ACCOMMODATION MANAGEMENT-II

UNIT-II
INTERIOR DECORATION

MEANING AND DEFINITION OF INTERIOR DESIGN

Interior designing is the planning of space and equipment. In this definition, space and equipment are two key words. Space
includes the area, e.g. lobby, banquet hall, etc., and equipment includes furniture and other accessories e.g., carpets and wall coverings
that are required for decoration. Apart from these two factors, planning is very important.

Interior design is planning, selecting, organizing, arranging, furnishing, decorating walls, floor and furniture, colour,
lighting etc. The aim of Interior decoration is to aesthetically design and plan a room. Planning is most important, if there is failure in
planning, the end result will not be good.

Design means features of shape, configuration, pattern or ornamentation applicable to an article. In the finished article, these
features can be judged by the eye, but do not include a method or principle of construction. The following paragraphs will expand on
the meaning of individual terms within the definition and on the concepts implied by them.

ROLE OF INTERIOR DESIGN IN HOTELS

Architecture and Interior design are closely related to each other. They comprise the creative effect whose primary object is
the composition of a beautiful and functional space. Using the principles and elements of design extensively a beautiful environment
can be created in which one can live. One should be able to appreciate art as well as appreciate a work of art.

Room interiors are a form of design, since they are made up of essential elements like line, form, texture, space, light and
colour. The ways in which these elements are put together in furnishing a room can make it very appealing. In studying house
interiors one can develop understanding and judgement by trying to describe the character of a room, e.g., a room can be warm,
restful, casual etc. Good taste can be acquired through the knowledge and application of fundamental design principles.

A basic step in building appreciation is to develop habits of observation by noticing colour, use of patterns, arrangement of
furniture etc. Another step is acquiring good design sense to widen one’s knowledge of colour, texture, floor, covering, furniture etc.,
by visiting a showroom. The third step in developing good taste is to study design in terms of art principles before commenting
whether one likes a design or not. A person who enjoys the effect of elegance or richness may learn to appreciate a simple but
beautiful object.

Fashions change rapidly in the furnishing field, thus fashion provides a very insecure basis for the choice of furnishing,
especially when it has to last a long time. A safe guide is to remember that a good design never goes out of style.

OBJECTIVES OF INTERIOR DESIGN

The objectives of interior design are to achieve the following:
 Beauty: Well-designed and pleasing objects achieve this. The basic factors, which are seen to give beauty to a particular
item, are line, form, colour, texture, design or pattern, light and space. In using these elements to create beauty, one should
keep in mind the principles of proportion, balance, emphasis, rhythm and harmony, which may help create beauty.
Observing develops the ability to judge appearances.

 Expressiveness: When an area is decorated or furnished, there is usually some definite idea or theme that is followed.
Whether an area is large or small, the arrangements, decorations and furnishings lend expression to the room. There are
various themes that can be followed.
1. Formal theme: Here the arrangement is such that there are symmetrical features, formal balance, large spaces and
sober colours in a room. It usually expresses dignity and strength.
2. Informal theme: This expresses friendliness, hospitality and intimate charm. This is done by bright, warm colours,
and simple, comfortable furniture.
3. Naturalness: Simplicity is the essence here. The furniture is not highly polished; the natural effect is attained by the
use of natural materials and direct treatment or application of inexpensive materials or primitive colours.
4. Functionalism: The area should give maximum service, comfort and pleasure. Traditional styles may not be suitable
for today. Every phase of area planning and furnishing should be based on function. For example the rooms in a hotel
are divided and arranged depending on what will best serve the guests.

 Use: Use of any material is a solid foundation for good planning. Use is a central concept of planning and furnishing. For
example, space should be carefully planned according to the activity for which it is to be used.

 Economy: By economy is meant economy of resources.

1. Human resources: These are important when used in the object of economy. Time is a limited resource,
which cannot be stopped, increased or stored. The hotel management has to plan its activities according to the
 time available. It has to see how to utilize the limited time available for different activities that have to be
carried out, taking into consideration the fact that there are a number of time consuming tasks, which have to
be accounted for.
2. Non-human resources: These are as important as human resources because a room a person has to make use
of these resources and also the economy of these resources while furnishing a room. The cost of material
should not be more which can over burden the budget allocated for the furnishing of the room. Non-human
resources are budget, occupancy forecast, space and management policies.
3. Individuality: The personality of the individual is always expressed in a home because the owner provides
the inspiration for decorating and furnishing it. If the outlook of the individual or group is informal the group
or individual will select simple things for furnishing and decorating.
4. All visual designs are reduced to elements or dimensions. The elements of art are
the basic structure and comprise of line, form, colour, texture, pattern, light and
space, which apply to the furnishings and room planning. The effect of these
elements is reflected by our instinct and intellect. They make a visual impact and
evoke emotional response.

Following are the different elements of art and design:

 LINE:
Directions of line such as vertical, horizontal, diagonal or curved express various ideas
and themes. Straight vertical lines convey strength and force, while the horizontal lines
suggest response, secrecy and relaxation. Curved lines introduce a softening effect
while spiral lines show activity and interest. Lines can be used to introduce variety and
design.
 FORM:
Form and line are closely related wherein the combination of curve, straight or
diagonal lines help to produce the three dimensions and create form and shade.
Form represents solid and tangible substances. Horizontal and vertical lines combine
to create a rectangular or square form. Curved lines create circular form. Form can
be created within enclosed space by arranging substances.

 COLOUR:
The main characteristics of colours are hue, value and intensity. Hue is the name of
the specific colour; value which represents lightness or darkness; intensity the
brightness or darkness of the colour.

 TEXTURE:
The roughness or smoothness of a surface is referred to as texture. Texture is found
in wall finishes, carpets, furniture, paintings etc. The texture quality of any surface is
controlled by touch. It also makes a difference to the depth of colour, which results in
brightness or darkness of a colour. The coarser the texture, the lesser is the amount
of light reflected and therefore the duller the colour.

 PATTERN:
Colour is used frequently in connection with pattern. This adds interest and variety to a
decorated scheme. Careful consideration is necessary before introducing pattern. Too
much of pattern disturbs the eye and creates restlessness in a room. Pattern is
introduced through floors, floor coverings, through walls, wall coverings, furniture,
furnishings and fittings.

 LIGHTS:
This is an art element which is both functional and decorative. It has a dispute,
proportional and emotional effect. Colour depends upon the light in which an object is
viewed. The quality of light is important for colour. The utility of the room should be
considered while planning lighting. Natural and artificial lighting should be selected
appropriately. This may cause variation in the appearance of colours.

 SPACE:
The importance of space as on art element is widely recognised. Space organisation
is a basic element in architecture and interior design. Space creates beauty and is
necessary for areas to be used effectively. Fluidity or flow in the room is important
and the eye is encouraged to travel small spaces can be enlarged by using large
glass windows.

PRINCIPLES OF DESIGN :
The elements of art are line, form, colour and texture. This must be handled within
conformity with certain principles and laws that govern their use if beauty is to result.
Every art field has certain guidelines that are to be followed and the same is applicable in
planning of interiors.

1. SCALE AND PROPORTION:

By habit, the human eye becomes accustomed to definite dimensions in daily life. Some
of these dimensions are fixed for convenience. Proportion is the law of relationship,
which demands that all space divisions should be pleasingly related to each other and to
the whole. The Greeks developed a great deal of calculations about space distribution
and a scale of space relationships. These skills are used even today. The normal ratios
are 2:3, 3:5 and 5:8. These forms are equal divisions. A square room is more difficult to
arrange and uninteresting to live in. Rooms should be preferably furnished with smaller
furniture types and consistent patterns. The furniture should be in proportion to the size
and height of the room and its architectural features.

2. BALANCE:
It is the principle of design, which produces a feeling of restfulness and contentment.
Balance deals with quantity or number in the arrangement, colour and distribution of
pattern or plain surfaces. Balance is the result of equalisation of attraction on either side
of a central point. Balance can be attributed to colours, texture, pattern and light.

There are two types of balance:

Formal Balance and Informal Balance

 Formal Balance:
Formal or symmetrical balance occurs when objects of equal size and weight are placed
on each side and at equal distance from the centre. When they are identical, the
balance is symmetrical.

 Informal Balance:
Informal or asymmetrical balance results when objects are arranged in such a way that a
large one nears the centre, smaller ones away from the centre. Both types of balances
are attractive. Formal represents intellect while informal represents feelings. This also
has emotional significances.

3. RHYTHM:
This is the principle of design that suggests connected movement in a pleasant manner.
It can be obtained through a repetition of light, forms, and colours or through a
 progression of rise or continuous line movement. Rhythm is achieved through repetition,
progression, transition, opposition and radiation.

4. EMPHASIS:
It is the principle of design that centres interest on the most important thing in the
arrangement in a room. Emphasis may be centred on a painting, fireplace, window
treatment or furniture grouping. All other parts must be subordinated to the
interesting point. It is better to understand emphasised rather than over
emphasized. Emphasis can be created at any point in the room. Dramatic use of art
components creates emphasis i.e. large and unusual forms, different surface
patterns, more light elsewhere and unusual texture and contrasting colours.

5. HARMONY AND UNITY:

It is an expression of an agreeable combination of all the parts that are produced. In
other words, if all other elements of design have been combined as per the principles, it
inevitably results in unity. Unity and harmony demand that size, shape, textures, colours
and ideas are pleasingly related e.g. a copper lamp would look charming in an ethnic
arrangement but not in a modern formal one.

Colour and its role in decor – types of colour schemes

Interior decoration is a highly personal form of self-expression. It is the sum of one’s interests as an individual or a
group – a personal statement created by combining various elements of art by using certain principles.
Colour, lighting, floor coverings and finishes, carpets, ceiling and wall coverings and various window treatments are
some important tools used for decorating various areas of a hotel and giving a distinct style to these areas.

Colour
The study of colours may be approached from any one of five angles: that of physiologists, that of chemists, that of physicists,
that of psychologists, that of people who work with pigments. Of the many theories of colour(in pigment form), two are in
common use. These are generally known as the Prang system and the Munsell system. Of the two, the Prang colour system is
more frequently followed in interior decoration.

Dimensions of colour
There are three properties or qualities that may be called the Dimensions of colour—these are just as distinct as the length,
breadth, and thickness of an object.
Hue This term indicates the name of the colour such as red, blue, green, etc. The colour of an object is determined by the
wavelengths of light it reflects. An object appears black when all the wavelengths are absorbed and white when all are reflected.
Although the words ‘colour’ and ‘hue’ are used interchangeably, ‘colour’ is a general term and ‘hue’ is a specific term referring
to definite identifiable colours.
Value This describes the lightness or darkness of a colour. There are a total of nine values, ranging all the way from white to
black. White is the highest value and no hue can be as light as white. Black is the lowest value and no hue can be darker than
black. Halfway between black and white come middle values.
Values can be changed by adding white (or water) to lighten a pigment or by adding more pigment or black to darken
them. A value that is lighter than the normal base colour of the pigment is called a tint and one that is darker is called a shade.
Lighter values seem to increase the size of an object. Black and dark values seem to increase the size of an object.
Intensity/chroma This refers to the brightness or dullness of a colour. A very bright colour is said to be of full intensity.
Colours at full intensity are very striking and brilliant. If its intensity is so high as to be offensive, it may be considered gaudy,
garish or flashy. A colour that is not bright is said to have been toned down, and if disagreeably so, may be characterized as dull,
weak or drab.
Warm and Cool colours
One of the most important factors of colours to be considered in interior decoration is their relative warmth or coolness. Colours
that contain greater proportions of yellow or red are considered to be warm; those that contain blue are regarded as cool. Red and
orange are thus the warmest of all colours. Blue is the coolest of colours.
The colour wheel can be divided into two halves. The colours to the left represent the cool colours. The colours to the
right represent the warm colours. Warm colours tend to excite, cool colours have a tranquilizing effect. Green is one of the most
tranquil or restful colours, as it is the colour of fields and trees in nature. Warm colours are often used in rooms that are difficult
to heat and they are good in rooms that admit little or no natural light. In rooms exposed to the bright sunlight, a cool atmosphere
is desirable. In any colour scheme, either the warm or the cool colours should dominate, equal amounts of each being an
unpleasant result.
Advancing and Receding colours
Warm hues seem to advance and cool ones to recede, or go back or further away from you. A cool, light colour on the walls thus
helps to make a small room look larger. A warm colour visually draws the walls in, lowers a high ceiling or makes a room that is
too large look more compact.
Prang’s colour system
As shown in the diagram above Prang’s colour system uses 12 colours represented on a colour wheel.
Colour wheel
The colours in the colour wheel can be classified as primary, secondary, and tertiary colours.
Primary colours These are the basic pigments which form all colours. They cannot obtained by mixing other hues. Red,
yellow and blue are the fundamental or primary colours, which can be mixed so as to form all the other colours, but which cannot
themselves be made by mixing any other colours.
Secondary/binary colours Secondary colours result when two primary colours are mixed in equal amounts. There are
three secondary colours.
Purple Red + Blue
Orange Yellow + Red
Green Yellow + Blue

The Primary and Secondary colours are together called the six standard colours.

Tertiary/intermediate colours When a Primary colour and a neighbouring Secondary and mixed in equal amounts, an
intermediate hue results. In appearance, the intermediate is halfway between its adjacent colours. There are thus six intermediate
hues: yellow-green, red-purple, blue-green, red-orange, blue-purple and yellow-orange.

Munsell colour system

In this system, the dimensions are shown upon a sphere. Values, in neutral grey are shown upon a vertical pole, representing the
axis of the sphere. The north pole is thus white and the south pole is black. The colours are represented by paths or arms along
the radii, running from neutral grey to the circumference or beyond. According to this system, there are five principle hues: red,
yellow, green, blue and purple. The intermediate hues are yellow-red, green-yellow, blue-green, purple-blue and red-purple.

Instead of the 12-hue circuit of the Prang system, we now have 10 major hues, divided into five principle hues and five
intermediate hues.

Colour Schemes and Harmonies

 A colour scheme is the combination of colours used for decorating—whether doing up interiors, or for designing a dress, or
another purpose. There are two main types of colour schemes.

Related colour schemes

Let us first discuss the related colour schemes.

Monochromatic colour schemes This is also called a one-hue or one-mode harmony. It evolves from a single hue, which
can be varied from highlight to low-dark and from full saturation to almost neutral. White, grey, black and brown add variety, as
do applied and natural textures and decorative patterns. Thus, even with one basic hue, the possibilities are many. With this
scheme, some degree of success is almost assured because unity and harmony are firmly established. Spaciousness and continuity
are emphasized and the effect is quiet and peaceful. A major danger is monotony. This can be avoided by diversifying values and
intensities. Such colour schemes are most effective when pale, medium, and dark values of a colour below full intensity are used
along with accents of the colour at full intensity.

Analogous colour schemes These are based on hues that lie next to each other on the colour wheel. This scheme can
have a minimum of two colours and a maximum of three. The hues should differ in their intensities and values. Analogous colour
schemes, although basically harmonious, have more variety and interest than monochromatic colour schemes. An analogous
colour scheme is always either predominantly warm or predominantly cool. When using three colours, one should dominate and
other two should be used in smaller areas.

Double analogous colour schemes Any four adjacent hues on the colour wheel make up a double analogous colour scheme.
There should be a harmony of hues used in such a scheme, avoiding too many contrasts.

Colour
schemes

Relative Contrasting
Colour Colour schemes
schemes

Monochro Analogous Double Compleme Double Split Triad Tetrad Accented

matic Colour analogous- ntary complemen compleme Colour Colour Colour
Colour schemes Colour Colour tary Colour ntary schemes schemes schemes
schemes schemes Figure: Classification
schemes schemes of colour schemes
Colour
schemes
Contrasting colour schemes
The colours chosen in these harmonies lie opposite or nearly opposite to each other on a colour wheel, and hence
usually share no similarities.
Complementary colour schemes These are built on any two hues directly opposite to each other on the colour wheel. They
offer a great range of possibilities. Depending on how the colours are used, such schemes can be most pleasing or least satisfying.
When complementary colours are used in a colour scheme, one of the two colours should be used at full intensity and limited to
small areas while the larger areas in the opposite colour should be subdued in intensity.
Double complementary colour schemes Two adjacent colours and their complements used together form a
Double complementary colour scheme. Double complementary schemes combine the harmonious aspects of analogous colours
with the contrast found in complementary combinations. In this scheme, the best effect is obtained when there is one outstanding
hue used in the largest amount at subdued intensity.
Split complementary colour schemes Another variation on the complementary theme, the split complementary is
composed of any hue together with the two hues on either side of its complement(or opposite). One of the three is selected to be
the main colour and the other two are used to accentuate it. This makes the contrast less violent than in the simple complementary
type of scheme, and adds interest and variety.
Triad colour schemes A triadic or triangular colour scheme is made up of any three colours that are equidistant
from each other on the colour wheel. It should be remembered that full intensity hues are seldom used in decorating interiors, and
this is particularly true here. Care must be taken to ensure that large areas of colours are subdued and that only small areas of one
or two of the three colours are kept at full intensity.
Tetrad colour schemes Any four hues that are equidistant from one another on the colour wheel produce a tetrad
colour scheme. Such combinations lead to rich, varied, yet unified and well-balanced compositions.
Accented neutral colour schemes This is the type of scheme in which most of the areas of the room are in expanses of
neutral colours, with small areas of a bright colour used for accent.
Planning colour schemes
There are certain factors that must be taken into consideration when planning a colour scheme for a room.
Purpose of the room This is the most important consideration when planning colour scheme. The colours in a
room must suit the purpose of the room and create the mood or atmosphere that needs to be conveyed. At the same time, the
colours used must express the interests and personalities of those who will use the room.
In a guestroom, the guest would be invited to relax; therefore cool, restful colours such as blue and green would be
appropriate. It would be just as improper to use pale, dull, or sophisticated colours in the recreation room as to use intensely
greyed colours in the bedrooms.
Delicate pastel colours that are popular and appropriate in a nursery, but are not suitable for a room occupied by an
active adolescent. Also, for a child’s room, the decor of the room should be based on the child’s own colour preference as well as
reflect the age and interests of the child. As boys and girls grow older, the strong colours they liked as children will often be
replaced by more subdued, sophisticated colours.
In the living room, the colours used should indicate a feeling of comfort in order to create a welcoming atmosphere for
guests. Very bright or very warm colours as well as very cold or depressing ones should especially be avoided. To create an
atmosphere of dignity and refinement, sophisticated colours are often toned-down or greyed hues, that may range to the almost-
neutral.
A dining room should have appetizing colours. The colours most stimulating to thoughts of food and the enjoyment of
eating are peach, pink and other tints in red and orange. Most unappetizing are tints and shades of yellow-green, blues and
purples. A pale tint of yellow can be appetizing, but darker yellow is often distasteful in this context.
In a kitchen, the colour scheme should be cheerful, light and bright. Cool colours are thought to counteract the heat of
cooking. White or light walls are usually best for visibility. Natural wood is also desirable. The colours used in a kitchen should,
however, be stimulating enough to make the cook feel creative. One vital colour, either primary or secondary, may be used in the
interior or woodwork, furniture and so on. Other colours can be supplied by pots and pans, crockery or plants.
Bathroom walls and fixtures are usually white, for hygiene as well as aesthetic reasons. However, bathrooms are often
decorated in colours that are suggestive of water as well, such as green, blue, violet or grey.
Size and proportions of the room A small room can be made to appear larger if light, cool colours are used on the walls. A
long, narrow room will appear to have better proportions if the smaller end walls are painted warmer colour or a darker shade of
the same colour is used on the long walls. A square room looks more elongated if two opposite walls are painted a dark colour
and the other two a light one. Dark and warm colours make walls move in towards you, light and cool colours make them move
out away from you. A ceiling that is too high can be made to appear lower if it painted darker or warmer than the walls, or if the
colour used on the ceiling is extended several inches down the walls.
Sharp colour contrasts also affect the apparent size of rooms. It is usually desirable to make the walls lighter than the
floor and the ceiling lighter than the walls; but if the differences are too great, the room will seem to shrink in size. Three or four
colours are enough in any room. Black, white, grey, silver, gold and natural wood are considered neutrals and can be used in
addition to these three or four colours in the colour scheme.
Relationship to other rooms A room should not only be in harmony with itself but should also harmonize with other
rooms in the property. A hallway should harmonize with all rooms that open onto it and the colours in one room should
harmonize with the colours in other rooms that can be seen from it. There should be feeling of unity or harmony as you pass from
one room to another.
Amount of light received by an area If the area receives a lot of natural light, the colours used should be cool to
provide relief from strong daylight and natural heating. An area that receives very little light should be done up in warm colours
such as red, orange and yellow.
Type of surface A rough surface casts small shadows and so appears darker than a smooth one.
Law of chromatic distribution
This is a general rule to be applied to the various areas in a room. The law states that larger areas in a room must be
covered with the most neutral hues in the colour scheme. As the areas reduce in size, chromatic intensity may be proportionately
increased. It is usual also to make the walls lighter than the floor and the ceiling lighter than the walls. For this purpose, a room
can be subdivided into component areas of colour distribution as follows:
Dominant areas walls, floors and ceilings.
Medium areas draperies, bed covers and so on.
Smaller areas sofa sets, small pieces of upholstered furniture and so on.
Accents ashtrays, paintings, flowers and so on.
Windows and window treatment
Windows provide ventilation and light.
Types of Windows
There are various Types of Windows. One should keep in mind the function, appearance, durability and cleaning procedures
before choosing windows.
1. Single: A plain window usually opening outwards.

2. Matched windows: Many single windows are put together to form a matched series. Each window may be treated
separately or all of them may be treated as one. They give an illusion of space if treated as one.
3. Casement window: This can open either outwards or inwards. While installing windows that open inwards, each
window must be treated separately. Each panel should have separate curtains; otherwise it will not be possible to open
them.
4. French windows: Commonly used to separate a room and a balcony, they also serve as doors and can open inwards or
outwards, or be sliding.
5. High windows: These are at the high level, usually installed in bathrooms, bedrooms or basement.
6. Corner windows: Windows located at a corner can open outwards or inwards.
7. Bay windows: These are windows that are provided in a recessed alcove, usually there are three walls and one window
on each wall. There may be a seat in the window area.
8. Bow windows: Windows in a curved semi-circular alcove.
9. Palladian windows: Arch shaped windows, which have a curved top. The arch can be separate or joined to the window.
10. Oddly shaped windows: These are mainly for architectural use.
11. Picture windows: Windows with a picture stuck on them. They are used when there is no good view.
12. Skylight windows: Windows on ceiling.
13. Awning windows: Like casement windows they are hinged and open outwards. However, they are hinged at the top and
not the sides and are usually regular.
14. Dormer window: A window placed vertically in a sloping roof that has a tiny roof of its own. Most often seen in
second-floor bedrooms.
Window treatments
As the term indicates, window treatments are more than mere window coverings. Treating windows is thought of as
“packaging” them as a design element rather than simply covering them for function. Coverings are used to protect privacy,
insulate against heat and cold, and filter light. While many people consider Window treatments more as aesthetic, they can also
be functional.
Although, Window treatments are technically more decorative, this term has evolved to describe most types of window
coverings. Sheers, drapes, curtains, cornices, blinds, shutters and valances are all examples of standard Window treatments. More
than one type can be incorporated into the design plan, through the use of layered treatments, and this type of arrangement can be
both stylish and functional.

Types of Window treatments

 1. Drapery: Refers to cloth or textiles(fem the Latin ‘drappus’ = cloth and old French ‘drap’) used for decorative
purposes or to cloth and clothing gracefully arranged in loose folds. A piece or pieces of heavy fabric hanging straight
in loose folds, used as curtain is called drapery.
2. Curtains: Material that hangs in a window or other openings as a decoration, shade or screen.
3. Blinds: Vertical or horizontal slats on a frame, capable of being adjusted for the admission of light and air. They are
usually operated by pulley system, using a sash. Blinds allow sun control and allow a view.
4. Shades: Opaque fabric mounted on a frame to cover a window.
5. Ropes and cords: A slender length of flexible material usually made of twisted strands or fibres and used to bind, tie,
connect or support.
6. Cornices: A ornamental, horizontal moulding or frame used to conceal rods, picture hooks or other items.
7. Valance: Short drapery, decorative board or a metal strip, usually mounted across the top of a window to conceal
structural fixtures, used to hang drapery around a bed, couch or window.
8. Interior/exterior shutters: Hinged covers or screens for a window, usually fitted with louvers. A window shutter is a
solid window covering usually consisting of side stiles, top and bottom rails and louvers. The whole ensemble is called
panel. Individual shutter panels can be hinged together to form a shutter unit, which fills a window opening. The term
window shutter includes both interior shutters, used on the outside of a structure. Shutters are used to control sunlight,
provide privacy, protect from weather and for architectural allure.
Curtains
These are used to improve the appearance, provide privacy and control light.
Types of curtains
a) Sheer/Glass/Net curtains: made of polyester or cotton. Normally used with heavy curtains. They should be a few
inches shorter than the heavy curtains. The curtain should be 2-3 times the width of the window and should be heavy at
the bottom to hang properly.
b) Heavy curtain: Also called ‘over-curtain’. One usually chooses heavy curtain material that drapes well. They are lined
with white cora material. The lining is essential to prevent the heavy curtains from dust, and also to prevent fading and
give a better drape. The heavy curtains help in darkening a room when the curtains are drawn.
c) Shower curtain
Different ways of hanging curtains
a) Casement: These are sheer curtains fastened to the top and bottom of the window. They are hung on top with wires
stretched across the window width but the bottom may or may not be fixed.
b) French cafe curtain: Similar to casement curtains, but they start a bit lower than window level.
c) Draw curtains: Also known as ‘straight hung curtains’. They can be closed or opened using a cord or a remote control.
d) Tie back curtains: Usually ruffled and tied back to the sides of the windows by means of a cord. When tied back they
should be either above or below the centre of the windows.
e) Criss-cross curtains: Each curtain panel covers the entire width of the window and cross each other when they are tied
back to give a wider lock to the windows.
f) Roll-up curtains: They are a simple fabric panel without pleats stretched across the width of the window and rolled up
using a sash. Usually they are double sided.
Selection of curtain fabric
a) Fabric should be resistant to heat, sunlight and abrasion. For heavy curtains use synthetic fibres e.g., nylon is better, as
they are stronger than natural fibres.
b) Fabric should be of a close weave, otherwise it will not drape well and will collect lot of dust.
c) Fabric should be flame retardant. Some fibres are naturally flame retardant, e.g., wool, acrylic, glass.
d) One should avoid materials with large designs to prevent wastage during cutting, sewing and stitching.
e) Fabrics with stain repellent finish could be used, e.g., silicon finishes.
f) Light colours should be avoided as they fade easily.
g) Thickness and colour fastness should be kept in mind. A denser yarn should be chosen.
h) The type fabric also depends on the type of establishment and the area in which they are used. For public areas:
Velvets, brocades, damask, satins are often used, and for guestrooms: Rayon, printed cotton and satin.
i) When choosing fabric, one should see it as large hanging pieces, not folded.
j) Materials with a white background should be avoided as they lose their whiteness.
k) For a curtain to hang well the minimum width of the heavy curtain should be one and half times the width of the rod
and the width of the sheer curtain should be twice the width of the window.
l) The fabric should not have the tendency to shrink.
Blinds
Venetian blinds also serve the same purpose as curtains. They prevent sunlight from entering and are made up of slats.
Different kinds of blinds
1. Vertical or horizontal blinds: They have two cords. One to open or close the blinds and the other to adjust the angle of
the slats. Slats may be made of vinyl, wood or fabric. These blinds can be split, drawn and pulled apart like curtains or
can be pulled up and stacked at the top of the rail.
2. Roller blinds: Blinds that can be rolled up. They are normally used with curtains that are not drawn.
 3. Austrian blinds/shades: Pleated fabric made out of a single length of fabric. They can be pulled up or down. When
pulled up they give ruffled look, which has a decorative effect. Used in theatres.
4. Roman blinds: These are made from various combinations of fabric and give a personal touch – be it a formal living
room, a casual family area, or even a focal point in a kitchen. They can be a single flap, a double flap or even be made
of chicks.
Decorative headings
These are usually fixed on top of the curtain. They help to hide the track and rods of curtains and are of decorative value. They
alter the size of the windows. There are three types: Pelmet, valance and swags.
1. Pelmets: Rigid and shaped pieces of wood or hard board mounted on top of the window.
2. Valance: Frilled or pleated material that hangs from the rails. It may or may not be of the same material as the curtains.
3. Swags: Fabric draped over the curtains, with two tails trailing on either side. The tail is called a “jabot,” and is used to
hide curtain heads.
Lighting and lighting fixtures
Light is a form of energy without which there can be no vision. When light strikes an object, it may be reflected, absorbed or
allowed to pass through.
Importance of lighting
Light has a definite emotional effect and can be very stimulating. Light is exciting when darkness is depressing. Proper lighting
illuminates what we want to see. Light that is too bright exhausts physically and can be tiring. Lighting thus plays both a
functional and an aesthetic role in a hotel.
Daylight is an important factor in the appearance of a room, so much so that no decor plans should be made without
considering the amount of light that enters a room or is prevented from entering the room by the decor. As much daylight as is
desired can be procured by means of glass walls or windows extending from floor to ceiling. Curtains that can be drawn together
or pushed back can also control the amount of light entering a room to suit the time of day and the needs of the occupants.
Artificial light is used to substitute as well as in association with daylight. It can be used to contrast or add emphasis by
highlighting specific areas. It can also produce a harmonious effect throughout a room in addition to serving its basic function of
producing visibility.
Effective lighting has been a focus for improving the aesthetics of a hotel for quite some time now. Many architects
utilize lighting as prime tool in their innovative designs to bring out the ambience and quality of experience in the hotel,
especially in its guestrooms. Lights also affect spacious perception. When architect designs the interiors of a hotel room, he or
she must consider whether the effect of lighting used in any design has been enhanced or subdued by various other factors, or
whether the required effect or the optimum level of light has been achieved as designed. Even a slight glare from the lighting in a
room can cause annoyance or discomfort to guests who stay in it.
The absorptive and reflective characteristics of the material used within the hotel guestrooms are also important factors
affecting the quality of light. All materials, depending on their various colours, textures and other qualities, have different
absorptive and reflective values. A black wall will probably absorb all the light falling on it and reflect nothing, but a yellow wall
will reflect back 90 per cent of the light, absorbing a mere 10 per cent. Two similar coloured walls with different textures will
also appear different because of the different reflective values of the textures.
While designing the lighting in a room, the architect also has to keep in mind that materials such as mirrored glass,
polished aluminium or stainless steel surfaces used in the decoration of hotel guestrooms can help to provide excellent directional
control and also act as efficient reflectors. These materials are most effectively used in creating special decorative effects in the
room. On the other hand, materials such as clear glass or plastics have very low absorption and high transmission values. They
can be used as protective cover plates for concealed light sources.
Types of light
Light can be classified in many ways. The classification of light based on its source is shown in the figure below.

Light

Natural Artificial

Incandescent/Filament Fluorescent/Discharge

Figure: Classification of light based on source

Source-based classification
On the basis of source, light may be classified as natural or artificial light.
Natural light The bright radiant energy of the sun, daylight, is a major determining factor in the design of hotel guestrooms
and homes, especially where large wall areas have been decorated with glass.
Artificial light Well-planned artificial illumination helps us to see without strain and helps to prevent accidents. It makes a
vital contribution to the attractiveness on homes and hotels. At night, much of a room’s character is determined by artificial
illumination. This can be accomplished with the different types of lighting fixtures available. Artificial light can be further
classified depending upon the way it is produced and the way it is used.
On the basis of the way artificial light is produced, it can be classified into incandescent and fluorescent light.
The characteristics of Filament(incandescent) and fluorescent lamps outlined in the table below

Filament Fluorescent

The average life is 1,000-2,000 hours
Low cost
Gives direct or diffused light of varying intensity
Generates a considerable amount of heat and soils walls
Can be used with many different types of shades and fittings
The average life for a hot-cathode lamp is 5,000 hours and
that for a cold-cathode type is 15,000 hours
Initial installation cost high
Gives diffused light with a flat appearance
Operating temperature is much lower and does not cause any
soils

Does not enjoy the same demand , so that fewer shades

designed for these shades are available
Suitable for cornice lights, obscure corners and concealed
Ideal for pendant lights, spotlights, table and floor lamps
lighting

Based on the way light is directed on the object/area to be illuminated, artificial light may further be classified into direct,
indirect, diffused and semi-indirect lighting.

Direct lighting This kind of light comes from such sources as ceiling fixtures or luminous ceilings that shed light downwards,
or from lamps with translucent shades spreading light in all directions.

Indirect lighting This is usually from concealed sources in alcoves, cornices or valances. It may also come from a lamp with an
opaque shade open only at the top – light is then thrown against the ceiling or washes against a wall and then is reflected back
through the room. It is softer than direct lighting, but often more costly in both installation and operation. When used
imaginatively, though, indirect lighting can dramatize a space. Otherwise, it may be monotonous and needs to be combined with
local lighting.

Diffused lighting When light fittings are completely enclosed or concealed, as with some globes and ceiling panels, the light is
diffused since it passes through the glass or plastic. Diffused lighting is also glare-free and produces a flat appearance.

Semi-indirect lighting It is possible to have some light passing through a diffusing bowl and some reflected off the ceiling
where the fixture is open on top. This is called Semi-indirect lighting.

Function-based classification

Light may also be classified on the basis of its function.

General or area lighting This illuminates the room more or less uniformly. It brings the design and colours of the whole
space to equal attention. It minimizes the bulkiness of furniture, the darkness of shadows, and harsh contrasts.

Local or specific lighting Specific activities at specific locations need specific lighting. Local lighting can be provided by
lamps at strategic points. Fixtures attached to walls or the ceiling, under cabinets, alone or in multiples, are growing in popularity.
Chandeliers are the most popular form of local lighting and are also highly decorative. This type of lighting may be either by way
of task lighting or accent lighting.
Task lighting is for
 Reading or other close work;
 Sewing, needlework and other crafts of various kinds; and
 Cooking, especially in areas where electrical appliances or knives are employed.

Accent lighting is for

 Highlighting a painting or other art object;

 Focussing on an architectural element;
 Illuminating a bank of plants not placed near a window;
 Breaking a large room into ‘islands’; and
 Making a small room appearing to have several distinct areas, thus visually enlarging its space.

Safety lighting As the name suggests, this type of bright lighting is used for safety reasons in areas such as stairways, along
corridors, around swimming pools and by way of emergency lighting.

Methods of lighting

There are two methods of lighting commonly used – architectural and non-architectural lighting.

Architectural and built-in lighting This method of lighting supplies light that is functional and unobtrusive and is
particularly good for contemporary rooms. It may be achieved in the following ways:

Valance lighting A horizontal fluorescent tube is placed behind a valance board, casting light upwards so that it reflects off the
ceiling and also downwards to shine on the drapery, thus producing both indirect and direct lighting.

Cornice lighting A cornice is installed under the ceiling, with a fixture hidden beneath so as to direct light downwards only.
This can give a dramatic effect on drapery, pictures and wall coverings.

Cove lighting This consists of placing a continuous series of fluorescent tubes in a groove along one or more
walls of a room, about 12 inches from the ceiling. The light reflects off the ceiling and bathes the room in indirect light.

Track lighting Plugmold-type wire-mould strips or track lighting consists of lamps fixed to the ceiling or wall in
an array to offer great variety. One strip often holds spotlights, floodlights, and even hanging fixtures that may be turned around
to follow furniture placements. The tracks can themselves be movable as well, for still more flexible arrangements.

Soffit lighting This refers to a built-in light source under a panel. It may be fixed to a ceiling or under a cabinet.
Soffit lighting is often used over a sink or other work areas.

Non-architectural lighting These types include various fixtures and lamps.

Ceiling fixtures These have become common nowadays owing to vastly improved designs. Some are inconspicuously
recessed into the ceiling or set flush with it. They may soften light with louvers or diffuse it with lenses. Some may be in the form
of soft luminous panels that illuminate large areas evenly.

Wall fixtures These remain out of the way and free table and desk surfaces for other things. At the same time,
they give direct light where it is needed.

Portable lamps Floor and table lamps can be moved when and where they are needed. They also act as decorative
accessories. The placement of such fixtures affects the atmosphere of the room as a whole and the ease with which tasks can be
done.

Lighting fixtures

When buying lighting fixtures to implement a lighting scheme, their appearance as well as the light they produce should be
satisfactory.

Shaded, globes and even lamp bases can look quite different when illuminated. They should look good in both their
daytime and night-time roles.
 Translucent shades contribute a distinct colour cast to their surroundings while opaque shades give localized pools of
light rather than all-round illumination. The material chosen for the shade should not be discoloured, faded or ruined by heat.
FLOOR FURNISHES

The term flooring or floor furnish usually refers to all floor surfaces other than carpets. Floors cover large areas and are subjected to
wear and tear. In order to keep the floor or floor covering clean one needs to know more about the various kinds of floors and floor
coverings and their advantages and disadvantages. Often the floor forms the basis on which the rest of the room is planned. Well-kept
floors often indicate the standard of cleanliness. The kind of flooring required depends on the purpose of the room. For example, in
choosing the flooring for the kitchen, durability has to be given prime importance, whereas in a lounge or restaurant appearance is
more important.

Flooring plays an important role in deciding whether a room is cheery or dark, formal or casual, traditional or modern.
However a lot of other factors besides appearance must be taken into account. The criteria for different rooms and different people
vary. Some of the questions one should ask are whether children and pets will be using the rooms, as they increase wear and tear. Is
comfort imperative? Is cleaning a problem? Thus the choice of flooring should be tailored to the people who use it.

Flooring must be chosen carefully when planning a room. The choice of a floor must take into account practical
considerations, such as cost and the extent of use in different areas, as well as personal style preferences. Carpets, for example, are
soft and comfortable to tread on with bare feet but can rot in damp conditions such as a steamy bathroom. Materials such as vinyl,
while not as long lasting as natural substances, are cheaper and easy to replace when worn out. One should experiment in each room
with sample tiles and swatches before making a final decision.

Classification of floor finishes

1. Hard floor finishes
2. Semi hard floor finishes
3. Soft floor finishes

1. HARD FLOOR FINISHES

a) Cement: Cement is mixed with water to form a paste, which is then mixed with other materials to form a hard product,
called concrete.

b) Terrazzo: Marble chips (often used in swimming pools), granolithic – granite chips (used for bathroom counters).

c) Stone
 Marble, granite, limestone: The natural stone, although available in slab form, is usually cut into tiles from quarried
blocks of the stone or rock. Floors made from marble or granite is expensive and hard on the feet, but they provide an
exceptionally beautiful flooring material that has a timeless, elegant quality. All these materials are extremely durable
and offer a natural look. They are referred to as ‘hard surfaces’, because they offer no resilience, are cold underfoot and
noisy in comparison to other types of floors.
 Slate or kadappa: This is used in store rooms, kitchens, back areas and the laundry.
 d) Ceramic tiles: Ceramic tiles are a natural product made from clay, a number of other naturally occurring minerals and
water. Glazed ceramic tiles have a ceramic coating applied to the tile body, which gives the tile its colour and finish. Glazed
tiles are used in kitchens and bathrooms and quarry tiles in canteens and gardens.

Glazed ceramic tiles are a natural choice for interior floors and walls, because they are:
Durable: A properly installed ceramic tile will outperform and outlast nearly any other floor covering product created for the same
application.
 Easy to care for: Glazed ceramic tiles resist stains, odours and dirt and can be cleaned with a damp mop or sponge and
common household cleaners.
 Scratch resistant: Grade III and Grade IV glazed ceramic tiles are extremely resistant to scratches and there is no fear of
cuts or tears as in most other types of floors.
 Environmentally friendly: Ceramic tiles are manufactured using natural materials and do not retain odours, allergens or
bacteria.
 Beautiful and versatile: Modern ceramic manufacturing technology has created virtually an unlimited number of colours,
sizes, styles, shapes and textures that add beauty and character to any room decor.
 Fire resistant: Ceramic tiles do not burn or emit toxic fumes. A lighted cigarette, when dropped on the floor, even if
allowed to sit, will not do any damage to a ceramic tile. Even hot kitchen pans or skillets will not scorch or melt the surface
of glazed ceramic tiles.
 Water resistant: Most glazed ceramic tiles have a dense body that permits little or no accumulation of moisture. This
means spills from common liquids found in a kitchen are not a big concern.

In conclusion, ceramic tiles are a practical, functional choice for the floor, walls or countertops as they are decorative, versatile and
have a lot of design potential. The extensive range of colours, textures, sizes and styles allows one to reflect their personal style.

e) Resin: Synthetic resin (polyester). This is often used in a corridor, laundry, cold storage and back areas. Some marble chips
may be mixed to make it look more attractive.
 f) Wood: The elegant look of a hardwood floor can add warmth and character to any room in a home. The natural characters
of wood add depth and a visual appearance that many other types of floors try to duplicate. Wooden floors can be made
from the following wood: Oak, teak, rosewood, walnut, sandal, cedar, hone, mathi and saal. Wooden floors are usually used
in gymnasiums, health clubs, and bars and on dance floors.
Patterns of wood
1. Strip wood
2. Parquet herring bone
3. Parquet basket pattern

2. SEMI HARD FLOOR FINISHES

a) Thermoplastic: Made of asphalt tiles in the form of warm, pliable slate, which hardens on cooling.
b) Vinyl: Manufactured from PVC or other synthetic resins. Used on staircases and pathways.
c) Linoleum: Powered cork + resin + linseed oil put in a jute canvas, and the whole is subjected to heat and pressure. Used in
linen room and offices.
d) Rubber sheets: Used in areas like bars and bathrooms. They are noise free.

SOFT FLOOR FINISHES: CARPETS

COMPONENTS OF A CARPET

1. Face or pile: The visible surface of carpet consisting of yarn tufts in loop and/or cut configuration. Sometimes called ‘face’ or
‘nap’.

Cut file is a carpet fabric in which the face is composed of cut ends of pile yarn. The fibre that is seen and walked on is made of
(i) natural fibres, i.e., cotton, wool etc., or (ii) synthetic fibres, i.e., nylon, acrylic and polyester.

2. Backing: Fabrics and yarns that make up the back of the carpet as opposed to the carpet pile or face.
 a) Primary backing: Woven or non woven fabric in which the yarn is inserted by the tufting needles. The face fibers are
attached to the primary backing, which holds them in place. Primary backing can be made of natural material, e.g., jute or
synthetic material. It has bonding material made out of rubber, plastic or other adhesives that hold the fiber in place. A
proper underlay is necessary, which is normally made of felted hair padding, rubber padding, coir or jute.
b) Secondary backing: Fabric laminated to the back of the carpet to reinforce it and increase dimensional stability. This
lengthens the carpets’ life, prolongs the softness, reduces wear and tear, provides extra insulation against extremes of cold
and heat and adds an extra sound absorbing layer.

The yarns used are called the warp and weft.

 Warp: Backing yarns running lengthwise through the carpet are called warp yarns.
 Weft: The cross-wise yarns, which run breadth wise, are called weft yarns. They are also called shots.

In a woven carpet, the backing consists of the “construction yarns”, which are interwoven with the face yarn.

c) Underlay: Carpet cushion under rugs.

TYPES OF CARPETS

Today’s carpet market is dominated by two main varieties: Cut and Loop
 Loop pile, in which individual strands of yarn are pulled through the carpet backing twice to create a small loop.
 Cut pile, in which the loop is cut at the top, leaving tufts of yarn that stands straight up.
The look and feel of a carpet will depend on the type of fibre used, the density of the tufts, and the degree of twist in each strand.
Carpet manufacturers have developed many ingenious ways to combine these two methods to create new and more attractive or
more durable carpets. A breakdown of the most common styles on the market today is given below:
CUT PILE CARPETS
Cut pile carpet is typically more durable than loop pile and can be shared in different ways to create a variety of textures and
looks.
a) Velvet or Plush: Smooth, soft and elegant. Carpet pile is cut several times to create a luxurious, velvety sheen that shows
every foot print. Ideal for formal areas such as living rooms.
b) Saxony: Similar to velvets but not quite as smooth. The smooth texture is created by twisting the fibres tightly and then
straightening the yarn with heat. Retains foot prints and vacuum marks.
c) Textured: Textured cut pile is the top selling type of carpet on the market. Carpet pile is twisted and crimped to create a
multi-coloured look that hides footprints but retains its soft feel. It is ideal for casual living spaces with moderate to heavy
traffic.
d) Shag: The retro look from the 1960s is back in both practical and psychedelic styles. Shag uses a longer tuft and a thicker
yarn. It creates a casual atmosphere in a family room or child’s bedroom.
e) Frieze: Tightly twisted with short, curly fibres that hide footprints. It can be used to create geometric or scroll patterns.
Perfect for heavy traffic areas.
LOOP PILE CARPETS
These are long lasting and easy to clean. Level loop pile is becoming increasingly popular. Carpets with short, densely packed
pile block out dirt and are well suited to high traffic areas. Longer loops can give a carpet a luxurious appearance.
a) Berber: Berbers have thick yarns and are often distinguished by their ‘flecked’ appearance, which is excellent for hiding
traffic marks. They are extremely popular these days and are available in a wide range of patterns, in both wool and less
costly synthetics.
b) Cable: Soft, heavy yarns with lots of twist and a casual look. They are good for medium traffic areas; cable is synonymous
with comfortable, casual living.
c) Sisal: Twisted synthetic yarns that imitate the hardy, woven grass feel of aboriginal crafts. They are tighter than Berbers,
with a stiff feel. Sisals are good for high traffic areas and come in solid and flecked tones.
Multi-level loop pile carpets
Two or three different loop heights are used throughout the carpet to create random patterns or geometric images. They have an
attractive texture, and are good for casual high traffic areas.
Cut and loop pile carpets
Different types and cuts of pile are combined to create a variety of textures, sculptured effects and colour combinations. Good for
hiding footprints.
Types of carpets based on how they are made
Based on the above classification carpets are said to be:
1. Woven
2. Tufted
3. Pile bonded
4. Needle punched
5. Electro statically flocked
SELECTION OF CARPETS
When selecting a carpet, the following points should be taken into consideration.

1. Construction
a) 5% of carpets used are tufted as they can be made at a faster rate.
b) If appearance is important then oriental carpets are preferable.

2. Pile, density and weight

a) Density of the face fibres is the best indication of durability.
b) The better the pile, the better the carpet retains its shape. It is also able to resist being crushed.
c) Dense fibres keep any dirt and stains on the surface, and do not allow them to sink through the carpets.
d) Pile density is determined by: (i) Tufts per square inch, (ii) pitch, i.e., the closeness of the warp and weft yarns and
(iii) the rows, i.e., the number of warp yarns per inch.

3. Kinds of fibres used

a) Wool
 Has good resistance, and can withstand abrasion
 Feels warm
 Gets stained easily but has good resistance to dirt

b) Nylon
 Has good resilience
 Does not stain easily
 Soil resistance is good

c) Propylene
  Has a good abrasion resistance
 Used mainly in adhesively bonded carpets

d) Others
 Rayon, cotton etc.

4. Resilience
a) How it feels to walk on
b) How easily it springs back when walked on

5. Dyeing
a) Quality of dye used in the carpet
b) Colour fastness to light and wet cleaning

6. Surface construction
Surface pile should be cut, looped and twisted

7. Aesthetics
a) Good appearance, colours, patterns and texture
b) Spacious lobbies or banquet halls should have large, bold patterns
c) Design of the carpets in restaurants should be vague, so spillage is not obvious

8. Backing
Proper underlay has to be chosen, taking into consideration the area where it is to be used.

9. Others
a) Cost factor
b) Reputable, experienced manufacturers, dealers and installers should be chosen.

PROPERTIES OF DIFFERENT KINDS OF CARPETS

Woollen carpets

They give a deep, warm, rich look. They have excellent resiliency and abrasion resistance and have a warm and natural feel. They
are extremely durable, flame-resistant, crush-resistant. Wool dyes well in a wide range of colours. They can be damaged by
alkaline detergent and need moth-proofing. It is not the best medium for bright colours. They resist soil, but cannot be cleaned as
easily as many synthetic fibres and are expensive.

Acrylic carpets

Of all the manmade fibres, acrylic is closest to wool. It is non allergenic, resists mildew, moths and insects and comes in a range
of colours.

It is crush-resistant, springy, does not fade and generate minimal static. Pills or beadlike balls of fibre may form on the face of the
carpet. It is not as resilient or resistant as wool or nylon. Cleans very well. The smooth fibres resist soil. It is moderately priced.

Nylon carpets

They come in a wide choice of colours. They have excellent colour retention and are soft and resilient. Nylon is the strongest
synthetic fibre. It resists abrasion, mildew and moths. It is non allergenic. The continuous filament fibres minimize pilling and
shedding. They are prone to static, unless treated. Cut-filament loop carpets may pill. They are easy to clean. Stain-resistant
treatment makes cleaning even easier. They are moderately priced.

Polyester carpets

Similar to wool carpets in look and touch. There is a good selection of colour and texture. Polyester retains colour well, resists
moths and mildew and is non allergenic.

They are very durable, resilient, abrasion-resistant and shed moisture. Polyester does not wear as well as wool or nylon. There is
some pilling and shedding and they are susceptible to oil-based stains. However they are easy to clean, which is made easier by
stain-resistant treatments. They shed moisture, are static-resistant and less expensive than nylon or wool carpets.
Olefin carpets

Primarily made in the loop style, with randomly sheared textures. They are non absorbent, and resist abrasion, pilling and
shedding. Fibres can withstand moisture. They can be used indoors and outdoors. The level-loop styles are very durable. Lower
grades may crush and flatten. They are very easy to clean, especially with stain-resistant treatments. They resist static, acids and
chemicals, and are moderately priced.

Methods of fixing carpets

1. Glue: The carpets may be stuck to the floor.
2. Tackless gripper: Steel pins protrude from plywood or metal strips fixed to the floor.
3. Turn and tack: the edge of the carpet is turned under and the tacks put through the double surface.
4. Sunken: The carpet is laid in a sunken area the edges of which are covered with brass or wood as in the case of sunken front
door mats.

Taking care of carpets

Carpets may be protected from damage by:

1. Using a suitable underlay
2. Fixing it firmly to avoid folds
3. Using jute or coconut fibre mats at the front door
4. Covering the carpet with lengths of canvas or plastic
5. Having a movable furniture arrangement
6. Using castors on the legs of furniture
7. Spraying the carpets to protect them from moths and other insects
8. Repairing frayed edges and worn parts immediately
9. Cutting and pulling the pile when it comes out from the sides.
10. Protecting a damp carpet from metal castors on the legs of furniture
11. Regular cleaning and maintenance checks should be carried out
12. Training all the staff regarding care of carpets
13. Promptly reporting spots, spills and tears, so that immediate action can be taken
14. Proper temperature and humidity control
15. Carpet must be dried immediately after shampooing

Advantages of using carpets

1. Add to the decor
2. Give a luxurious appearance
3. Give a sound insulation
4. Add warmth
5. Have a non-slip surface
6. Carpet squares and rugs break up a floor’s surface and can be turned around
7. Fitted carpets make a room look larger
8. Patterned carpets do not show stains
Disadvantages of using carpets
1. Surfaces hold dirt, so carpet cleaning essential.
2. They are cut by sharp edges and can be burnt by cigarette butts.
3. They can be attacked by moths and other insects.
4. Plain carpets show stains, which can be difficult to remove.
5. The initial cost is high.

POINTS TO CONSIDER WHEN CHOOSING FLOORING

Below are some important points one should consider before making any flooring purchase.
 No matter how good the flooring chosen, incorrect installation will result in an uneven surface that will wear badly.
Flooring must always be installed professionally.
 If neutral-coloured walls are planned to create a feeling of space, a neutral coloured floor should be considered to add
warmth.
 Under floor heating (radiant heat) is compatible with most types of hard flooring, particularly ceramic, stone and well-
seasoned hardwood.
 While luxury of walking on a carpet is appealing, a carpet may not be practical in all areas of a house or hotel.
 Plain flooring shows marks easily than floors with a patterned surface.
 Busy or large-scale floor patterns may overpower the rest of the room, especially if the room is small and the furniture is
plain.
 One should select materials for furniture, soft furnishings, cabinet finishes, work surfaces and appliances carefully, before
making a final decision on the type of flooring. This ensures that all the elements complement one another. The flooring in
adjacent rooms must also be taken into account. Too many changes of finish from one room to the next in a small home can
appear fussy and tiresome.
 The cost of installing the floor as well as the purchase price of materials should be considered. Most retailers will be willing
to estimate the costs with or without installation.
 The amount of day-to-day maintenance that will be undertaken can influence the choice of the flooring. Some materials,
such as wood, require more care, especially around a sink, where water can damage warmish.
 One should decide whether the room is large enough to accommodate two floor finishes. If it is then one can choose
different floorings in different areas, e.g., limestone tiles in an in an activity zone, and wood flooring in areas with less
traffic.
 If tiled flooring is chosen, then one should note that large rooms need large, plain tiles, as small, patterned tiles will look
too busy. Flagstones and large terracotta tiles particularly suit the proportions of larger rooms.
 With the exception of area rugs, which are really floors on floors, flooring is a relatively permanent fixture so it should be
chosen carefully when planning a room. The practical aspects, such as cost and the extent of use in different areas, as well
as personal style preferences should be considered. One should experiment in each room with sample swatches and tiles
before making a final decision.
 One should decide whether the old flooring needs to be removed. Wood and laminate often can go on top of existing
flooring, which means no additional preparation costs. Vinyl, linoleum, cork, stone and tile, on the other hand, frequently
cannot. Carpets can be laid on almost any surface, although they are easier to lay on wood.
 Children and pets increase wear and tear. Floors need to be tailored to the people who use them, so areas of high traffic
have to be considered carefully.
 If ceramic tiles are the final choice, porcelain is particularly tough. One should look for ‘through porcelain’, which is the
same colour throughout. If it chips or dents, it will not be as noticeable as in the case of glazed, porcelain tiles that do not
offer this benefit.
 No matter what type of flooring is chosen, the easiest way to keep it clean and long lasting is not to get it too dirty,
particularly those floors most susceptible to damage by grit and dirt. To this end, high quality, effective mats can be placed
at all exterior entrances, so that people can wipe their feet prior to entering.
 Many people get ideas from visiting model homes or looking through the variety of home and decorating magazines
currently available. If one sees a “look” that is appealing, the information or the picture can be shared with the retailer. This
helps focus the selection process considerably.
 Even though most professional floor covering retailers will send experienced personnel to your home to measure the area
prior to ordering material for installation, a rough drawing with dimensions on the first visit will assist in approximating the
cost of the flooring options.
 The floor is the setting for furniture and possessions. The colour and texture of the floors will have a dominant effect on the
overall decorative scheme. A light colour will make a room appear larger. Rich, darker tones will absorb available light and
create a warmer, more intimate environment in a large room. A small pattern will work well in small rooms or rooms where
the patterns is visually interrupted by an island or other furniture. However, a larger pattern can actually expand a room
visually. The type of floor will also contribute to the character of the room, e.g., a floor can be chosen to compliment a style
or a period look, or make a bold individualistic statement.
 Details like the junctions between different types of flooring or between walls and the floor should be noted. One should
also be aware of the transition from room to room or level to level. How these elements are addressed can have a large
impact on the final appearance of the room or the hotel as a whole.
 Different types of floor covering can function as room dividers, effectively defining two or more different areas in a single
space.
 With laminates, or vinyl floors, one should avoid adding too much cleaner to the water. Streaking is generally caused by
overuse of the cleaning agent. If this happens the floor should be washed with ammonia and warm water to remove the
excess cleaner.
 One of the best ways to help protect new flooring is to make sure that good quality chair protectors are fitted on all the
chairs. From time to time one should check the condition of the chair glides and replace them when they are rough or worn.
 Hard floors increase sound levels in a room but adding rugs and other soft materials can mute the noise levels. Wooden
floors are warm, easy to sweep clean and good value, but long-term durability and water-resistance can be a problem.

WALL COVERINGS
 WALL COVERINGS

Wall coverings maybe purely decorative, in which case, ability to bring colour, pattern, texture, light or shade
to the room maybe of the greatest importance. On the other hand the covering maybe required to give an easily
cleaned and hygienic surface. The choice is very wide and the style should suit the purpose, furnishing and the
architectural aspects of the room. The type of finish selected will depend largely on: -

1. Contribution to décor: - The colour, texture and pattern will influence the apparent warmth and dimension of the
room and the level and type of illumination used. The type of room, it’s existing size and decoration must be
considered.

2. Ease of cleaning: - Smooth, hard, impervious surface, preferably light coloured can be cleaned easily; whereas
textured surfaces tend to attract and hold dust.

3. State of existing surface: - textured and patterned finishes can be used to mask poor surfaces.

4. Resistance to abrasion and knocks: - Hard surfaces will be best for this purpose.

5. Stain resistance: - A non-porous surface has more resistance than porous ones.

6. Durability: - Surfaces subject to abuse, knocks, stains and abrasion require finishes that are resistant, can be cleaned
easily, inexpensively restored or repaired whenever required.

7. Life expectancy: - Where décor of the room is intended to change relatively frequently, less expensive finishes are
appropriate.

8. Insulation: - How-much-ever possible finishes with good sound insulation properties should be selected.

9. Cost: - While comparing cost of different finishes, not only should the cost of the material and its application be
considered; but also the cost of it’s damage restoration and expected frequency of complete redecoration should be
borne in mind.

TYPES OF WALL COVERINGS

PAINTS AND LACQUERS

Paints can be applied to almost any surface providing it is free from water, grease or dust and is of
sound construction. E.g. plaster must be smooth, hard and not flaking from the underlying plaster or
brickwork. As wall covering paints offer a wide choice of types, colours, degrees of gloss and designs
(murals can be painted). For window frames and sills, door and skirting boards, slightly glossy paint is
required so that along with providing a contrast in colour and texture to the main wall finish, it acts as a
protective coating, and thus contributing to décor of the room. It is relatively cheap, easily applied and
cleaned and can give a textured and multicoloured effect. The only disadvantage is that it shows soils
(especially for matt paints) and wall imperfections (in gloss paints) more readily than any other wall
covering.

The main types of paints used are:- Emulsion

Alloyd

Multicoloured

Textured or Plastic
 Microporous

Emulsion paints – They are water thinned but are based on dispersions of synthetic resins (e.g. polyvinyl acetate). They
are tough, washable and wear resistant; and available in varying degrees of sheen, from matt, to semi–gloss, to silk
finish. They are quick drying, low in odor and very suitable for redecoration of rooms, which cannot remain long out
of use.

Alloyd paints – They are based on synthetic resins combined with vegetable oil such as linseed oil. The conventional types
were natural resins, which are still used in primers and undercoat paints. Alloyed paints are generally easier to apply
and have better durability and wearing properties than any other type. Polyutherene and silicone are sometimes
included to give more scratch resistant surface. They are available in gloss, silk and flat finishes.

Multicoloured paints – They are usually dispersions of cellulose colours in water. Each colour is present in separate
“blobs”or “spots”. The resulting effect depends on number of different colours, degree of contrast between them and
the size and distribution of spots. This paint should be applied by spraying. It is extremely hardwearing and the
multicolour effect helps in hiding irregularities and imperfections. It is usually applied on walls of corridors, sanitary
accommodations, and similar areas, to give a stain and abrasion resistant finish, which can be washed and cleaned
regularly.

Textured or Plastic paints – They are usually plaster based and are intended to give a textured or relief effect on surface.
The texture is obtained by working over the material after application and while it is still wet, using combs, palette,
knives, strippers, etc. Some are self-coloured while others may require painting when they dry. The modern types are
based on heavy-bodied synthetic resin emulsion and may be applied by spraying directly on the concrete or similar
surfaces; thus eliminating the need of plaster.

Microporous paints – they have a rubberised base which gives little gloss but offers elasticity and allowing movement
when the surface expands or contracts.

WALLPAPER
They may be smooth or have a textured surface effect. This may be done by superimposing or interlacing of other
substance to give a rough surface, or by clever designing when visual effect gives an apparent depth (dimensional
effect). Smooth finishes are more resistant to dust and dirt than rough ones, but generally stains show more in
smooth finishes.

The pattern maybe floral, geometric, abstract, striped, etc. The choice depends on the room’s aspect, height, size and
use of room. Large patterned papers tend to overpower and tend to make the room appear smaller than it actually is.
Wastage is also higher as patterns have to be cut to match each other. In addition to conventional wallpapers, now
many paper-backed materials are also available, e.g. fabrics, wood, veneers, plastic, etc.

The main types are –

1. Surface printed paper – A pattern is applied to the surface of the paper by one of the following methods – hand
printing

Screen-printing
 A wide range of colours and designs are produced with usually a smooth surface finish. The cost is related to the
design and the method of reproduction. The paper is not washable and damp wiping must be undertaken with great
care. It can be easily soiled and stained.

2. Spongeable paper – They are specially treated during manufacturing to withstand water. They are similar in all other
aspects to surface printed paper.

3. Washable papers – Similar to surface printed papers, but has a plastic coating giving it good stain resistance and
enabling it to withstand washing.

4. Anaglypts – It’s an embossed paper that is relatively inexpensive. Used to cover poor surfaces, it is normally painted
after hanging. It’s stain resistance and washability depends on the type of paint applied.

5. Lincrusts – A heavily embossed paper that may have a plastic coating, containing a paper backed textured
composition and frequently stimulating wood paneling.

6. Oatmeal papers (wood chip) – Wooden floor or chips are sandwiched between two layers of paper. It’s properties are
similar to anaglypts paper.

7. Flock papers – A raised patterned pile is fixed by adhesive to a paper backing. The piles maybe cotton, silk, wool or
synthetic. It attracts and holds dust and is expensive. The surface of the paper maybe damp wiped.

8. Metallic papers – Paper printed with gold or other metallic powder.

9. Food grain paper – Photographic reproduction of various food grains waxed during manufacture.

10. Paper backed hessains – Strands of hessiains fixed to a paper backing to give the appearance of a hessian coverings. It
is not washable but surface can be damp wiped. It is easily stained and damaged by abrasion. It’s available in large
variety of colours.

11. Paper with felt backing.

12. Paper backed woven grasses – Pieces of grass are fixed by adhesives to a backing of paper or silk.

13. Paper backed wools – Fine or coarse strands of wool in natural colours or bright dyes are laid in a parallel fashion on a
paper backing. They give a warm effect and provide good insulation.

Advantages of wallpaper: -
ü Contribution to décor

ü Ability to cover poor surfaces

ü Insulation

Disadvantages: -

§ Costly

§ Limited use

§ Not abrasive resistant

§ Stains easily

§ Difficult to clean

§ Cannot be easily restored

§ Not very durable

PVC Cloths – They are woven cotton finished with a layer of PVC, and are used to form decorative panels on walls or
doors. It maybe plain or quilted, involving the use of a foam stuffing and fixed by adhesive or metal studs. It produces
a luxurious effect, improves sound and thermal insulation but is expensive and difficult to repair satisfactorily.

Leather (hide) wall coverings – They are extremely expensive but very decorative. They maybe padded and studded with
brass studs. They are usually not used to cover the whole wall. It’s effect wherever required can be stimulated with
plastics.

Plastic wall coverings – They are available in large variety. Owing to their abrasion resistance, they are more hard
wearing and easily cleaned than any other covering. As they are non-porous, tendency for growth of moulds is higher.
Therefore, adhesive should contain fungicides, or fungicidal wash should be applied on the wall prior to applying the
wall covering.

The various types are: -

a) Paper backed vinyl – The vinyl may have the appearance of almost any material. E.g. silk, tweed, hessain, cork, grass
paper, wood, stone or brick.

b) Fabric backed vinyl – Similar in appearance to the paper backed ones but is more durable.

c) Vinyl flock paper

d) Plastic wall tiles – Imitating ceramic tiles.

e) Laminated plastic – As a veneer or surface board, melamine is the resin frequently used during manufacture of these
plastic laminates which may stimulate wood paneling. E.g. Formica.

f) Expanded polyutherene – It is used in sheets or tiles on walls and coiling to give heat and sound insulation, and helps
eliminate condensation. It can be painted with emulsion paint or covered with paper. Spirits dissolves it and hence if
oil paint is to be applied on it, it has to be lined with paper and given a coat of emulsion paint to act as a buffer.
Polyutherene is inflammable, and hence it has to be treated to avoid fire risks.
Fabric wall coverings – it is possible to cover the wall surface with any fabric and it’s durability will depend on the type of
fiber and the weave used during it’s manufacture. Fabrics used as wall coverings can be divided into two categories –
Woven fabrics, e.g. hessian (used as wallpaper)

Hangings, e.g. tapestries, oriental carpets, drape.

Fabrics chosen should not be liable to sag, buckle or stretch when hung permanently on the wall and should
not collect excessive dust or dirt.

Wild silk or other beautiful fabric maybe padded for heat and sound insulation but silks and tapestries are
expensive, and thus found only in luxurious establishments only. Hessain, linen and some acetate viscose fabrics are
cheaper and used more extensively. Fabrics are subject to attack by moths and mildew, hence proper proofing should
be done.

WOOD PANELING

Wood used for paneling are usually hard, well seasoned and of a decorative appearance. Most commonly types used
are oak, mahogany, teak, etc. it may cover the wall from corner to corner. It maybe solid or veneered and finished
with wax polish, french polish or lacquer. It will last for years with little maintenance, providing precautions are taken
in respect of dry rot and rot worm, though initial installing cost will be high. Wood paneling is usually found in
enterance halls, staircases, assembly halls, boardrooms and restaurant.

GLASS WALL COVERING

Glass can be used in the form of decorative tiles, mosaics, bricks or full sheet. Glass bricks allow light to pass through
the wall itself. Coloured opaque glass sheets or tiles maybe used in bathrooms. Mirror tiles are used to reflect light
and to alter the apparent size of the room or corridor. Sometimes antique mirror tiles are used to give a duller surface
with lesser reflection. Large uniform mirrors maybe used to cover the whole wall like over a vanity unit, or dressing
table or on a corridor wall. A glassless mirror is also available which is lighter (almost 1/5th the weight of the
conventional mirror), does not form mist and will not shatter if dropped. It consists of polyester film, vaccume coated
with aluminium and mounted on a flat frame.

METAL WALL COVERING

Metals may be used as wall coverings for their hygienic qualities. Copper and annodised aluminium are decorative and
maybe used in areas such as bars where metals in combination with rows of bottles and interesting lighting creates an
impressive effect. Stainless sleet is used in tile form in kitchens where they present a durable, easily cleaned, hygienic
surface. Metal skirting boards covers edges between wall and floor surfaces. Metal foil can be elegantly and sparingly
used as a wall covering. Foil is available in variety if colours.

OTHER MATERIALS

Various flooring materials can also be used as wall coverings. They provide different colours,
patterns and texture. Though expensive, they are hardwearing and abrasion resistant. The various types
are: - Linoleum

Cork (in tiles or sheets)

Carpets

Marble

Terrazzo
 Ceramic tiles

Granite

Bricks & stones (these can be used for exterior wall and left unplastered.

Also used in fireplaces and chimney breasts to give a

Decorative finish.)

CLEANING PROCEDURES

PAINTED SURFACE –

1) Remove light dust

2) Damp wipe or wash if necessary and permissible (when washing start from the bottom and work upwards)

3) Never apply wax polish or oil to gloss painted surface.

4) Do not use harsh abrasive, strong solvents, or strong soda solution.

WALL PAPERS

1) Remove surface dust (use low suction for flock papers)

2) Remove marks by rubbing or sponging

3) Attempt to remove grease.

FABRIC WALLCOVERINGS

1) Remove surface dust

2) For beautiful hangings dismantle and send to professional drycleaners.

3) Where hessians is stuck to the wall, scrub very lightly. If necessary use warm water and detergent.

WOOD PANELLINGS

1) Remove surface dust

2) Polish if necessary

3) Where paneling has become dirty or greasy, wipe with white spirit or vinegar and water. Then repolish.

4) Dark oak maybe wiped over with beer.

GLASS WALLCOVERING

1) Dust or wipe with a damp chamois leather or scrim.

2) Care should be taken while cleaning mirrors so that the damp does not go into the back.

METAL WALLCOVERINGS
1) Dust or wipe with damp cloth

2) Polish if necessary. (not required daily)

LEATHER WALLCOVERINGS

1) Remove surface dust

2) Apply polish sparingly and rub well.

PROTECTION

Life expectancy of a wall covering or finish can be increased and the cost of cleaning, maintenance and restoration
reduced in several ways.

§ Selection of finish should be suitable fort he degree of soilage, abuse and damage expected.

§ Select a covering that does not hold and attract dust, can be easily cleaned and restored if damaged or stained.

§ Use a more durable and easy to clean and maintain surface for the lower part of the wall.

§ Use plastic sheets on less durable surfaces that are subjected to staining and knocks.

§ Fit fingerplates on doors, light switches and other places where hands will constantly come in contact with the surface.

§ Use doorstoppers to prevent damage to surfaces behind the door.

§ Use kick plates to protect the lower part of the door.

§ Treat porous surfaces with soil retardant finish.

FURNITURE AND FITTINGS

Furniture in an establishment has an enormous amount of wear and tear for the usage over the years. Many people are not as
careful of other people’s property as they are of their own. Thus handling of furniture by a large number of people results in more
use than if one person was using it all the time.
POINTS FOR SELECTING FURNITURE
1. Style
When choosing furniture several different requirements must be kept in mind. All the furniture need not necessarily be of similar
design, but it should be in keeping with the style of the room. E.g., the dining room chairs should be chosen with a particular
table in mind. Similarly tables and chairs that are suitable for a canteen will not normally be suitable for first class restaurants.
2. Comfort
Design of the furniture may interfere with comfort. E.g., the width of the seat and the shape of the back of a chair are important
to its comfort. The height of the table and chair has to be in relation to each other. The height and depth of the wardrobe and the
length and width of the bed are other examples.
3. Size
The size of the furniture must be in keeping with the size of the room as well as be proportionate to the other furniture in the
room.
4. Serviceability
This depends on the purpose for which the furniture is intended, e.g., shelves or drawers in the bedroom will be different from
open shelves in the kitchen or living room.
5. Quality
This will determine the durability of the furniture. The appearance and durability of any piece of furniture will depend on the
material from which it is made and the method of construction.
Points to be kept in mind while choosing furniture
 There should be no rough surfaces
 There should be no unfinished edges
 The backs and insides should be well made and relatively smooth
 The edges of plywood and laminated tops should be smoothened off so that they are not liable to damage
 Joints should be of the right type, light and well finished
 There should be excess give around the joints
TYPES OF JOINTS
1. Mortise and tenon joint
In this type of joint, the mortise piece has a recess cut into it. The tenon piece has a protrusion (usually rectangular) that matches
the recess in the mortise. The pieces are sometimes glued together to strengthen the connection and sometimes a hole is drilled
through both the mortise and tenon and a dowel inserted to further strengthen that joint. This kind of joint is used to join pieces
of wood where the tenon in one piece fits into the socket of the other e.g., the backrest of a chair, legs of tables and chairs.
2. Dovetail joint
This kind of joint is used to join drawers to enable them to withstand constant opening and shutting. A French dovetail generally
has the protrusion and hole cut into the narrow edge of a board and goes all the way down the board. A multi dovetail uses the
wider edge of the board to fit multiple protrusions and holes. Drawers often use a multi-dovetail because of its strong holding
power.
3. Dowel joint
In this kind of joint, two pieces of wood are joined by means of a dowel. Round wooden pegs fit into the holes on the pieces to
the joint. Two small holes are cut into two pieces of wood. Inserting two small round pegs into the holes of one board then joins
the boards. The dowels are then inserted into the other board and the joint is glued. One often sees sofa and chair frames with
dowel joints (and a corner block glued and screwed in place as well).
TYPES OF FURNITURE
1. Free standing furniture
Furniture such as dressing tables, wardrobes, tables, chairs etc., may stand on the floor, and hence are called freestanding
furniture. They should be well balanced and firm.
2. Cantilevered furniture
Dressing tables, luggage racks etc., should be firmly fixed to the wall to withstand the weight that they have to bear. Similarly
drawers and shelves should be strong enough to hold the necessary articles. Drawers should run smoothly on channels and
should be fixed with stoppers.
3. Doors
Doors should be well-balanced, should fit properly and have stoppers or stays to prevent the doors swinging open too fast.
Sliding doors should run smoothly. All fastening, like hinges should work efficiently. Handles should be attached in a position
convenient for their use, they should be comfortable to hold and free from sharp edges.

4. Furniture on castors
Castors should not have sharp edges and should enable the furniture to move easily and not damage carpets or floors.
5. Built in furniture
This furniture is a part of the wall and cannot be moved without breaking the wall.
TYPES OF MATERIALS FOR FURNITURE
1. Wooden furniture
This is the traditional and the oldest material used for furniture. Today with demand for lighter and more easily moved furniture
there is a wide choice of woods. Wood can be used for decorative purposes. Solid wood not always the most suitable material
for a particular piece or part of the piece of the furniture.
TYPES OF WOODS
a) Plywood
This is made by bonding together an odd number of slices or plies of wood, which are 1-2 cm thick, so that the grain of on ply is
at right angles to that on either side of it. Since there are an odd number plies, the grains of the two outside pieces will run in the
same direction. Plywood does not warp or twist to the same extent as solid wood and is equally strong in both directions.
Plywood is frequently used for table tops where stability is required.
b) Laminated wood
This is also built in layers but in this case the grains of the wood all run in the same direction. As the strength will be in the
direction of the grain, laminated wood is more suitable than plywood for the legs and arms of furniture, where the greatest strain
is in one direction.
c) Hard woods
 Mahogany: Fine grained, reddish brown in colour. Very durable and resists swelling, shrinking and warping. Used for
quality furniture such as cabinets, boats, wood facings and veneers.
 Walnut: Fine textured, strong, easy to work with and resists shrinking and warping and finishes well. Best used for
gunstocks, solid and veneered furniture, novelties, cabinets and wall panelling.
 Oak: Strong, with good bending qualities. Is durable and finishes well and resists moisture absorption. Used for furniture,
trimming, boat frames, desks and flooring.
 Maple: Fine textured, but strong and hard. Has moderate shrinkage and machines well. Best used in flooring, fine furniture
and woodenware such as bowling alleys.
 Cherry: Close-grained and resists warping and shrinking. It will redden when exposed to sunlight and ages well. Used in
making cabinets, boat trims, novelties, solid furniture handles and turned projects.
 Rosewood: Very hard and has a dark, reddish brown colour. It is fragrant and close grained. It is hard to work takes high
polish. Used in musical instruments, piano cases, tool handles, art projects, veneers and furniture.
 Teak: Hard and durable and resistant to moisture and rot. It resists warping, cracking and decay. Best used in fine furniture,
panelling, shipbuilding, doors, windows frames flooring and general construction.
d) Soft woods
 Pine: It has a uniform texture, works easily and finishes well. It resists shrinkage swelling and warping. Used in
construction of houses, panelling and trims. Also used for furniture, moldings and boxes.
 Hemlock: Light in weight, uniformly textured. It machines well but its prone to decay and is non resinous. Used for
construction lumber, planks, doors, boards, panelling, sub flooring and crates.
 Fir: Works easily and finishes well. It is uniform in texture and non resinous. Has low resistance to decay. Used in
furniture, doors, frames, windows, plywood, veneer, general millwork and interior trims.
 Redwood: Light in weight, durable and easy to work. Has a natural resistance to decay. Used in outdoor furniture, fencing,
house sidings, interior finishing, veneering and panelling.
 Spruce: Strong and hard. Finishes well and has low resistance to decay. Has moderate shrinkage and is light in weight.
Used for masts and spars for ships, aircrafts, crates, boxes, general millwork and ladders.
 Cedar: Has a fresh sweet odour and is red in colour. Easy to work and uniform in texture and resistant to decay. Used in
making chests, closet linings, shingles, posts, dock planks, novelties and venetian blinds.
 Veneer: A thin surface layer, as of finely grained wood, glued to a base of interior material. A thin layer of fine quality
wood may be glued to the surface cheaper wood. wood veneers may be stuck to paper, giving the effect of wood at a much
lesser cost. In another method, thin, decorative slices of wood cut or sliced from a log, may be applied to a core material of
solid wood or particleboard. This technique allows the application of especially attractive grains to furniture surfaces, even
when the wood from which the veneer is taken is too rare, expensive or hard-to-work to be used structurally. The initial
cost of veneer is quite high. It is usually found in conference rooms, boardrooms and restaurants.
All wood should be properly seasoned as wood is extremely absorbent. When used for furniture it requires treatment to prevent
the absorption of moisture, grease and dirt. In order to make cleaning easier there are several protective finishes, which may be
given to complete the treatment of wood. These determine the texture of the wood, its resistance to absorption and the ease with
which it can be cleaned.
Care and cleaning of wooden furniture
 One should avoid banging and scratching the furniture.
 Spills should be wiped up immediately.
 Stains must be treated as soon as possible.
 The tops of dressing tables, coffee tables etc., should be protected with glass.
 The wood should be regularly examined for woodworm and treated accordingly.
 Glossy surfaces should be polished regularly, but polish should not be applied to matte surfaces as they lose the matte finish
and become glossy.
REQUIREMENTS OF HOTEL FURNITURE
CHAIRS
 The backs should be high enough to support the occupant’s back.
 Seats should be long and wide enough to relax the thighs and knees.
 The depth of the chair seat is related to the height of the chair, e.g., an armchair should have a seat that is 33-38 cms high
and the depth should be 60-70 cms. An upright chair should have a seat that is 42-45 cms high and a depth of 42-50 cms.
 An armchair should have a minimum of 56 cms between the arms.
 The gap between the back and the seat of an upright chair should be 20 cms. The backrest should be 20 cms high, so that
the chair back is 40 cms above the seat, the gap enables better cleaning.

WARDROBES
In a hotel, the amount of space required for clothing and other personal belongings is decided based upon the type of guest being
catered to and the space available. The wardrobe is built leaving space for traffic. It also needs to be built in such a way that it is
convenient for the guest to check whether the wardrobe is completely empty when he or she checks out. The minimum width for
hanging clothes is 2 to 3 feet. To accommodate long dresses, the hanger rail should be 5 feet high. Wardrobes should have double
doors. There should be proper lighting in the wardrobe. There should be shelves and drawers in the wardrobe for storing folded
clothes and cosmetics.
BED-SIDE TABLES
These should be provided adjacent to the bed or in between each bed.

LUGGAGE RACK
This is a shelf or a stand, which is 30-36 inches long. There has to be one in each guest room. It can be an extension of the
writing table or a separate unit. The height is 18 inches. A protective board could be fixed on the adjacent wall to protect the
luggage from causing scratches.
WRITING TABLE
The optimum height of a writing table is 28-30 inches. This allows for a clearance of 18-20 cms for the knees, when the framing
of the table is 10 cms. The height of the table from the floor is therefore 70-84 cms. A coffee table should have a height of 35-50
cms. The height of the chair or stool for the writing table should be 17-20 inches.
DRESSING TABLE
This is frequently a plain, flat surface, which could be used as a writing table so there should be sufficient space for the knees.
MIRRORS
In most hotel rooms, mirrors are fixed on the wall. There should be a full-length mirror in front of the dressing and writing table
and one full mirror either over the counter of the bathroom or at the bathroom door.
MINI BAR CABINET
This is a wooden cabinet or fibreglass cabinet in which the refrigerator is kept. The size of the cabinet depends on the size of the
refrigerator. It should be 2.5 to 3 feet wide, 2 to 2.5 feet in depth and 3.5 feet high. A mirror is usually fixed above this cabinet or
the television set is kept on it.
CREDENZA
For a chest of drawers, the length should be 4 feet and depth 2 feet. The height varies from 2 to 2.5 feet. The television set can be
kept on the top of it.
VANITY COUNTER
This has a washbasin and a mirror. The mirror in the bathroom is called a vanity mirror. The vanity counter can be extended
along the whole wall or can be a part of the wall.
WATER CLOSET
A minimum distance of 3 feet is required between the vanity counter and the bathtub. If the vanity counter extends along the
whole wall then the W/C is fixed to the wall itself. The size of the water closet should be 28.75 inches from front to back, 19.75
inches in width and the overall height should be 34.125 inches. A telephone connection is generally given near it.
LOOSE FURNITURE
This comprises chairs, ashtrays, waste paper baskets etc, other legal requirements like fire warnings and procedure of escape have
to be present and are normally fixed behind the door. The floor plan decides the placement of furniture. To move furniture around
is inconvenient and costly. A floor plan drawn to scale enables greater flexibility in the movement of furniture. Furniture may be
indicated by small pieces of cardboard or thermocol, cut to scale, which may be moved around at will on a floor plan until a
suitable arrangement is arrived at. These are known as templates.
ACCESSORIES
Once the basic furnishings of a room are decided upon, it can be given a personal touch by adding accessories. These give a room
individually and reflect any special interests. There are two kinds of accessories:
 Those that are both useful as well as decorative, e.g., mirrors, lamps, etc.
 Those that are purely decorative and are pleasing to the eye or have a soothing effect, e.g., pictures, plants etc.
FACTORS INFLUENCING THE PLACEMENT OF FURNITURE IN A HOTEL
Purpose of the room and the type of room
In a suite room, as compared to a standard room, the furniture can be more elegant and decorative. In this case even if dust settles
on it, the room boy has enough time to clean it.
SIZE AND SHAPE
Large furniture should not be placed in a small room, as the room will look over-crowded. Small pieces of furniture would look
insufficient in a large room.
AREA OF ACTIVITY
Furniture must be grouped for the most efficient use. A piece of furniture is often not useful by itself, but is used in relation with
other pieces.
TRAFFIC LANES
Rooms have pathways from the entrance to the center of activity. Obstructions in the way of normal movement must be
eliminated.
MORE ABOUT ACCESSORIES
An accessory can be defined as something non-essential but desirable that contributes to an effect or result.
Try to visualize a page of a book without capital letters or punctuation. It would be extremely difficult to read such a page and the
meaning would not be clear. Accessories in a room can be compared to this, they not only add meaning but also explain the
personality and individuality of a room, which might otherwise be drab or dull.
Accessories can do more to express one’s personality than the furniture does. Great care must be taken however not to use too
many accessories. As mentioned earlier, accessories may be functional or decorative. Purely decorative accessories are cushions,
bedcovers, picture frames etc. Functional accessories are ashtrays, lampshades, flower vases etc.
When choosing an accessory for a room, one should make sure that it is appropriate for the place. They should be placed in such
a way that they are easily accessible, e.g., an ashtrays should be placed near a seating arrangement so that it is convenient to use.
Accessories need not be expensive, but must be chosen with great care, as they often become the “focal point” of a room. A
collection of unusual and interesting objects displayed against a suitable background along with suitable lighting can do wonders
for the decor of a room.
POINTS FOR SELECTING FURNITURE

6. Style
When choosing furniture several different requirements must be kept in mind. All the furniture need not necessarily be of similar
design, but it should be in keeping with the style of the room. E.g., the dining room chairs should be chosen with a particular
table in mind. Similarly tables and chairs that are suitable for a canteen will not normally be suitable for first class restaurants.

7. Comfort
Design of the furniture may interfere with comfort. E.g., the width of the seat and the shape of the back of a chair are important
to its comfort. The height of the table and chair has to be in relation to each other. The height and depth of the wardrobe and the
length and width of the bed are other examples.

8. Size
The size of the furniture must be in keeping with the size of the room as well as be proportionate to the other furniture in the
room.

9. Serviceability
This depends on the purpose for which the furniture is intended, e.g., shelves or drawers in the bedroom will be different from
open shelves in the kitchen or living room.

10. Quality
This will determine the durability of the furniture. The appearance and durability of any piece of furniture will depend on the
material from which it is made and the method of construction.

Points to be kept in mind while choosing furniture

 There should be no rough surfaces

 There should be no unfinished edges
 The backs and insides should be well made and relatively smooth
 The edges of plywood and laminated tops should be smoothened off so that they are not liable to damage
 Joints should be of the right type, light and well finished
 There should be excess give around the joints
Care and cleaning of wooden furniture

 One should avoid banging and scratching the furniture.

 Spills should be wiped up immediately.
 Stains must be treated as soon as possible.
 The tops of dressing tables, coffee tables etc., should be protected with glass.
 The wood should be regularly examined for woodworm and treated accordingly.
 Glossy surfaces should be polished regularly, but polish should not be applied to matte surfaces as they lose the matte finish
and become glossy.
FACTORS INFLUENCING THE PLACEMENT OF FURNITURE IN A HOTEL

Purpose of the room and the type of room

In a suite room, as compared to a standard room, the furniture can be more elegant and decorative. In this case even if
dust settles on it, the room boy has enough time to clean it.
 SIZE AND SHAPE
HOTEL FURNITURE

CHAIRS

 The backs should be high enough to support the occupant’s back.

 Seats should be long and wide enough to relax the thighs and knees.
 The depth of the chair seat is related to the height of the chair, e.g., an armchair should have a seat that is 33-38 cms high
and the depth should be 60-70 cms. An upright chair should have a seat that is 42-45 cms high and a depth of 42-50 cms.
 An armchair should have a minimum of 56 cms between the arms.
 The gap between the back and the seat of an upright chair should be 20 cms. The backrest should be 20 cms high, so that
the chair back is 40 cms above the seat, the gap enables better cleaning.
WARDROBES

In a hotel, the amount of space required for clothing and other personal belongings is decided based upon the type of guest being
catered to and the space available. The wardrobe is built leaving space for traffic. It also needs to be built in such a way that it is
convenient for the guest to check whether the wardrobe is completely empty when he or she checks out. The minimum width for
hanging clothes is 2 to 3 feet. To accommodate long dresses, the hanger rail should be 5 feet high. Wardrobes should have double
doors. There should be proper lighting in the wardrobe. There should be shelves and drawers in the wardrobe for storing folded
clothes and cosmetics.

BED-SIDE TABLES

These should be provided adjacent to the bed or in between each bed.

LUGGAGE RACK

This is a shelf or a stand, which is 30-36 inches long. There has to be one in each guest room. It can be an extension of the
writing table or a separate unit. The height is 18 inches. A protective board could be fixed on the adjacent wall to protect the
luggage from causing scratches.

WRITING TABLE

The optimum height of a writing table is 28-30 inches. This allows for a clearance of 18-20 cms for the knees, when the framing
of the table is 10 cms. The height of the table from the floor is therefore 70-84 cms. A coffee table should have a height of 35-50
cms. The height of the chair or stool for the writing table should be 17-20 inches.

DRESSING TABLE

This is frequently a plain, flat surface, which could be used as a writing table so there should be sufficient space for the knees.

MIRRORS

In most hotel rooms, mirrors are fixed on the wall. There should be a full-length mirror in front of the dressing and writing table
and one full mirror either over the counter of the bathroom or at the bathroom door.

MINI BAR CABINET

This is a wooden cabinet or fibreglass cabinet in which the refrigerator is kept. The size of the cabinet depends on the size of the
refrigerator. It should be 2.5 to 3 feet wide, 2 to 2.5 feet in depth and 3.5 feet high. A mirror is usually fixed above this cabinet or
the television set is kept on it.

CREDENZA

For a chest of drawers, the length should be 4 feet and depth 2 feet. The height varies from 2 to 2.5 feet. The television set can be
kept on the top of it.

VANITY COUNTER

This has a washbasin and a mirror. The mirror in the bathroom is called a vanity mirror. The vanity counter can be extended
along the whole wall or can be a part of the wall.

WATER CLOSET
A minimum distance of 3 feet is required between the vanity counter and the bathtub. If the vanity counter extends along the
whole wall then the W/C is fixed to the wall itself. The size of the water closet should be 28.75 inches from front to back, 19.75
inches in width and the overall height should be 34.125 inches. A telephone connection is generally given near it.

LOOSE FURNITURE

This comprises chairs, ashtrays, waste paper baskets etc, other legal requirements like fire warnings and procedure of escape have
to be present and are normally fixed behind the door. The floor plan decides the placement of furniture. To move furniture around
is inconvenient and costly. A floor plan drawn to scale enables greater flexibility in the movement of furniture. Furniture may be
indicated by small pieces of cardboard or thermocol, cut to scale, which may be moved around at will on a floor plan until a
suitable arrangement is arrived at. These are known as templates.

Large furniture should not be placed in a small room, as the room will look over-crowded. Small pieces of furniture
would look insufficient in a large room.
 AREA OF ACTIVITY
 Furniture must be grouped for the most efficient use. A piece of furniture is often not useful by itself, but is used in
relation with other pieces.
 TRAFFIC LANES
 Rooms have pathways from the entrance to the center of activity. Obstructions in the way of normal movement must be
eliminated.
ACCESSORIES

Once the basic furnishings of a room are decided upon, it can be given a personal touch by adding accessories. These give a room
individually and reflect any special interests. There are two kinds of accessories:

 Those that are both useful as well as decorative, e.g., mirrors, lamps, etc.

 Those that are purely decorative and are pleasing to the eye or have a soothing effect, e.g., pictures, plants etc.

PRINCIPLES OF DESIGNS
 The elements and principles of art and design are the foundation of the language we use to talk about art. The elements of
art are the visual tools that the artist uses to create a composition. These are line, shape, color, value, form, texture, and
space.

The principles of art represent how the artist uses the elements of art to create an effect and to help convey the artist's
intent. The principles of art and design are balance, contrast, emphasis, movement, pattern, rhythm, and unity/variety. The use of
these principles can help determine whether a painting is successful, and whether or not the painting is finished.

The artist decides what principles of art he or she wants to use in a painting. While an artist might not use all the principles of
design in one piece, the principles are intertwined and the use of one will often depend on another. For example, when creating
emphasis, the artist might also be using contrast or vice versa. It is generally agreed that a successful painting is unified, while
also having some variety created by areas of contrast and emphasis; is visually balanced; and moves the viewer's eye around
the composition. Thus it is that one principle of art can influence the effect and impact of another.

The 7 principles of art

Balance refers to the visual weight of the elements of the composition. It is a sense that the painting feels stable and "feels right."
Imbalance causes a feeling of discomfort in the viewer.

Balance can be achieved in 3 different ways:

1. Symmetry, in which both sides of a composition have the same elements in the same position, as in a mirror-image, or
the two sides of a face.
2. Asymmetry, in which the composition is balanced due to the contrast of any of the elements of art. For example, a large
circle on one side of a composition might be balanced by a small square on the other side
3. Radial symmetry, in which elements are equally spaced around a central point, as in the spokes coming out of the hub
of a bicycle tire.

See the article, Balance, for some visual examples of how the elements of art can be used to achieve balance.

Contrast is the difference between elements of art in a composition, such that each element is made stronger in relation to the
other. When placed next to each other, contrasting elements command the viewer's attention. Areas of contrast are among the first
places that a viewer's eye is drawn. Contrast can be achieved by juxtapositions of any of the elements of art. Negative/Positive
space is an example of contrast. Complementary colors placed side by side is an example of contrast. Notan is an example of
contrast.

Emphasis is when the artist creates an area of the composition that is visually dominant and commands the viewer's attention.
This is often achieved by contrast.
Movement is the result of using the elements of art such that they move the viewer's eye around and within the image. A sense of
movement can be created by diagonal or curvy lines, either real or implied, by edges, by the illusion of space, by repetition, by
energetic mark-making.

Pattern is the uniform repetition of any of the elements of art or any combination thereof. Anything can be turned into a pattern
through repetition. Some classic patterns are spirals, grids, weaves. For examples of different pattern types see the Artlandia
Glossary of Pattern Design. A popular drawing practice is Zentangles, in which an abstract or representational outline is divided
into different areas, each of which contains a unique pattern.

Rhythm is created by movement implied through the repetition of elements of art in a non-uniform but organized way. It is
related to rhythm in music. Unlike pattern, which demands consistency, rhythm relies on variety.

Unity/Variety You want your painting to feel unified such that all the elements fit together comfortably. Too much unity creates
monotony, too much variety creates chaos.You need both. Ideally, you want areas of interest in your composition along with
places for your eye to rest.

*********************************************

Unit-II
Special decoration
Home Interior Decorating - Project Plan and Details
The following list includes major work tasks commonly performed during Home Interior Decorating. Use this list to understand the timing
and sequence of different steps in the Home Interior Decorating project. Click any Task name for a complete written specifications, FAQs and
quality checklist for the task - this essential information will help you control Home Interior Decorating project cost and quality.
Do you expect to spend more than $250 on your Home Interior Decorating project? If so, it is important create and manage a detailed plan for
all project activities.
Task Service Provider Time Difficulty Basic Cost Range
Prepare Home Decorating Ideas Interior Designer 4 to 10 d $817 - $1,365 per design
Produce Home Remodeling General Contractor 3 to 5 d $610 - $1,019 per design
Plans
Select Family Room Furniture Interior Designer 3 to 5 d $307 - $512
Compile Home Remodeling General Contractor 3 to 5 d $610 - $1,019 per design
Materials List
Build Cabinets Finish Carpenter 1d $690 - $1,181
Install Can Lighting Electrician 1 to 3 d $172 - $295
Install Electrical Sub-Panel Electrician 1 to 2 d $1,131 - $1,959
Install Crown Molding Finish Carpenter 1 to 2 d $4.71 - $8.26 per linear foot
Install Window Sill Finish Carpenter 1d $42 - $71
Install Baseboard Finish Carpenter 1 to 2 d $4.37 - $7.52 per linear foot
Hang Interior Door Finish Carpenter 1d $203 - $347 per door
Install Interior Window Shutter Finish Carpenter 1d $326 - $588
Install Window Shades Finish Carpenter 1d $107 - $189
Paint Rooms Painting Contractor 1 to 3 d $4.30 - $7.31 per square foot
Stain Wood Cabinets Painting Contractor 2 to 4 d $2.80 - $4.74 per square foot
Install Hardwood Floor Flooring Contractor 1 to 2 d $8.37 - $14.61 per square foot
Install Wall Sconce Electrician 1 to 2 d $377 - $665
Install Light Switch Electrician 1d $140 - $236
Install Ceiling Speakers Electrician 1d $233 - $399 per speaker
Replace Switch Plates Electrician 1d $16.38 - $27.54
Different materials used in decoration are:
 Wall papers
 Flower and drapes decorations
 Plants
 Function cloths
 Stars and toys
 Back ground materials
 Balloon decorations
  Candles
 Chandeliers
 Garland
 Hanging decoration
 Wall decorations
 Thematic decorations
 Table decorations
 Entrance gate decorations

Interior Decorating - Proven Ideas and Tips

Review these tips, design suggestions, options and lessons learned before finalizing your Home Interior decorating project plan.
 To maximize return on the Home Interior Decorating project, limit cost to no more than 6.3% of home's total, post project value
 Keep the style, scope, scale and character of the project aligned with the rest of the home
 For best resale value, select components, appliances, finishes and fixtures of comparable quality
 For best resale value, select a taste neutral design for your Home Interior Decorating
 To avoid budget busting surprise expenses, it is imperative that you make all component and material selections before any work begins on
the Home Interior Decorating project
 Update or restore electrical switches, receptacles and switch plates
 Recess speakers into walls or ceiling to share media system access and create room ambiance
 Add storage access to built-ins used for seating or decoration
 Use separate, individually controllable lighting circuits for ambient and task lighting
 Select finish treatments that harmonize with furniture and statement accessories

Decorating : Space Planning (and more on Jill’s surprise makeover

I’m excited to show you guys Jill’s flash-mob surprise makeover results! But I thought we’d start with a little chat about how we handled her
room layout.
Let me just forewarn you that the furniture, rugs and finishes in these little layout sketches are all horrible and not at all representative of the
design for her room. Before you proceed, you must swear to me that you understand that and that you will not judge any leopard print rugs you
might encounter today. Check the box that you agree to these terms, please.
 It’s a long, narrow room with four hundred doors, pass-throughs and windows to account for. I’ll walk you through our
process for figuring out a space plan that made sense for Jill’s family, and if you’re working on a floor plan, hopefully it’ll help you settle on
something functional too.
This will be controversial, but if you use your living room primarily to watch television — this is a safe place and you can admit that — it’s okay
to lay out your furniture for that purpose. The point of design is to create spaces that work for the way they’ll be used. However, if you’ll also be
entertaining, you’ll have to work a little harder to create a dual-function layout that can support conversation, laughter and the playing of Taboo
and Balderdash, or other board games of choice.
Not Chess or Risk though: no one wants to play that boring crap.
Create Zones
Especially in long, skinny rooms like Jill’s, sometimes you need to split the room into different zones. If you can’t sit in one part of the room and
easily converse with someone sitting in another part of the room, it’s safe to say your room needs separate zones.That’s what was going on in
Jill’s living room. It was too long and narrow to create one conversation space:

And try anything

Get crazy and try weird layouts. Just move stuff around. Can’t hurt nuthin, yo. I recommend commenting to your husband how much you enjoy
watching his muscles ripple while he moves the sofa for the sixth time. Decorating keeps marriages strong.
traffic flow Create
A good rule of thumb I use is that you need about three feet of walking space around the furniture. Plus you want an easy route for your wild
children to run through the room. I mean for adults to slowly walk through.
Orient toward the focal point
What’s the focal point of the room? If it has a fireplace, bam: the decision is made for you. Nothing is worse than a room where the furniture is
not oriented toward the fireplace.
The easy start for laying out a room is to orient your largest piece of furniture toward the focal point. You can start there and then play around
with other arrangements if necessary. If we did that in Jill’s room, it would look like this:

Which is not a terrible starting place, but it’s not where we ended up.
If you don’t have a fireplace, your focal point might be architectural, like large windows or bookcases, or without something like that, you can
create a focal point with large-scale art or mirrors, or even patterned curtains. Don’t be intimidated by deciding what’s the focal point of your
room. It’s really just whatever you want people to see FIRST when they walk in. (But if you have a fireplace, it’s the fireplace. Kelly’s Rule.)
Go off the wall!
In most rooms, the layout looks better when the furniture isn’t all clumped up on the wall like 13-year-old Kelly at the junior high dance. Bring it
out into the room and float it. Jill’s room, especially, would be super weird will all the furniture against the wall:

You’d break your neck trying to have a conversation with someone sitting on the other sofa – plus it would impede the traffic flow through the
room – so we pulled some of it off the wall and floated it.
Jill’s Layout
We landed on this arrangement:

We used the pair of chairs to separate the zones and the rugs to define them, and we left the wall opposite the fireplace open for easy traffic flow.
If we’d filled that space, say with a console table, you can see how it would’ve been harder to walk from one pass-through to another:

The reason why we went with this layout and not this one:

…is that we liked how when you walked into the room through the pass-through, you could walk right into the seating area and plop right down
with bad self.
With the first option – the sofa facing the fireplace – you would’ve walked right into the back of the sofa. Plus, it felt a lot more crammed with
that option in real life than it looks in these pictures, for some reason.

concept to execution
An exclusive interior project: an overview
Gielissen Botim delivers beautiful, unique craftsmanship. Our goal is to help you achieve the interior of your dreams, but what does the process
look like?
Initial consultation
The first step is to start a dialog. What is it you hope to achieve, what is the feeling you want to create in the space, what inspires you?
Following these extensive consultations, an architect creates the design drawing. Your personal account manager at Gielissen Botim maintains
an open line of communication between you, the architect and the draftsman during all stages of the design and planning process.
Production process
Once the initial drawings have been completed, the details start to take shape: dimensions, colour schemes, wood varieties, other materials, etc.
Once these details have been approved, the work planner orders the materials and the production process can commence.
Final step
Once production is completed, we transport everything to the building site and begin installation. You can sit back, relax and enjoy your new
luxurious interior.

UNIT – III
NEW PROPERTY COUNTDOWN
INTRODUCTION
Being involved in a soon-to-be-launched property in which department planning has yet to be undertaken gives an
executive housekeeper the opportunity to influence how a department will be set up. Involvement in such an experience is
rewarding, enlightening and challenging. At this juncture, however, it is wise to remember that ‘good results without planning is
good luck, not good management’.
STARTING UP HOUSEKEEPING
When the housekeeping department starts from scratch, it consists of only one employee – the executive
housekeeper. The executive housekeeper’s position within the organization should be clearly defined. Most executive
housekeepers are department heads, but many do reach corporate levels as well. It should be made known to the incumbent
whether he/she has to report to the rooms division manager, the resident manager or the general manager.
HOUSEKEEPER IN A NEW PROPERTY
For a housekeeper in a soon-to-be opened property, the following are some initial steps in the process of
starting up the property.
Finding your place The executive housekeeper will have many occasions to relate to other members of the
organization. It is therefore important for him or her to get to know – and become known to – each of these managers; and
respect and understanding need to be developed between each of these roles for each person and their functions. Managers of
other departments, too, should in their turn develop an understanding and respect for the functions of the housekeeping
department and its significance in the total operation. The organization chart is a tool that is useful here for gleaning information
on reporting relationships and coordination within the organization.
Getting acquainted
The next priority for the housekeeper is to become acquainted with the new surroundings. The executive
housekeeper should consult a set of the working architectural drawings of the rooms in the property. These will allow him or her
to study the physical layout of the facility thoroughly and provide the basis for determining the scope of involvement and
delineation of responsibilities of the various managers’ areas. These working drawings will also assist the housekeeper when on-
site inspections begin, as well as help to put the manpower planning into perspective. The executive housekeeper must also take a
look at the temporary working area out of which departmental planning may begin.
Planning, organizing and priority recruiting
The housekeeper needs to use his or her time efficiently in planning, organizing and recruiting.
Planning and organizing have to be done for the necessary minimum manpower, as well as the designing of systems,
establishment of procedures, determination of supply and equipment needs and devising of reporting and coordinating
relationships within the department. The housekeeper must establish the requisite qualifications for his or her two principal
assistants – the deputy housekeeper and the laundry manager – and specify these requirements to the personnel manager as soon
as possible. Advertisements need to be placed and recruitment begun and completed within 10-15 days. Until at least these two
managers are present, the entire planning, organizing and staffing functions rests on the shoulders of the executive housekeeper,
which leaves him or her with less time for other supervisory and planning duties so essential at this initial stage.
MATERIAL RESOURCES
Before getting the workforce ready and going, the executive housekeeper needs to plan the procurement of the
material resources the staff will require to accomplish their tasks. Market surveys should be carried out to identify the best
supplies and equipment available, with an eye to the needs of the hotel as well as the cost factor. Cleaning supplies, guest
supplies, linen, uniforms and various pieces of equipment need to be procured in coordination with the purchase department.
SYSTEMS AND PROCEDURES
By this stage, the executive housekeeper should have established at least a mental plan of daily operations as
they should be conducted. Procedures and daily routines now need to be standardized for the new property. Standard operating
procedures, task lists, and the duties and responsibilities of specific positions should be formally in place before the new
employees’ induction into the property. This is a very crucial stage, as the effectiveness of procedures established now will
directly show up in the results achieved. Standard operating procedures for reporting to work, preparing to clean various areas,
cleaning procedures, key control, and security and safety procedures must be established.
DIVISION OF WORK
At the next stage, once recruitment has begun, the housekeeping responsibilities for the entire property need
to be identified. The executive housekeeper should make regular tours of the property while it is under construction and draw up
a division-of-work document. It is important to know the location of service areas and store rooms optimize this process.
The executive housekeeper should include the division-to-work document all the areas and sub-areas that the housekeeping
department is collectively responsible for and identify the person to whom the cleaning of each area is to be allotted. This
document should be reviewed and approved by the executive committee of the property. All other departments in the hotel also
need to be made aware of this division of work, so that coordination after opening is easier.
AREA RESPONSIBILITY PLAN
This document goes on to fix responsibility for the areas mentioned in the division-of-work document and
shows the boundaries of the various areas on a copy of the floor plan or blueprint. This helps to ensure that not a single area has
been left out in assigning responsibilities and also that there is no overlap in cleaning responsibilities.
The executive housekeeper prepares this plan and gives it for finalization and amendment to the hotel’s executive committee.
ORGANIZING THE NEW WORKFORCE
Once area responsibility plan is in order, the departmental organization chart needs to be finalised. This
indicates the assigned responsibilities. Supervisors are decided upon for the various areas – for example, floor supervisors, a
public area supervisor, a desk control supervisor, a linen room supervisor and so on.
The task of organizing the laundry workforce in a similar manner may be delegated to the laundry manager.
At this stage, the executive housekeeper must also plan for zero-base budgeting – hiring employees taking into account the actual
occupancy for specified periods of the year.
HOUSE BREAK-UP
A house break-up is a pictorial representation of the location of all guestrooms as given in the physical layout
plan of the hotel. It consists of a line drawing of the guestroom section of the hotel, showing the relative positions of guestrooms,
guest corridors, floor pantries and other areas significant to guestroom cleaning; though not necessarily accurate in terms of exact
direction headings or scale.
Further, room sections of 13-20 rooms at a time, as close to each as possible, need to be marked out on the house break-up so that
individual GRAs or teams of GRAs can be assigned to a particular section each. Room sections can be assigned members for
convenience.
Finally, house divisions need to be marked for supervisors. House divisions are groups of 4-6 room sections along with the
associated corridors, elevators, stairways, service areas and storage areas. House divisions can be named as per the theme of the
hotel, though it is primarily meant for the reference of the housekeeping department staff.
WORKLOAD OF GRAS AND SUPERVISORS
The housekeeper then decides on the number of rooms to be assigned to each GRA and to each of their
supervisors. The number of rooms to be cleaned by a single GRA may range from13 to 20 rooms per day. This range depends on
various factors, such as the size of the guestrooms, the types of guestrooms, the kinds of fixtures, furniture, and other contents in
the guestroom, the distance between the guestrooms in the property, whether assignments are made for team cleaning or
individual cleaning and so on.
STAFFING CONSIDERATIONS
The various documents that act as tools in the management of personnel need to be in place before recruitment is
completed. The important tools at this stage are job descriptions, position descriptions, and job specifications. The departmental
staffing guide also needs to be developed and staff hired on the basis of zero-base budgeting. Staff requirements for a particular
occupancy periods should be worked out in a tabular form and filed for reference. This table is referred to as the staffing guide
and serves as an important tool for achieving zero-base budgeting. The executive housekeeper can refer to this table in preparing
daily schedules for the housekeeping staff later as well.
ORIENTATION AND TRAINING
Orientation or induction is the guided adjustment of new employees to the organization, the work environment,
and the job. The process communicates the organization’s basic philosophy, policies and practices, rules and regulations,
departments, staff benefits and safety regulations. The executive housekeeper may orient the new employees personally or may
delegate the responsibility to an assistant housekeeper.
Either way, training is a must for the newly hired employees to develop the skills needed for performing their job well. At this
stage, a procedure manual is handed to the employees, which lists the standard operating procedures (SOPs) in simple words. The
task of training may be delegated to supervisors, but the executive housekeeper is ultimately responsible for the training
programmes. Of course, it should be ensured that training becomes an ongoing process.
SCHEDULING OF NEW EMPLOYEES
 GRAs, supervisors and housemen need to be scheduled once the workloads have been decided and the
duty rota has been drawn up. Here, the executive housekeeper needs to consider the benefits of team scheduling. New employees
may not be confident enough in the first few weeks of performing their tasks to operate singly. Team staffing may come to the
rescue here. For example, a new GRA may be paired with another experienced GRA in servicing a guestroom. This is sometimes
referred to as the ‘buddy system’.
COUNTDOWN
Here is a checklist of the housekeeping responsibilities to be met while inaugurating a new property:
Three months before the opening
The following activities need to be carried out three months prior to the opening.
1. Check the blueprints for the housekeeping department.
2. Check the layout of the linen and uniform rooms.
3. Check the layout of the laundry.
4. Check the location and layout of the floor pantries.
5. Check the layout of the different types of guestrooms.
6. Appoint a horticulturist in coordination with the personal department and initiate the setting up of plant nursery and green
house.
7. Consider the space allocation for all these areas in accordance with the total front of the house area.
8. Evaluate the function and maintenance of furniture and the other hall surfaces.
9. Work in coordination with the interior designer and architects to plan the indoor spaces.
10. Undertake a market survey to identify the best equipments, cleaning supplies, linen, and guest supplies available and workout
the cost. Evaluate the quality and quantity required and then contact the suppliers of each item or products to get
specifications.
11. Coordinate the purchase of equipment, cleaning supplies, linen and guest supplies with the purchase department, keeping in
mind the lead time available(well before the inauguration) for the delivery of the goods.
12. Manpower planning needs to be initiated in coordination with the other departments.
13. Discuss uniform requirements and designs with the various departmental heads.
TWO MONTHS IN ADVANCE
Two months ahead of the opening, the following activities need to be carried out.
1. Fine-tune the manpower requirement. Hire only the minimum staff required. Consider contracted services to compensate for
a possible high turnover of staff at this initial stage of adjustments and learning.
2. Consider contracted services for pest control, florists and so on so that specifications, terms and conditions can be worked
out. Consider the feasibility of these contracted services in terms of needs versus costs.
3. Orientation and training of staff should be started on a continuous basis.
4. Follow up with the purchase department regarding the indented items and delivery dates.
SIX WEEKS IN ADVANCE
When there are about six weeks to go, the following activities need to be taken care of:
1. Hire the necessary lower-hung staff.
2. Clean up all the newly constructed areas.
3. After the entire construction is over, initiate actual horticulture activities such as landscaping and gardening.
4. Organize the storage of all items purchased.
5. Work out systems and procedures.
6. Check the standard operating procedures (SOPs).
7. Begin the purchasing of uniforms after getting relevant inputs regarding the staff of all hotel departments.
8. Organize orientation and training for the new staff and continue the training schedule for the older staff.
FOUR WEEKS TO GO
With four weeks left for the opening, the following areas need to be looked at:
1. Check the cleanliness of all areas under the housekeeping department’s purview.
2. Check the quality and quantity of all the equipments and supplies delivered.
3. Ensure that lower-rung staffs have had basic training in handling guests.
4. Move in and set up the department physically.
5. Redefine and fine-tune the systems and procedures as necessary.
6. Begin the stitching and issuing of staff uniforms.
ONE WEEK TO GO
Finally, a week in advance of the opening, the following activities must be carried out:
1. Draw up duty rotas and schedule staff accordingly.
2. Set up the relevant work areas and ensure their cleanliness.
3. Work out a frequency schedule for the cleaning up of various areas of the property.
4. Constantly tour the property and be available to the housekeeping staff for last-minute queries and changes.
 UNIT-IV
REFURBISHING AND REDECORATION
Redecoration
The rooms are put off for the required amount of time. This work is planned for the slack season
of the year. This is done either floor by floor or part of a floor at a time depending on the shape
and number of rooms on the floor. It is always planned in such a way to cause as little
inconvenience possible to the guest. Redecoration is also carried out in the public areas. The
restaurant area is closed and the lobby work is done only at night; cleaning away everything by
morning. Several nights may be required to complete the work. Basically, the work includes
repainting, republishing of furniture if required, and rearrangement and after this, a full
maintenance work and general cleaning are carried out. Many hotels using tidy and skilled
craftsmen manage the work without removing the carpet but dust sheets are placed over it for
protection.
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.
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.