Types of Coverings
a.Textiles- Cotton based, Satin, Velvet, Organza, net, Corduroy, Leather
The textile coverings are the types of fibre, yarn and weave used in the production of the fabric.
Smooth fabrics, e.g. brocades and damasks of cotton, rayon or synthetic fibres show soiling more but hold dust
less than the rougher, textured fabrics of wool, wool/nylon and wool/Evan mixtures. The latter has a warmer
appearance, are less slippery and are less likely to show shine on clothes when sat on.
Cut and uncut pile fabrics, e.g. velvet, corduroy, or moquette made of wool, cotton, rayon or synthetic fibres are
hardwearing but hold the dust, and cut pile fabrics may show shadowing.
The use of synthetic fibres, e.g. nylon, dralon etc, either alone or in the mixtures and blends increases the
durability and ease of cleaning of many coverings.
b. Plastic – vinyl
There are many plastic materials available. They are more easily cleaned, equally hardwearing and less
expensive than leather coverings. They are mainly vinyl.
balance, and unity—are the principles of design.
Rhythm
You have felt the rhythm of the music. Rhythm is also a part of things you see. It allows the eye to move from
one part of a design to another part.
Rhythm can be created by:
• Repeating a colour, shape, texture, line, or space when designing.
• Varying the size of objects, shapes, or lines in sequence (small to large).
• Using a progression of colours from tints to shades (light blue to dark blue).
• Shifting from one hue to a neighbouring hue (yellow to yellow-orange to orange to red-orange to red).
Proportion
Proportion refers to the relationship between one part of a design and another part or to the whole design. It is
a comparison of sizes, shapes, and quantities. For example, the relationship between the vertical and
horizontal measurements of a wall hanging may be pleasing because the unequal lengths produce an
interesting contrast.
Emphasis
Every design needs an accent—a point of interest. Emphasis is the quality that draws your attention to a
certain part of a design first. There are several ways to create emphasis:
• Use a contrasting colour.
• Use a different or unusual line.
• Make a shape very large or very small. • Use a different shape.
• Use plain background space.
Balance
Balance gives a feeling of stability. There are three types of balance.
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Symmetrical, or formal balance, is the simplest kind. An item that is symmetrically balanced is the same on
both sides. Our bodies are an example of formal balance. If you draw an imaginary line from your head to your
toes dividing your body in half, you will be pretty much the same on both sides.
Designs that have a radial balance have a centre point. A tire, pizza, and a daisy flower are all examples of
design with radial balance. When you look through a kaleidoscope, everything you see has a radial balance.
Asymmetrical balance creates a feeling of equal weight on both sides, even though the sides do not look the
same. Asymmetrical designs also are called informal designs because they suggest movement and
spontaneity. Asymmetrical balance is the hardest type of balance to achieve and often takes experimenting or
moving elements around until the balance is achieved.
Unity
When things look right together, you have created unity or harmony. Lines and shapes that repeat each other
show unity (curved lines with curved shapes). Colors that have a common hue are harmonious. Textures that
have a similar feel add to unity. But too much uniformity sometimes can be boring. At the same time, too much
variety destroys unity.
TO PREPARE A ROOM FOR REDECORATION:
1. Remove linen from the room and bathroom and send to the laundry including bedspreads and
blankets.
2. Remove all supplies and store in the maids’ service room. Some hotels also store them in a drawer in
the room but often the workmen fiddle with it.
3. Remove the curtains and draperies and send them for cleaning. Save the hooks in an envelope
marked with the room number and is placed in the maids’ service room.
4. If sufficient space is available in the service room, place the lamps there too covered with dust sheets.
5. Generally, unless the floor is taken off, the furniture is not removed from the room but stacked in the
middle with dust sheets placed over them.
Now the redecoration takes place. Next maintenance does the complete checking and prepares the Snag List.
This can be prepared by the Executive H.K. or the maintenance supervisor. After the maintenance work has
been done, the H.K. prepares the room again to be let out.
TO PREPARE ROOM AFTER REDECORATION:
1. Remove all dust sheets and send them to the laundry.

2. The bathroom walls, all fixtures and fittings as well as the floor are scrubbed.
3. Vacuum the room.
4. Scrub the balcony and terrace. Clean the furniture present there.
5. Clean the windows thoroughly including the frame.
6. Polish or clean all the furniture in the room.
7. Replace curtains.
8. Replace bed and bath linen.
9. Arrange all furniture correctly.
10. Replace supplies.
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11. Replace lamps, cleaning the shades if necessary.
12. Switch on the mini-fridge after cleaning it.
13. Shampoo the carpet and dry it.
The room is then fit for LETTING OUT AGAIN.
Refurbishing
Refurbishing always involves redecoration. Refurnishing is just changing the upholstery of furniture whereas
refurbishing involves everything in the room, i.e. curtains, carpets, furniture etc. and bathrooms completely
gutted and renewed.
Refurnishing also can be partial or complete. If it is partial it may not involve carpets or may not involve all
furniture, e.g. – only beds may be replaced or only certain items of furniture replaced. Refurbishing always
includes new curtains, bedspreads, upholstery etc. A full planning is to be made before refurbishing or
refurbishing an area. It is done in the slackest season.
1. Strip the room of the linen, including curtains and send them to the linen room.
2. Remove all supplies.
3. Usually, hotels sell all the items, often they do room by room and a buyer must buy the whole room.
4. The furniture and the carpets are removed and the buyer usually has to collect it the same day as
storage is a problem. Otherwise, another room is emptied and use for storage.
5. Next, all the bathroom fittings are removed and the bathroom completed gutted and renewed, then
redecoration takes place.
6. Next, the electrical work is completed replacing plugs and sockets etc.
7. The carpet is laid or re-laid.
8. The new furniture is installed including the upholstery and all wirings completed. E.g. – bedside
console, the TV, bedside lamps etc.
9. New lamps and accessories are installed.
10. The HK comes to clean starting with the bathroom, balcony, windows, and furniture cleaning.
11. After this, the curtains are hung.
12. Beds are made.
13. All supplies are replaced.
14. Vacuum cleaning the room completes the work.
15. The room when ready is returned to the reception for re-letting. Generally, this is done when the whole
floor is ready.
If the work is delayed in any way this makes a pressure on HK and may require overtime in the evening or night
to prepare the rooms. This takes place generally after 5-7 years. Some hotels do it rather gradually. E.g. –
bathrooms and carpets – one year and furniture another year etc.
Much depends on how busy the hotel is and the type of client etc. it is a major capital investment but if a hotel
is not kept up to a standard it will lose revenue so in the long run, it is a necessary investment
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Accessories
A warm room without accessories would be uninteresting. Accessories lend personality, charm
and individuality to a room. Each person’s selection and arrangement will reflect his/her own
interest and sensitivity to good design. But the accessories should follow the theme of the room.
Accessories must contribute towards the unity of the room.
Some will have specific functions, others will be purely decorative. The functional group may
include ashtrays, clocks and lamps, decorative accessories might include pictures, sculpture,
mirrors, flower arrangement etc. In the functional category, accessories should first of all be
useful. Lamps should provide adequate light where it is needed. Clocks must keep time and
have faces that are easy to read. In all cases, the shape, colour and texture should harmonize
with the spirit of the room.
In selecting non-functional accessories, one should remember that a number is often more
appealing if these pieces represent interests of the family.
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Almost any selection, combination or arrangement is acceptable as long it is pleasing to the
eye.
Kinds of Accessories
1. Books and Magazines

Books and Magazines are not actually accessories but are classified as such when used
decoratively or in large quantities in a room. Displaying books adds depth as well as character
to a room and reveals the interests of the owner.
Most books are placed on book shelves which allow some flexibility in handling. Bookshelves
can often be adjusted to accommodate both tall and short books. Place heavier books on the
bottom shelves. Not all books need to be placed vertically, position some horizontally for
interest. A neat arrangement is to group books according to their size or colour. Books with the
same binding or a set of books may be used as a unit. Any small objects that are on the
bookshelves with the books should complement each other and provide an attractive setting.
E.g. plants, bric-a-brac.
Magazines are usually temporary accessories. Most of them are read and rapidly discarded.
2. Clocks
An interesting clock may be not only a major accessory but a real centre of interest. Grand
father’s clock-traditional homes-elegant note, clocks-a-chime, modern clocks of unusual designs
and materials, such as cubes or spheres of glass are in harmony with modern decorations.
Some traditional clocks are extremely elaborate with hand painted panels and ornate cases,
modern clocks tend towards severe simplicity.
3. Collections
Make your collection a vital part of your décor, arrange it attractively and give yourself the
pleasure of displaying it. Collections should be displayed in an organised, significant fashion
adding to the appearance of the room not distracting it.If the collection is inherently beautiful it
can serve as the centre of interest in a room. Be sure that the collection harmonizes with in both
colour and form of the room background. Collections can be grouped on walls, tables or shelves
designed to display them.
Shells in a glass-covered coffee table, mugs in old-fashioned barbershop rack.
4. Lamps
Well-chosen lamps and light fixtures are extremely important in determining the characters of a
room. Although the functional aspect should be the primary consideration in selecting them, it is
no less important to choose designs that emphasise the spirit of the room.
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More formal rooms usually require lamps with a certain kind of elegance. They may be
extremely simple, but the colours and textures should have the richness that we associate with
formal treatments.
Rooms furnished in the more informal styles should have lamps that are suggestive of luxury.
For e.g. wood, pottery, copper and tin.
Modern rooms- modern but simple lamps. Polished wood with lovely colours and grain patterns,
metals, china, pottery, glass and leather.
When several lamps have been chosen they must harmonize with each other.
6. Mirrors
In some areas such as bedrooms and dressing rooms, mirrors are essential. E.g. entrance
halls. In other rooms, they are more decorative than functional. Mirrors produce a feeling of
spaciousness. Sometimes an entire wall is covered with a mirror. Good mirrors, best-grade
made from plate glass. The polishing and grinding of plate glass results in a smooth surface that
provides distortion and gives the glass more sparkle. In plate glass mirrors of high quality, the
silver surface of the back is protected by a copper coating. It is then heated with a coat of
shellac and another coating of protective paint. Copper back renders durability and prevents
discolouration.
In modern decorations, mirrors are often used without frames. Traditional styles usually have a
frame of wood or metal in a characteristic design.
Mirrors should be selected with respect to wall area and furniture.
6. Pictures
They are not necessary but they can add considerably to the personality of the room if they are
well chosen and well places.
Landscapes, seascapes, street scenes, flower prints and still life pictures are all popular choices
for traditional rooms. They can be used in the formal and informal setting, depending on their
interpretation and colour. Other types seem to be more appropriate for special rooms. E.g.
Portraits are frequently quite formal whereas animal pictures express informality.
The colour and textures of pictures should harmonize with those used in the room. The size and
the shape of a picture must relate to the wall area on which it will be hung and also to the
furniture placed against the wall. It is frequently more interesting to group several pictures rather
than to use only one. When pictures are exactly alike in shape and size, a group arrangement is
usually symmetrical and presents only a few problems.
Picture Placement
Use the following suggested guidelines when deciding where to place pictures:
 Picture placement should be planned and arranged in an orderly fashion.
 Hang pictures at eye level, i.e., between 5-6 feet from the floor.
 Hang pictures where they will be enjoyed.
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 When hanging a picture over a sofa it should be low enough to be a part of a grouping
and high enough
 to avoid contact with a person’s head when leaning back or sitting on the sofa.
 A painting should hang alone only when it is large and important enough to hold interest.
 A picture will seem to float in space if there is no furniture under it.
Always choose the right frame which will blend with the painting and not look out of the place.
7. Plants and Indoor Trees
Plants and indoor trees can be placed almost anywhere in a home or apartment, provided they
receive adequate light and the environment is favourable for their growth. Plants usually grow
profusely in the bathrooms due to high humidity. They can be used to fill a window space or as
room dividers. Plants should be chosen as accessories based upon their variety, shape and
interest. They should be placed in attractive containers that complement the colour scheme of
the room.
8. Sculpture
Sculptures can be various materials-stones, wood, metal, ivory, pottery, plastic or glass and of
various shapes and sizes. When choosing sculptures, one most look for a good design, honest
use of materials and quality in reproduction if applicable.
9. Wall Hangings
Wall hangings can be made of a number of materials or types. Printed fabric, carpets, macrame,
needlework etc. have all served as wall hangings. Wall hangings are often used to fill large,
plain, empty areas. They can also be the focal point of a room.
10. Miscellaneous Accessories
 Birds: Impart a garden feeling. Their songs, movements and colours make them
delightful additions to fixed decorations. The cages can be decorative in harmony with the décor
of the room.
 A folding may serve a useful purpose as an area divider or may be used only for a
decorative purpose.
 Trays can be useful for serving as well as decorative
There can be in numerous such accessories depending on an individuals taste and liking.
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Accessories Selection and Arrangement
1. Accessories should be placed at important points in the room so that the eye is led to a
focal point of interest. By choosing the same colours or shapes, the decorator can use the
accessories to create unity in a room.
2. Accessories need to be related to the furniture or the furniture groupings.
3. Accessories are more interesting if they are not all placed in a straight line.
4. Accessories need to be placed with space between individual items, so that they can be
enjoyed separately while still forming part of a unit.
5. Groups of accessories are more interesting if the shapes and the heights are varied. Too
many items of one shape may seem monotonous. However, if accessories are grouped
together, each must have something in common with the next. It may be the size, shape,
material or colour.
6. Accessories that are figured or decorated can be enjoyed best if they are placed against
a plain background.
7. Inexpensive accessories can look very important if they are grouped together and
displayed well. Irregular- shaped bottles displayed in front of a window on shelves can be more
dramatically effective than an expensive painting placed in an obscure part of the room.
Page | 83
Pre - Opening
The pre-opening calendar for any property starts two to three years ahead, but it’s unrealistic to suppose that
every executive housekeeper can be hired far enough in advance to take part in the original planning with top,
management and the architects. However, in some cases, it is possible to plan ahead who your housekeeper
will be and consult him or her in advance about the entire housekeeping operation.
If the actual person has not been selected, then it is most important that a housekeeping consultant be hired to
help with the initial planning of the department to settle such matters as where the department will be; is it
logically located with respect to traffic flow; is there enough room for the many maids and housemen to check
in and out at the beginning and end of their shifts? Where will the electronic room status board be? Is the linen
room located near enough to the loading dock if the laundry is to be done outside? Is there a sufficient storage
area? These are just a few of the questions to which most architects do not devote sufficient research.
Just as a kitchen plan is based on a menu, so the services which you intend to give guests, patients, or
residents must be anticipated and accommodated in the building plan. Top management must arrive at a
number of decisions before being able to direct the architects and planners intelligently. For example, using no-
iron sheets could change the entire design of a laundry or of the “back” spaces in guest corridors. Also, if you
plan to provide extra rolling beds, hair-dryers, and cribs, these will require considerable storage space.-
When the time conies for the conferences with the interior designers regarding furnishings—particularly the
fabrics—it is essential that a housekeeping consultant is in on discussions.
Make very sure that the interior designer’s contract clearly spells out who will do the installation of draperies,
the unpacking and placing of furniture, and that some provision has been made for storage of furnishings
before installation. Another responsibility of the interior designer is to make up a complete list of furnishings for
each room, or type of room, along with colour schemes, so that the housekeeping department can be relieved
of making this very time-consuming inventory.
Interviewing for the permanent executive housekeeper should begin approximately one year in advance of
opening. By eight months before opening day, the housekeeper should be fully involved in the operation. Six
months before CC-Day, he or she should report to the area of the new property.
In order to help housekeeping do first things first and attend to planning in the proper order, there is a count-
down chart accompanying this article. It includes activities from eight months to Opening Day.
A large chart of this sort should be set up in Housekeeping’s temporary headquarters, with some sort of system
to check on the progress being made. For example, put red tacks next to an item that hasn’t been done yet,
green if it is underway, and remove tacks when the job is done.
Some might find it easier to put the time in months, then weeks, then days, so that the chart runs horizontally
rather than vertically as shown here. In any case, there should be some sort of master list, “lest you forget”; no
one can possibly keep track of all the many things that must be thought of simultaneously prior to opening.
Further explanation is needed on the items with footnotes listed in the chart. The following will help to clarify
terminology and detail the complex activities:
1. Discuss bath linens. Because many thousands of towels are involved, and many more thousands of
dollars, it is wise to have top management decide the following about bath linen: quality (thickness), size,colour,
whether name-woven or plain, and whether or not disposable washcloths are advisable.
2. Discuss cleaning equipment. Another large investment is in the heavy-duty floor machines, so plan to
have top management actually in on the demonstrations of these machines.
The American Hotel and Motel Association does an excellent job of disseminating information about new
maintenance products, and top management may have gleaned some valuable information about cleaning
equipment through bulletins or seminars, and may want to compare performance of equipment.
Page | 84
3. Punch list. Before an institution’s owners or operators can accept the buildingfrorn the contractors, a “punch
list” must be prepared and checked off for all areas. This is a list of items that must be inspected to ascertain
that the contractors have carried out their responsibilities. It is up to the executive housekeeper to prepare such
a list for his or her department—linen rooms (headquarters and on floors), sewing room, costume control,
offices, uniform storage area, etc.
The guest room punch list is usually prepared the rooms division, together with the engineering department and
top management. But it is still important that housekeeping go over that list tsymake sure that nothing has been
overlooked. Whatever is not working properly will have to be repaired by engineering or housekeeping if it is
not found on the final punch list inspection.
4.Guest room supplies. These individual items may seem trivial at a point three months before opening when
perhaps major construction still is not completed, or an electricians’ strike is on, but despite giant obstacles,
management must take time to decide just how many “goodies” are to be included in the guest rooms and
baths. Since large supplies of these items will have to be ordered, and many of them will be custom-made or
monogrammed, it is essential to start researching early enough to enable your department to shop wisely for
them and try to save a few pennies on each, for in such large quantities, any savings will add up to many
dollars.
Some of the supplies to decide on include: telephone pad, pen, guest directory, number and quality of ash
trays, Bible, clock, phone book cover, utility bags- paper or plastic—stationery folder and contents, quality and
quantity of hangers. In the bathroom, what type and color of toilet tissue and soap? What type of bath- mats? Is
the bathtub coated with a non-skid surface or are tub mats required? What about mending kits? Shoe bags?
Hooks and other hardware? Shower caps? Waste baskets?
5. Design forms to be printed. Some of the forms which should be set up ahead of time to be ready for the
opening of the hotel include: attendance record, super. visor’s report of accidents, lost-and-found records, and
security sheets used as AM and PM maids’ reports, inspectresses reports, housemen’s vacuuming instruction
sheets, and supervisor’s check sheets.
Forms such as the employee warning report, the clearance slip and the separation notice are usually set up
and provided by the personnel department.
6. Hire the clerk-typist. This versatile person is actually a combination of many things—she probably will, do
the payroll, be in charge of the lost-and-found and may often act as a secretary to the executive housekeeper.
In some cases it may be possible, or even necessary, to have her prior to two and a half months, but generally,
at this early stage, the clerical help can be shared by several department heads.
7. Establish labor pars. After you have become thoroughly familiar with the local union regulations, if they
apply in your area, you should set up:
 the number of rooms that a maid is expected to do
 the number of rooms and halls that a houseman will cover
 the number of maids each inspectress will have
 the number of floors for supervisors, etc:
8. Temporary clean-up suppiles. The heavy-duty cleaning supplies which the temporary clean-up crew will
use (after the construction work is completed) differ from the cleaning supplies which will be used every day
after the property is open. These first cleansers are abrasive; the ammonia products will take color out; all the
various chemicals are too strong for maids and housemen to use daily. If they did, there soon would be no
finish left on plumbing fixtures or woodwork, and bleached spots would appear everywhere.
9.Review and revise standards. Radical changes of plans may have to be made due to delays in deliveries of
equipment or furnishings. Or the entire organization of the housekeeping department may require revision,
based on employee availability.
Page | 85
10. Check furnishings punch list. The rooms division is usually responsible for making up the rooms
furnishings punch list, based on conferences with the interior design firm. The rooms department knows what
items should be in the room and where they go. But the housekeeping department will want to be sure that the
punch list is checked as soon as possible and that rooms are released for cleaning far enough in advance to
enable clear•up crews to work properly.
11. Interview employees. Most of the interviewing can be done during this week, one month prior to opening.
It was very satisfactory to handle interviewing as , the- Century Plaza did—all departments interviewed for long
hours during the same week, The hotel was set up to handle the large influx of strangers. Applicants were first
screened by the personnel department, then, as each department was interviewing, they could refer
prospective employees to one another,
12. Prepare cart layout. The maids’ carts will have to carry many items and thus must be carefully arranged
so that everything will rit. It will be necessary to set up diagrams for maids to follow when they load their carts
(probably in the floor linen rooms). Also, it is helpful to have a diagram for maids to keep on their carts in case
there is anything complicated abopt the way supplies are stored or displayed in the guests’ bathrooms. Almost
every item listed in the Count-Down Chart is discussed in detail in preceding chapters.
To be present at the opening of a new hotel is an exciting and valuable experience and one should try to gain
this opportunity if it possible. Before a company builds a hotel they conduct a market survey to ensure it is a
viable project that will make money. Next the hotel is commissioned and designed. The builders usually work
under a penalty clause. This means if the hotel’ is late they pay a fine, because naturally a hotel company will
take bookings from the opening date. Most hotels however operate a phased opening, i.e., not all restaurants
and floors of rooms open at the same time, but gradually.
At the finish of the builders work, the “builders clean” is carried out. This is sometimes done by the building
company and sometimes by the hotel company in either case it is best if the hotel supervises this. Next the
hotel is furnished. (This is done usually by the interior design company). A “turn key” job is when the builders
undertake all the previously mentioned tasks until this point.
The Hotel Company meanwhile needs to recruit it’s staff and have them on site for training, they also need to
get used to building and learn the rules of the company. (Generally hotels must expect a turnover of staff at an
opening as it is very hard and rather rough work). Just prior to opening, hotels usually operate a countdown to
opening system, i.e., goals are established and a meeting is held at the end of everyday to check and discuss
progress and reschedules goals if necessary. The best system is not to open to the public directly but to have a
trial-run using HoDs of the hotel, teachers in hotel-schools and such guests to test out the systems and service
and get the staff introduced to the idea of guests. On opening day the atmosphere is generally very exciting.
Usually the first guest or the party of guests to arrive is sent a bottle of champagne.
There is a great buildup of tension to opening day and the adrenaline is really running in all the staff. However
then each departmental head must continue the motivation and boost the activity of the staff so that they do not
relax after the build up but continue efforts. In a phased opening the official opening usually takes place when
all the facilities are ready. For an artificial opening there is generally a banquet and some personality is invited
to cut the ribbon on the doorway as an opening ceremony.
PROBLEMS THAT ONE CAN ENCOUNTER AT OPENING

Friction between builders, furnishers and the hotel staff. Continually the builders and furnishers return to rooms,
to finish work and the hotel staff continually has to re clean after them. This is annoying but inevitable. Delays
in building tend to put great pressure for the hotel staff that is naturally at the end of the flow of work.
Unpacking of supplies, linens, etc. poses problems one must dispose of huge amounts of packing materials a
relay system is needed for this. Deliveries, if late, are a great problem.
Page | 86
Printed materials need to have early delivery to get staff trained in their use. Removing maker’s stickers from
glasses, trays, etc. One must get all the staff in uniform, but often to cope with the dirty pre-opening work one
does not allow them to wear the uniform early as it will be too dirty. When staff are working in a building without
guest, they become noisy and one must question them when guest arrive. On a phased opening with staff,
guest and builder all still in the building, tensions and frictions occur. Often top complete the staff training and
the pre-opening work leaves so little time that it is best to repeat the training again after opening. New staff
does not have the speed developed so one has to pressurize them. Therefore it is better at an opening to
employ a mixture of experienced and inexperienced staff. One must aim post-opening at a setting down of
staff, systems and the atmosphere should calm somewhat.
Page | 87

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Ashish Nikhanj –IHM BTI

HOURS Topic Weight

01 SAFETY AND SECURITY 06 20%

02 INTERIOR DECORATION 15 50%

03 LAYOUT OF GUEST ROOMS 06 20%

04 NEW PROPERTY COUNTDOWN 03 10%

Three “E” of Safety

Safety Rules Enforcement

Safety Awareness and Accident Prevention

Basic Guidelines for the Prevention of Accidents

Action in case an accident occurs

Planning for an Emergency

Dealing with Bomb Threat

a. When is the bomb going off?

Dealing with Earthquake

1. Call or contact the HOD of your dept.

Dealing with the Explosion

 Assess the situation to determine the risk of additional explosions.

Dealing with the Fire

If you smell smoke or see fire:

Fire Warning System

What to do in case of Fire Emergency

In case a fire breaks out, follow the guidelines given below:

Advancing and Receding Colour

Primary colours – the root of all colours.

 green (yellow and blue)

Colour Harmony & Scheme (Planning Colour Schemes)

Related Color Harmony

Blue and violet, for instance, are complementary colours.

points of an equilateral triangle.

6. Neutral and a colour– this is a combination of a colour and black, white or grey.

Consideration for Planning Colour Schemes

Psycho Effects of Colour & Its use in Decor

Black and White

stationary, oth er act as windows and still others act as a door.

1. Exterior Window Treatments:

 The Roman shade (Shirred and Draped)

 The Austrian shade (Pleated and Draped)

2. Curtains and Draperies:

Similarities in Curtains and Draperies

1. Both can be tied back to leave the windows uncovered.

Types of Draperies, Curtains and Headings

Types of Curtain Pleats

2. French Windsor pleat

Fabric Selection for Window Treatment

 Durability which will be judged by

Measure for Lining of Curtain

 It costs nothing except the cost of making a few windows.

Ceiling and Wall Fixtures:

In choosing fixtures these points may be implied:

Factors to Consider when Planning a Lighting System

Recommended Value of Illumination

 General Labs- 400 Lux

Principles of Lighting Designs

Factors Determining the Floor Finish

Types of Floors Surfaces/Finish

HARD FLOOR SURFACES

Warmth & Insulation

Flexibility and Style

 Cord– these are plain Wilton carpets with an uncut pile.

 Brussels- these are patterned wilton carpets which have uncut piles.

Non -Woven Carpets