P a g e 1 | 150

P a g e 2 | 150
 Safety and Security
INTRODUTION

Safety and security are concepts often used interchangeably, and it should be
understood that both are means of safeguarding human and physical assets. The
term ‘safety’ is used with reference to such things as disasters, emergencies, fire
prevention and protection, and conditions that provide for freedom from injury
and prevent damage to property. The term ‘security’ is used with reference to
freedom from fear, anxiety, and doubts concerning humans as well as protection
against terrorism and thefts of guest, employee, or hotel property.

WORK-ENVIRONMENT SAFETY AND JOB-SAFETY ANALYSIS

The management of any place of work are legally bound to provide a hazard-
free environment to their employees. The nature of work that the
housekeeping staff are involved in, is such that employees may easily become
accident- prone if they are careless with equipment, chemicals, or procedures.

JOB- SAFETY ANALYSIS-

1. A job safety analysis is a detailed report that lists every job function
performed in the housekeeping department and lists potential hazards, safe
methods, tips and ‘how-tos’ for each task.
2. For this purpose, the housekeeper, with the help of the supervisors, needs
to carry out a job safety analysis.
3. The executive housekeeping needs to develop a ‘ housekeeping safety
manual’ for the use of all housekeeping employees.

Safety Management programs

The overall objective of a safety management program is to eliminate hazards

before they cause any serious accidents.

There are 10 steps in the establishment of an effective safety

management program:

1. Review work procedures and inspect work areas for safety hazards.
2. Make departmental heads aware of the nature and variety of hazards.
P a g e 3 | 150
3. Establish a safety committee.
4. Maintain accurate safety records.
5. Conduct periodic in- house safety inspections.
6. Train staff members to implement safety consciousness.
7. Motivate staff members to be safety conscious.
8. Investigate and analyses all accidents and injuries.
9. Practice safety management and monitor follow-ups.
10.Review the effectiveness of your own safety management program.

Three Es of Safety
The safety of employee can be ensured by following the three Es of safety:
safety education, safety engineering, and safety rules enforcement.

Safety education Safety program and policies can only be effective if the
staff are trained to think and act safety at work. The best time to start
educating employees on safety is during their induction into the
establishment, so that they are well versed in safety rules and policies of the
establishment before they start their job. Employees safety should be
encouraged to come up with ideas for inculcating safety into the hotel’s
methods too, and the best ideas should be put into practice and praised or
rewarded.

The following should be ensured during training:

• Teaching safe methods, with particular emphasis on areas of potential

danger and how these can be guarded against.
• Demonstrating the use of safety equipment installed in the
establishment. And the location and use of first-aid materials.
• Inculcating in people the ability to recognize the signs of hazards around
them.
• Teaching staff the legal implications of non-adherence to safety
procedures.
Safety engineering This involves the building in of safety features into the
structure of the establishment- in the equipment furniture, and fittings and in
their proper arrangement within the space. Equipment used by the

P a g e 4 | 150
 housekeeping employees should be selected to ensure to ensure safety in
design.

Safety enforcement Rules, when not implemented or enforced, are not

effective. It is not enough to know about safety themes and procedures, but
more important to motivate people to put the knowledge gained into
practice. The does not come easily to all employees and, therefore , needs to
be enforced by rule and practice.

Occupational safety and Hazards Standards

Standard universal laws on occupational safety and health(OSH) do not exist

because of differences in local values and cultures. Therefore, different
countries have developed their own standards on occupational health and
safety management systems(OHSMS)according to their needs. India has
published, and follows the ‘IS 15001:2000 Indian Standards on Occupational
Health and Safety Management Systems- Specifications action plans, and
reviewing the adequacy of action plans.

POTENTIAL HAZARDS IN HOUSEKEEPING

Due to the nature of the work performed by housekeeping staff, they may
be exposed to many dangerous and unsafe conditions, or hazards, if they
are not careful. To reduce safety risks, all employees should be aware of
potential safety hazards. These hazards may include

• Faulty equipment;
• Damaged flooring or chipped tiles;
• Slippery floors and spills not mopped up;
• Slippery guest bathrooms;
• Cracked or broken glass;
• Worn-out electrical insulation or fittings;
• Overloaded electrical sockets;
• Trailing equipment flexes;
• Worn carpets and rugs;
• Cleaning equipment left lying around;
• Unsafe use of ladders;

P a g e 5 | 150
 • Inadequate lighting;
• Loose stair treads;
• Cleaning agents left uncapped;

• Non- adherence to instructions outlined in the material safety data sheets

(MSDS)for the use of cleaning chemicals;
• Handling corrosive cleaning agents with bare hands;
• Mixing certain chemical cleaners, causing undesirable/ dangerous
reactions;
• Cleaning agents kept in unmarked or wrongly marked containers;
• Incorrect use of trolleys;
• Incorrect methods of bending and lifting;
• Unsatisfactory hygiene and sanitation standards; and
• Incorrect posture.

SAFETY AWARNESS AND ACCIDENTPREVENTION

Safety awareness should be an ongoing program at all establishments. The

management of all establishments and should be aware of the laws concerning
safe work environments and should be concerned about the safety of their
employees. Periodic training should be provided to all staff in order to raise
awareness about safety. All employees should be aware of the potential hazards
in their respective departments. All heads of departments must ensure that
employees follow safe job procedures, correct unsafe conditions immediately,
and take adequate time to do the job so that accidents are not caused due to
haste. The executive housekeeper should develop a comprehensive list of safety
rules to be followed by all housekeeping employees. This can be a part of the
‘housekeeping safety manual’. Some safety guidelines for lifting, bending,
carrying, and pushing that may be included in the manual are outlined in Table

BASIC GUIDELINES FOR THE PREVENTION OF ACCIDENTS

The following guidelines can be followed for the prevention of accidents.

• Always follow instructions when using any cleaning equipment’s.

P a g e 6 | 150
 • Replace caps on cleaning chemicals immediately and securely after
dispensing.
• Label cleaning agents clearly.
• Keep floor clean and dry.
• Place warning and signs around the area while cleaning.
• Always dry hands before touching plugs, sockets, and electrical fitting.

• Mark faulty equipment’s as ‘out of order’.

• Dispose of rubbish carefully.
• Never place cigarette butts or sharp objects in the trash bag on the room
attendants’ carts.
• Open and shut doors carefully.
• Clean away broken glass carefully.

Procedures to Follow in case of an Accident

When a guest or employee has met with an accident at the hotel, the
procedure followed should be a follows:

1. With the help of another person, check if the victim requires any
assistance.
2. Report the matter immediately to the manager concerned.
3. Either administer first aid (if you are trained to do so) or get help from
trained personnel.
4. Shift the victim immediately to a hospital, if required. If the injury is
serious, call an ambulance for the same. Follow all necessary first-aid
measures until the ambulance arrives.
5. Fill in the accidents report from (see Exhibit) and hand it over to the
manager concerned.

P a g e 7 | 150
 Assignment

Q1 Write in brief difference between

a. Safety and security

b. Work environment safety and job safety

Q2 How is job safety analysis done ?

P a g e 8 | 150
Q3. Enumerate steps for an effective safety management system

Q4. Describe Es of Safety

Q5. Outline the various hazards in Housekeeping and how to deal with
them.

P a g e 9 | 150
Q6. Write the procedure to followed in case of an accident

Q7 Explain

• OHSM/OSHM
• MSDS

P a g e 10 | 150
 FIRE PREVENTION AND FIRE FIGHTING
To understand fire prevention and fire- fighting, on must know fires are
classified. Fires may be classified into four groups, based on their source of fuel.
• Class A These are fires with trash, wood, paper or other ordinary
combustible materials as their fuel source.
• Class B These are fires with flammable or combustible liquids as their fuel
source.
• Class C These are fires involving electrical equipment.
• Class D These are fires with certain ignitable metals as the fuel source.

Prevention of fire
Fires may be prevented if fire hazards are identified and eliminated. Some
unsafe practices that may lead to fires are as follows:
• Guests smoking in bed.
• The hotel not providing sand urns or sufficient and appropriate ashtrays
in rooms as well as public areas.
• Using high- wattage bulbs in lamps.
• Leaving linen chute doors open.
• Storing rags and cloths with residues of cleaning polish still on them.
• Not unplugging electrical appliances when not in use.
• Using faulty electrical equipment or sockets.
• Leaving magnifying glasses where the sun can catch them.
• Using furnishing materials that are easily combustible.
Each establishment must conduct fire drills on a periodic basis and ensure that
all staff attend these drills so that they know what is to be done during a fire
emergency.

Fire Warning systems

These may be electrically powered manually operated systems, automatic fire
detection systems, or a combination of both. The usual components of such
systems are discussed here:
Fire Alarms These can be set off by smoke detectors, heat detectors, sprinkler
systems, or pull stations. The most common types of fire alarms are the ones
operated by pull stations located in corridors, and near elevators. The pull
alarms are red in colour, with a glass panel that needs to be broken to set off
the alarm.

P a g e 11 | 150
Sprinklers These are found in most hotel establishments, especially in
corridors and rooms. They are situated on the ceiling and automatically spray
water when the temperature rises above a certain level.

Smoke detectors These are set off by smoke. The two types of smoke
detectors available are photoelectric detectors and ionization detectors,
Photoelectric detectors are alarms triggered off when smoke blocks of light
emanating from the detector. In the ionization type of smoke detectors, the
alarm sounds when the detector sense a shift in electrical conductivity between
plates.

What to do in Case of fire Emergency

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

1. Immediately switch on the nearest fire alarm.

2. If possible, try to put out the fire with suitable equipment, remembering
to direct the extinguishers at the base of the flames. Do not attempt to
fight a fire if there is any danger of personal risk.
3. Close all the windows and switch off all electrical appliances, including
fans and lights.
4. Close the door to the affected area and report to your to your immediate
supervisor for instructions.
5. Carry out instructions- fire-escape route. Each guestroom should have the
route to the nearest fire escape drawn out and displayed in a place where
it is most likely to be seen by the guests.
6. Report to the departmental fire representative for a roll call. The
housekeeper on duty should check the list (in the form of the duty rosters)
of the staff who are on duty so that all those on duty can be accounted
for.
7. Remain at the assembly point until to do otherwise.
8. Do not use the lifts.

Fire-Fighting Equipment

Staff should be trained in operating the fire- fighting equipment. Types of fire-
fighting equipment vary from simple ones such as buckets of sand and water,
fire blankets, and hose reels to more complex fire extinguishers. Water buckets

P a g e 12 | 150
should be constantly checked for adequate water levels and sand buckets should
be kept dry. Water should not be used in case of fire of fires involving electricity.

Types of fire extinguishers

Fire extinguishers can be of various types.

Dry powder These are usually meant for multipurpose use with various types of
fire. They contain an extinguishing agent and use a compressed, non- flammable
gas as a propellant.

Dry chemical foam These are primarily used on flammable liquids, oil, and
fats, but may have multipurpose uses.

Halon/vaporizing liquid These contain a gas or volatile liquid that interrupts the
chemical reaction that takes place when fuels burn. This type of extinguisher is
often used to protect valuable electrical equipment since they leave no residue
to clean up. Halon extinguishers have a limited range, usually 4-6 feet. The initial
application of halon should be made towards the base of the fire, continuing
even after the flames have been extinguished. The BCF
(bromochlorodifluoromethane) extinguishers are now banned as
chlorofluorocarbons harm the protective ozone layer.
Water-gas or soda-acid extinguishers These extinguishers contain water and
compressed gas and should only be used on Class A (wood or paper) fires.

Carbon dioxide These CO2-based extinguishers are most effective on Class B and
C (liquids and electrical) fires. Since the gas disperses quickly, these
extinguishers are only effective from a distance of 3-8 feet. The carbon dioxide
is stored as a compressed liquid in the extinguisher; as it expands on release, it
cools the surrounding air. The cooling will often cause ice to form around the
‘horn’ out of which the gas is expelled from the extinguisher. Since the fire could
re- ignite, continue to apply the agent even after the fire appears to be out.
Fire-extinguisher ratings

Most fire extinguisher available are rated according to the type of fire they
extinguish:

P a g e 13 | 150
 • Class A extinguishers- Put out the most basic fires, such as those that
started with wood or paper. Their numerical rating refers to both the
amount of water inside and the extent of the fire they can extinguish.

• Class B extinguishers- These types are recommended for fires that

involve flammable liquids, such as gasoline, oil, or grease. The numerical
rating refers to the number of square feet of liquid fire that an average
untrained person can expect to put using this equipment.
• Class C extinguishers-These are for electrical fires. They do not have a
numerical rating; it is the ‘C’ designation that the extinguishing agent
inside is non- conductive.
• Class D extinguishers- These are for with flammable metals and often
made for use with a specific metal. They have no numerical rating, or can
they be used on other types of fires.

In addition, many of today’s extinguishers are labelled to indicate that they can
be used on different type of fires and will be labelled as such (for example, A-
B,B-C, and so on)

ASSIGNMENT

Q1 WRITE THE CLASSIFICATION OF FIRE.

Q2 WRITE DIFFERENT REASONS FOR FIRE

P a g e 14 | 150
Q3 DESCRIBE

• FIRE WARNING SYSTEM IN HOTEL

• GUIDELINES TO FOLLOW IN CASE OF FIRE EMERGENCY
• FIRE FIGHTING EQUIPMENTS

Q4 DEFINE TYPES OF FIRE EXTINGUISHERS AVAILABLE AND DIFFERENT CLASSES

OF FIRE EXTINGUISHERS ON THE BASIS OF TYPE OF FIRE THEY EXTINGUISH?

P a g e 15 | 150
 CRIME PREVETION
It is imperative that all properties have a crime prevention committee or a
security committee. The committee should consist of key management
personnel, including department heads. Supervisors and other selected
employees can also be roped in for valuable information and inputs. The
committee members should meet on a scheduled basis periodically to review
past plans and form new ones. The general responsibilities of this committee
should be to

• Design a security booklet for all employees;

• Develop orientation and training programmes on crime on crime
prevention in coordination with the training department;
• Analyse and resolve recurring security issues and investigate any security-
related incidents;
• Conduct spot security checks and inspections of the property;
• Liaise with the local police department; and
• Monitor the keeping of records and documentation of all security- related
incidents.

DEALING WITH EMERGENCIES

The nature of all emergencies is the same: they are uncontrollable and
unforeseen.
Thus all properties must be prepared for them and have emergency plans put
down in writing. Emergencies may come in any form- earthquakes, floods,
tsunamis, bomb threats, and so on. Emergency plans must be a part of the SOPs.
These procedures must specify
• What procedures are to be followed in case of an emergency;
• Who will be responsible- the plan should specify employee duties and
placement within the facility during an emergency and after the
emergency;
• How the procedures will be followed; and
• When the specified procedures should be followed- for instance, when
should the guests be notified of a bomb threat, or when should the
evacuation process be initiated?

P a g e 16 | 150
‘PLANNING FOR AN EMERGENCY

Contingency planning should be done on the following lines:

Employee training Training in emergency procedures is essential to deal

with emergencies.

Emergency resources The name and telephone numbers of outside agencies

that may be of help during an emergency need to be listed and kept in a
prominent, accessible place.

Emergency checklists Each department head should develop a checklist

outlining the actions he/she must take in the event of an emergency.

Drills Fire emergency drills should be conducted periodically and it

should be mandatory for all staff to attend these in shifts.

Emergency response kit An emergency response kit containing guest

identification tags, a guest identification register, pens, legal note pads, folders,
paper clips, and so on should be kept ready and handy.

First-aid training and supplies A thorough training in first-aid procedures,

especially cardio-pulmonary resuscitation (CPR), should be given to selected
employees. All other employees should be trained in at least the basics of first
aid. A complete first-aid kit should be maintained at all times.

Transportation and housing Forward planning should be done for

transportation of guests in case their relocation is required in the event of an
emergency. Potential relocation sites should also be identified.

Contingency plan review The contingency plan should be reviewed by

people who are responsible for the prevention of losses.

Dealing with Bomb threats

As an example of dealing with emergencies, the procedure for dealing with a
bomb threat is outlined below.
Bomb threats may be delivered in writing or orally, in person or over the
telephone.
In case of a written threat in the form of a letter, note, or telegram, the message
and the envelope should be handled carefully and held only at the corners to
P a g e 17 | 150
preserve fingerprints and other evidence. Protect the document and the
envelope, and hand it over to the general manager. Inform the police of the
contents of the note.
If the letter is delivered by a messenger, detain the person for questioning by
the police, if possible. If the messenger has left the premises, the employee
accepting the note should immediately prepare a memorandum listing the
circumstances, the time the message was received, any known witnesses, and a
detailed description of the messenger.
In case the bomb threat was made orally, as in any employee becoming aware
of a bomb threat through a personal contact or by overhearing someone make
such a threat, the person should immediately convey the information to the
general manager in a discreet manner(so as not to alarm the guests). The police
should be informed promptly. The person issuing the threat should be kept
under observation, if possible, and the person’s physical characteristics noted.
These include the person’s height, weight, built, colour of hair and eyes, a
description of clothes and jewellery. And any other identification feature such
as a bread, scar, or limp. If this person leaves the hotel before he or she can be
stopped to determine his or her identity, record the mode of transportation and
the direction of travel. This may include a bus number, car rental company, the
automobile description- including the model, license plate number, and state-
and the number of persons in the car. These facts should be furnished to the
general manager immediately for communication to security personnel and the
police.
The most usual way in which a bomb threat is received is telephone. They are
usually received by the switchboard operators from a public telephone number.
The call is usually brief, so that there is no chance to trace the number.
Therefore, switchboard operators should record the information accurately in
order to provide the security and police personnel with as much documented
information as possible.
Housekeeping employees may also be a part of the search team looking for
unclaimed, unidentified, or unusual foreign objects that could contain a bomb.
All housekeeping employees should be aware of the evacuation plans explained
in the safety manual of the property and help in evacuation if necessary. In case
of an explosion, the employees should help out in the rescue process and
provide first-aid as required.

P a g e 18 | 150
 DEALING WITH TERRORISM
Steps and Precautions

In the recent past, terrorists have targeted hotels on several occasions,

worldwide. Marriott, Islamabad, and then Tel Mahal Palace and The Oberoi
Trident, Mumbai were targets and there were many casualties, both guests ad
hotel staff. Hotels all over the world are now striving to put anti-terror systems
and mechanisms in place.
Good housekeeping not only enhance the ambience of the hotel, it also reduces
the opportunity for placing suspicious items or bags and helps to deal with false
alarms and hoaxes. The following tips with regards to housekeeping can up
reduce the risk of planting dangerous material o hotel properties:
1. Limit the installation and use of litter bins around the hotel and ensure
that the few installed are checked and cleared regularly.
2. Procure litter bins which have small openings.
3. Review the location of litter bins. For instance, these should not be placed
near support structures.
4. Use of clear bags for waste disposal provides an easier opportunity for the
staff to conduct an initial examination for suspicious items.
5. Review the use and security of wheeled bins and metal bins to store
rubbish within service areas, good entrances, and near areas where guest
gather.
6. Keep public and communal areas- exit, entrances, reception areas, stairs,
halls, washrooms and service corridors- cleaned tidy
7. Keep the furniture in such areas to a minimum hence ensuring that there
is little opportunity to hide devices under sofas and chairs.
8. Lock unoccupied offices, rooms and storage cupboards.
9. Place tamper proof plastic seals on maintenance hatches.
10. Have in place an agreed procedure for the management of contractors,
their vehicles and waste collection services. The vehicle registration mark
of each vehicle and its occupant should be known to security in advance.
11. Ensure stringent checks on the people recruited to the department and
those on contract.
12. Set the procedure and train staff to identify and report suspicious activity.
Make sure the staff understand that security is part of everyone’s
responsibilities.
13. Formulate and maintain contingency plans dealing with bomb threats,
suspect packages, explosion, structural collapse, and evacuation.

P a g e 19 | 150
14. Have in place a communications and media strategy which includes
handling enquiries from concerned family and friends.
15. Planning should incorporate the seven key instructions applicable to most
incidents;

i) Do not touch suspicious items.

ii) Move everyone to a safe distance.
iii) Prevent others from approaching cordoned areas.
iv) Communicate safely to staff, business visitors, and the public.
v) Use hand-held radios or mobile phones away from the immediate
vicinity of a suspect item, remaining out of line of sight and behind
hard cover.
vi) Notify the police.
vii) Ensure that whoever found the item or witnessed the incident is
available to brief the police.
16. A staff pass system should be followed and a temporary pass system
should be adopted for visitors.
17. Screening of hand baggage by appropriate mechanical detectors should
be carried out for all mails and employees on entrance to the property.
18. All types of mails and parcels should be screened by detectors.
19. If the risk is from a vehicle bomb, basic principle is to keep all vehicles at
a safe place. Non–essential vehicles should ideally be kept atleast30
meters away from the building.
20. Consider using robust physical barriers to keep all but authorized vehicles
at a safe distance.
21. Good quality doors and windows are essential to ensure building security.
External doors should be strong, well-lit and fitted with good quality locks.
Doors that are not often used be internally secured.
22. Use toughened glass with anti-shatter film for windows and doors.
23. Have close-circuit television (CCTV) systems in place. It is important to
remember that CCTVs are effective only if they are properly maintained
and monitored.
24. Pruning all vegetation and trees, especially near entrances, will assist in
surveillance and prevent concealment of any packages.
25. All hotels and restaurants should have an uninterrupted power supply
(UPS) available and regularly tested.
26. The owners, management, and workers in the hotel should understand
the significance of the level of threat if known, since an attack may come
without warning.

P a g e 20 | 150
27. The security measures deployed at different response levels not should
be made public to avoid alerting potential terrorists about what the hotel
staff know and what they are doing about it. The three levels of response
which broadly equate to threat levels are outlined in table.

28. Have a proper first aid facility on premises.

29. Install and maintain sufficient and proper fire fighting equipment.
30. Vulnerable hotels should provide a booklet for safety to all guests with
the following point mentioned:

i) Do not answer the door in a hotel or motel room without verifying

the caller. If a person claims to be an employee, call the front desk
and ask if someone from their staff is supposed to have access to
your room and for what purpose.
ii) Keep your room key with you at all times and do not needlessly
display it in public. Should you misplace it, please notify the front
desk immediately.
iii) Close the door securely whenever you are in your room and use all
of the locking devices provided.
iv) Check to see that any sliding glass door or window and any
connecting room door is locked.
v) Do not invite strangers to your room.
vi) Do not draw attention to yourself by displaying large amounts of
cash or expensive jewellery.
vii) Place all valuables in hotel or motel’s safe deposit box.
viii) When returning to your hotel or motel late in the evening, be aware
of your surroundings, stay in well-lit areas, and use the main
entrance.
ix) Take a few moments and locate the nearest exit that may be used
in the event of an emergency.
x) If you see any suspicious activity, notify the hotel operator or be a
staff member.

P a g e 21 | 150
 ASSIGNMENT

Q1 WRITE DUTIES AND RESPONSIBILITIES OF A CRIME PREVENTION

COMMITTEE.

Q2 WHAT ARE DIFFERENT TOOLS FOR PLANNING FOR AN EMERGENCY?

Q3 HOW WOULD YOU PLAN FOR THE DEALING WITH BOMB THREATS?

P a g e 22 | 150
Q4 WHAT ARE THE PRECAUTIONS TAKEN TO DEAL WITH THE TERRORISM?

P a g e 23 | 150
 INTERIOR DECORATIONS
ELEMENTS OF DESIGN

These are primarily the visual components used in creating a design or a

composition. The elements that are basic to all visual design are line, form, color
and texture. These additional element; pattern, light, and space help to
complete it. Each of these basic elements is a well – defined and dissimilar
feature of every design. However the effect of each element is considered only
in connection with the other elements and the unit is judged as a whole. These
elements, if used according to the principle of design, can ensure a certain
degree of beauty in the final product.

LINE
This is a very important element in planning and furnishing. It is the most basic
design element. Before the artist begins to paint, he or she must establish the
direction of the lines of a painting on the canvas or paper. The artist combines
horizontal, vertical, diagonals, and curved lines until the affect is pleasing to the
eye. Likewise, the architect and the interior decorator must organize and
combine lines before they can create beauty in a building or in an interior design.
Lines have positive emotional significance depending upon their direction and
their quality. In any interior, a combination of four types of lines listed above is
generally seen, each having their own influences. Certain associations may be
made between man and the lines based on the position his body takes in
different actions.

Vertical lines when standing, a human being is perceived as attentive and

ready in act. Hence, vertical lines suggest steadfastness, sturdiness, or an
upward aim. These are masculine in effect – severe, strong, direct, disciplined,
and militaristic. They create a feeling of height. In hotels, the vertical lines of
doorways, pillars, columns, draperies, furniture give the necessary strength
and height to rooms.

P a g e 24 | 150
 The use of elements such as line, form, texture, color, pattern, light,
and space

According to the principles of proportion, balance, emphasis, rhythm,

repetition

Leads to the goal of beauty, expressiveness, and functionalism

Horizontal lines when human being lies down, he or she is perceived as resting
or sleeping. Therefore, the horizontal line naturally suggests rest, repose, or
steadiness. These lines give solidity and a down – to – earth feeling. They
suggest tranquility, serenity, relaxation. They help to break the effect of the
vertical lines carrying one’s eyes upward. In hotels, the horizontal lines of
tables, sofas, and other furniture complements the severely vertical lines in
other parts of an area.

Diagonal lines when running or moving things, the human body is often in a
diagonal position and therefore diagonal lines suggest movement and activity.
These are lines of action disturbing the discipline of straight line and the solidity
of horizontal lines. Forward – slanting lines (sloped rightward at the top) suggest
‘push’ and backward – slanting lines (tops leaning of lift) ‘pull’ diagonal lines are
also suggestive of sophistication and refinement, and hence arouse interest. In
hotels diagonal lines appear in staircase and sometime in curtains, draperies,
and wallpaper.

Curved lines in relaxation, the body takes the curved position. Hence, curved
lines indicate flexibility and grace. These lines are feminine in effect, graceful,
subtle, carefree, youthful, and joyous. In hotels, curved lines may form a
transition between the abrupt joining of vertical and horizontal lines, such as
those formed by tied back curtains arches, and the graceful curve of furniture.

P a g e 25 | 150
The term ‘form’ is applied to three – dimensional area and the objects, whereas
‘shape’ may refer to a two – dimensional one. Hence we have a triangular shape
and a pyramidal form or a cuboidal form with a square shape without the beauty
of good texture, color or decoration can be of no use. However, a particular chair
is not well designed unless it accommodates itself to the human form of an
object should thus will suit its function.

The word texture refers to the tactile quality of the surface of any object or area
it refers to the surface quality - how something when we touch it and how it
behaves when light strike it. Two basic categories of are tactile and visual.
Tactile or actual texture can be felt by hand – be it rough like unglazed brick or
smooth like velvet. Visual or ‘illusionary’ texture may be absolutely smooth to
touch, but gives the impression of texture.Texture plays a very important part
in interiors because it affects the quality and quantity of light reflected by the
surface. Some terms used to describe textures are listed below:

Blistered, Bubbly, Corrugated, Crepe, Crinkly, Course, Crystalline, Delicate, Dull,

Feathery, Filmy, Fine, Firm, Flexible, Foamy, Frilly, Glassy, Glossy, Granular,
grooved, hairy, lacy, leathery, marble, mesh, metallic, mossy, perforated, pitted,
polished, porous, powdery, prickly, reticulated, ribbed, rocky, rough, rubbery,
sandy, satiny, scaly, shirred, silky, smooth, solid, spongy, striated, stiff, stratified,
thorny, uneven, velvety, wavy, waxy, woody, wooly etc.

COLOR
The appeal of color is universal. Color is the impression received by the brain
from certain stimulations of the retina in the eye. Its perception occurs because
objects reflect or transmit light that enters the eye. Light rays that vary in
wavelength and rates of vibration produce different colors. Daylight, although it
appears as ‘white’ light is actually composed of violet, indigo, blue, green,
yellow, orange, and red colors of light.

PATTERN

This refers to any sort of surface enriched and applies to both two – dimensional
and three – dimensional objects. A large room can support more patterns than
P a g e 26 | 150
a small one pattern used may be naturalistic, stylized, geometric, or abstract.
Generally, pattern should cover just above a quarter of the total surface area. If
walls and carpets are plain, then draperies and upholstery may be patterned.

Light
When lights strikes an object, it may be reflected, absorbed, or allowed to pass
through light has a functional as well as an aesthetic effect. Light may be dull or
sharp, bright or diffused. The way light is used in interiors has a definite
emotional effect on the minds of the occupants of a space.
• Bright light energizes us and tends to foster either hard work or energetic
play.
• Subdued light makes feel relaxed, but if too subdued, may put us to sleep.
• Too brilliant light often causes us to look away in physical and emotional
distress.
• A bright focused light can make one feel ‘ in the spot light ‘
• Flickering light as from a fire place nearly always draws people towards it.
• Strong contrast of bright and dark seem dramatic, but if they are to extreme
can be tiring.
• Warmed colored light seems to be cheerful and welcoming.
• Cooled colored lights are more rest full.

SPACE
This is among the most important elements of interior design. The organization
of space is basic to architecture and interior decoration. Unless a space is
thoughtfully planned nothing else will seem quite right. Almost any space if
sensitively handled can be made effective, livable, and even dramatic. A scene
of beauty of a space makes us want large undecorated walls and floors can be
bound together by other elements without disturbing the effect. The
appreciation of good spacing is the reason we may use the minimum amount of
furniture and concentrate then in groups so that we can have empty, silent
spaces in the room. Today, the trend is for space to become freer and less
obstructed. Indoor spaces can be opened up by means of fewer partition and
large openings between rooms. Indoor spaces can also be connecting with the
limitless outdoor spaces by means of glass walls, large opening and porches.

P a g e 27 | 150
 PRINCIPLES OF DESIGN

The principle of design helps one in determining the quality of a design to assess
whether it is artistically good or poor in appearance. While using basic element
of design or at we should keep these principle in mind. The principle of design is
proportion, balance, emphasis, rhythm, and harmony.
PROPORTION
The principle of proportion is also called the law of relationship. The principle of
proportion underlines all other principle of design. It states that the relation
between parts of the same thing or between different things of the same group
should be aesthetically satisfying. It deals with relationships of size, shape, color,
light, texture and pattern. In order to achieve design and arrangements that will
hold interest, one must know how to create beautiful relationships within and
around a space. Some typically complimentary proportion includes the
following:

THE GREEK OBLONG The ancient Greeks striving for beauty arrived at the point
where they tried to achieve good proportion nearly everything they created.
Among the rules that they evolved was the oblong that they used as the basis
of space divisions, called the golden oblong or the Greek oblong. The Greek
oblong measures two units on the short sides and three on the long side. Its
proportion is considered than a completely symmetrical shape like a square.
The Greek oblong has since being the recognized standard for space
relationships through much of western civilization.

SCALE another important aspect of proportion is scale. A person who must

select and arrange things to look good together must develop a sense of scale.
In order to judge what sizes must be grouped must develop a sense of scale. In
order to judge what size must be grouped together successfully, it is necessary
to grasp the underlying significance of scale. Pleasing scale requires that
• The size of all the elements making up the structure have a consistent,
pleasing relationship to the structure and to each other; and that
• The size of structure is in pleasing proportion to the different objects
combined with it.

P a g e 28 | 150
BALANCE
Also known as equilibrium, balance is a condition of rest or repose. Though
balance, we get a sense of equipoise. This restful effect is obtained by grouping
shapes and colors around a center or pivotal point in such a way that there are
equal attractions on each side of that center.
Balance can be understood well if one understands the principle of the
see- saw, as the both work on the same principle. Equal weights will balance
when they are at the same distance from a center of a see – saw. If unequal the
heavier wait must be moved towards the center and the lighter wait away from
it for balance to be achieved (by the laws of fulcrums). Balance in design and art
is not the same as balance in weight but is conceived in terms of the amount of
attention each element attracts and can be treated in the same way. That is, the
more imposing object must be further from the center than the less imposing,
the larger further than the smaller, and so on. The classification of different
types of balance is given in figure:

BALANCE

FORMAL INFORMAL OR RADIAL

ASYMMETRICAL

SYMMETRICAL BI - SYMMETRICAL

FORMAL BALANCE

The Centre of the space under consideration is the pivot around which
attraction must be adjusted. When objects are alike or are equally forcefully in
appearance and attraction they are placed equidistant from the Centre, the
result is a symmetrical formal balance.

P a g e 29 | 150
BI-SYMMETERICAL FORMAL BALANCE

When object are not alike but are equal in their power to interest and attract,
the result is a bi-symmetrical formal balance.

INFORMAL/ASYMMETERICAL BALANCE

This is also referred to as active balance or occult balance. Asymmetry results

when the visual weight of two objects do not attract the same amount of
attention and so they have to be placed at different distance from the Centre.

Radial balance

This is the type of balance that grows out of a central point or axis. It may be
observed in the diverging lines that form the pattern of spokes in a wheel,
the petals of flowers and so on. Here, all parts are balanced and repeated
around a center. Its chief characteristic is an impression of circular movement
out from, towards, or around a center.

Emphasis

This is the design principle that directs us to create a point of interest such
that the eye is carried first to the most important thing in any arrangement
and from that point to every other detail in order of importance. Whenever
any object is selected or arranged with reference to its appearance, the
principle of emphasis is used, and the success of the result depends upon the
knowledge of what to emphasize; how to emphasize; how much to
emphasize; and where to place emphasis.

What to emphasize?

A definite plan should be made by classifying the materials and arranging

them according to importance, starting from the most important and moving
towards the least. The background should of course be less conspicuous than
the objects to be emphasized which are placed against it.

P a g e 30 | 150
How to emphasize?

There are several means by which one may create emphasis and the most
important of these are as follows:

By placing together or grouping The objects grouped together thus must

have some common characteristics or similarity so that the group does not
create confusion in the mind of the observer.

By use of contrasting colours The eyes are equally attracted by contrasts of

light and dark and by contrasting colours. One of the most striking means of
calling attention to any object is to place it against a background with which
it contrasts. However, note that an arrangement that has equal amounts of
light and dark can be very confusing. A good composition would be a dark
scheme accented with light or a light scheme made interesting through dark
notes.

By having sufficient background Usually plain walls are preferred as the

details of the objects placed against them can then be properly observed.

By using unusual elements Emphasis can also be achieved by the use of

unusual lines shapes, colours, or sizes to heighten the effect.

How much to emphasize?

The emphasis should be properly distributed. The designer has to decide the
amount of plain and patterned spaces to use and where and how to
distribute them. Centre of interest should be limited by directing prominence
to one center and making other centers less prominent.

Where to place the emphasis?

The degree of importance to be given to different parts of the area should be

decided central positions should be made more conspicuous. It also helps if
central areas are placed with less important ones.

RHYTHM

This is a major design principle, through which an underlying unity and

variety can be achieved. Rhythm is movement. All movement in design is not,

P a g e 31 | 150
however, rhythmic. Sometimes movement is distracting. In designing,
rhythm implies an easy connecting path along which the eye may travel. It
may also be called 'related movement'. If one observes a plain surface, there
is usually no movement in it. The eye remains quiet and stops at any point
where it happens to fall. But the moment a picture or an object is placed
against it, the eye starts moving in the direction of the lines suggested in the
pattern they make together. At that moment, movement is created. Such a
movement may either be organized and easy, that is, rhythmic; or it may be
restless and distracting, that is, lacking in rhythm. There are three
outstanding ways of developing rhythm in interiors.

Repetition of shapes The principle of rhythm as it is gained through

repetition is recognized when one is conscious of the swing of a beautifully
spaced, regularly repeated pattern in any decorative design. When a shape
is regularly repeated at proper intervals, a movement is created that carries
the eye from one unit to the next in such a way that one is not conscious of
separate units but of a rhythmic advancement, making it easy for the eye to
pass along the entire length of the space.

Progression of sizes Progressing sizes creates a rapid movement of the eye.

Progression can be created by increasing or decreasing one or more of the
object's qualities. It is known as an 'ordered' or 'systematic change'. It lays
stress not only on movement, but also by channeling movement towards a
goal, makes it livelier and more dynamic than repetition. It is usually more
easily applied to accessories than to large pieces of furniture. Gradations of
colour are also used in some fabrics so that the eye will travel from the more
dominant one to the more subdued.

Continuous line movement Lines compel the eye to follow the directions
they take. This powerful quality may be employed in various ways to control
the movement of the eye. The design of a room is usually composed of many
different lines, but a predominance of one type will cause the eye to move in
that direction. Borders and chair rails are simple ways to introduce
continuous lines. Wallpapers, fabrics, and rugs frequently have a dominant
line direction that can be employed to create rhythmic movement.

P a g e 32 | 150
Harmony

This is the fundamental requirement of any piece of work in which

appearance as well as use must be considered. Harmony is the most
important of all the principles of design. It is the design principle that
produces an expression of unity through the selection and arrangement of
discrete objects and ideas. Harmony has five aspects:

Harmony of line and shape This, in turn, can be of three types:

• lines that follow or repeat one another;

• lines that contrast with one another; and

• transitional lines that soften or modify the others.

In producing a harmony of shapes, there should always be an effect of

organization. Large objects and large items of furniture should be placed to
follow the boundary lines of the enclosing shape and smaller pieces placed
at other corners.

Harmony of size When sizes that are too different are used together, they
appear inconsistent. The aspect of proportion called 'scale' is allied to
harmony. The understanding and application of the principles of proportion
will assure the harmony of sizes.

Harmony of texture Coarse and fine materials used together do not give a
harmonious effect and so should be avoided.

Harmony of ideas It is not enough that sizes, shapes, and textures have
something in common; there must be harmony in the ideas presented
together. Things that may appear appropriate in a royal suite would be
distinctly out of place in a cottage setting. Rich period furniture needs a
formal setting. It should be understood, however, that itis not necessary to
have such an association of ideas in order to have harmony.

P a g e 33 | 150
Harmony of colors Color combinations giving the most pleasure is likely to
be those possessing harmony or unity. They give the impression that all the
colours really belong together.

P a g e 34 | 150
 COLOUR
The study of colours may be approached from any of the five angles, that of
physiologists, chemists, physicists, psychologists, or people who work with
pigments. Of the many theories of Colour (in pigment form), two are in common
use. These are generally known as prang system and the Munsell system. Of the
two, the Prang colors more frequently followed in interior decoration. These
systems are discussed later in the chapter

DIMENSIONS OF COLOUR

There are three properties or qualities that may be called dimension of colours
these are just as distinct as the length, breadth, and thickness of an object.

HUE This term indicates the name of the color such as red, blue, green etc. the
colour of an object is determined by the wavelengths of the 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
color in the general term and hue is a specific term referring to definite
identifiable colors.

VALUE This describes the lightness or darkness of a colour. There is a total of

nine values, ranging all the way from white to black. White is the highest value
and no hue can be as like 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 decrease 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.
P a g e 35 | 150
WARM AND COOL COLOURS One of the most important factors of colour 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 colours to the left represent the warm colours. The colours to the right
represent cool 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 bright sunlight, a cool atmosphere is desirable
.in any color scheme, either the warm or cool colors should dominate, equal
amounts of each being an unpleasant result.

P a g e 36 | 150
\

P a g e 37 | 150
P a g e 38 | 150
P a g e 39 | 150
P a g e 40 | 150
P a g e 41 | 150
 ASSIGNMENT

EXPLAIN THE TERMS-

1) HUE-

2) TINT-

3) SHADE-

4) WARM AND COOL COLORS-

5) CONTRASTING COLORS-

EXPLAININ BRIEF

1) What is color harmony? Explain?

2) Explain planning a color scheme of a room?

P a g e 42 | 150
 WINDOW AND WINDOW TREATMENT

Window has four practical functions. They admit air, light, vision and people to
varying degrees. Their design may hide, improved, or accentuated by treatment
such as curtains, draperies shades and so on.

STRUCTURE OF A WINDOW

The component part of a typical window is shown in figure. Window consist of

a wooden frame around the type and top edges and this fixed part of window is
called a casement or frame. it is designed to hold the sash which is a wood or
metal frame that hold the glass and is usually movable. the sills form the base of
the window on which the casement rest. The strip of wood sometimes placed
underneath the sill for support is called the apron.

P a g e 43 | 150
P a g e 44 | 150
P a g e 45 | 150
 TYPES OF WINDOWS
FIXED WINDOWS these are meant for providing light and a view.

MOVABLE WINDOW these combine the function of providing light and a view
with ventilation.

Today we often find a combination of the two type in one unit. The basic
window designs are as follows.

DOUBLE SASHED WINDOW this type of window has a sash that can be pushed
up and down. Since the part with the glass pane is only half the size of the
window frame half of the window will always be left open. This window must
be placed such that robbers do not have easy access to it.

PIVOT WINDOW they are made up of several glass panes set in a wood work
or metal frame. They are typically used for cross ventilation purpose. Such a
window may have one pane that pivots to the side or they may all be fixed.
They provide very good light and ventilation.

SASH WINDOW they are also called double hung window. they consist of two
glass panes both of which may be opened independently.

GROOVE TOP WINDOWS these are really made of two window panes that can
slide across each other.

SEMI CIRCULAR RIBBED WINDOW these are typically found on top of a

doorway or a large rectangular window. They are used for decorations and
cross ventilation.
P a g e 46 | 150
PALLADIAN WINDOWS these are windows with an arched tops. To treat such
shapely windows flow with the curve or bend with the angle or best of all leave
them untreated.

Different DALHOUSIES these are windows provided with plantation style

shutters.

P a g e 47 | 150
P a g e 48 | 150
P a g e 49 | 150
P a g e 50 | 150
P a g e 51 | 150
P a g e 52 | 150
P a g e 53 | 150
P a g e 54 | 150
P a g e 55 | 150
 TYPES OF WINDOW TREATMENT
Stiff window treatment soft window treatments

• BLINDS - CURTAINS
• SHADES -DRAPERY
• SHUTTERS -VALANCE
• SCREENS - SWAGS

STIFF WINDOW TREATMENTS

There are many type of covering apart from curtain that can be used on
windows to ensure privacy and block out light.

A) BLINDS: blinds are of following types:

ROLLER BLINDS: these let in plenty of lights when drawn up. rollers blinds are
made up of thick fabric used in conjunction with rollers.

ROMAN BLINDS: these are made of fabrics attached to chords. When the cords
are pull the blind rises up in accordion pleats to form a pelmet. They are heavier
and warmer than roller blinds.

P a g e 56 | 150
VENETIAN BLINDS: these actually originated in china contrary to the name. They
are made up of parallel slats of wood metal or plastic aligned horizontally or
vertically. They are usually low in price and some custom designed blinds come
in different colour and pattern. The version with very thin slats can have
different colours on each side. The thin slatted and vertical versions do better in
this respect.

PINOLEUM BLINDS: these are an inexpensive covering for large windows. They
work on the same principal as the venetian blinds except that they close across
the window rather than down. They may be mounted on a spring operated roller
or moved up and down by cords.

BALASTORE BLINDS: these are inexpensive blinds made of strong paper fibre. It
is accordion pleated to act like a folding blind. Balusters are perforated with
small holes to let light through without glare.

PLEATEX BLINDS: they are made from stronger paper than balusters and have
smaller pleats. The paper gives privacy but let sunlight through which is filtered
and tinned the colour of the paper. The four most common colour are orange
green blue and parchment (natural).

AUSTRIAN BLINDS: these are ruched fabric. They may be used partially raised
and when fully raised they form a decorative pelmet. They are used in banquet
halls and large lobbies for a sumptuous effect.

B) SHADES

Shades may be of following type:

BAMBOO AND WOOD WOOVEN SHADES: these were once considered rustic
and informal. They are available in different weaves now a day. Slatted shades
have an advantage in that they let through some light and air and allows
outward only visibility in the day time. They block the inward view at the same
time depending upon the tightness of weave or the size of slats. It should be
remembered that this one way vision is reversed at night when indoor lights are
on

FABRIC ROLLER SHADES: these are inexpensive and can be flexibly adjusted to
cover as much of window as required at a particular time. These shades are
P a g e 57 | 150
available in many shades colour, texture, pattern although neutral white or off
white fairly smooth fabric are the standards.

Provenance roman shades- this is a broad list of hard window treatment. There
are new styles coming out all the time. Hard treatments are available as stock
items found in home improvement stores, or can be custom made to order.
Stock merchandise comes in standard sizes, and custom made treatments can
be made in any size.

Window shades- shades are a piece of fabric which rolls, stacks or folds, opening
to a view only when the shade is rolled up. Though there are now certain shades
that do allow you to see out to the view. Below are two examples of window
shades, the first is a cellular shade which stacks up in a small pleats, and the
second example is of some Provenance woven roman shades from Hunger
Douglas that I did for a client home.

3)SHUTTERS – A window shutter is a solid and stable window covering usually

consisting of a frame of vertical stiles and horizontal rails. Set within this frame
can be louvers, solid panels, fabric, glass and almost any other item that can be

mounted within a frame. Shutters may be employed for a variety of reasons,

including controlling the amount of sunlight that enters a room, to provide
privacy, security etc.

4) SCREENS

These are in the form of hard board panels with cut out panels of fabric
stretched across the wooden frame. These are now tracks that allow screens to
be moved to one side one when an unrestricted view is desired. The most
popular screens now a days are shoji screens.

SHOJI screens are traditional Japanese screens for which modern interior have
a natural affinity. They were originally made of rice paper mounted on a wooden
frame coated with black lacquer but they are now available in translucent plastic
material.

P a g e 58 | 150
P a g e 59 | 150
P a g e 60 | 150
P a g e 61 | 150
P a g e 62 | 150
P a g e 63 | 150
P a g e 64 | 150
 SOFT WINDOW TREATMENT

Soft window treatment comprises curtain, valence, swags etc. curtain often
contribute more to the atmosphere to the room than any other item of
furnishing. Plain heavy curtain falling down on the floor can be used to create
formal setting. Apart from creating desired atmosphere curtain gives flexible
control over privacy, heat, light, and to some extent noise.

• Curtain fulfil several important functions:

• They give flexible control over privacy, heat and light.
• They soak up noise in proportion to the area they cover the thickness of
the fabric and the depths of the fold.
• They can add colour and pattern to décor.
• They cover bareness and furnish a room even without furniture.
• They can change the apparent size of a room or conceal architectural
flaws.

P a g e 65 | 150
 TYPES OF CURTAINS
DRAPES/ OVER CURTAINS: draperies refer to loosely hung soft furnishing.
These are made of heavier fabrics and may be lined. The heading is usually

pleated. Draperies can be decorative, as well as providing privacy, darkening

a room and insulating it against the cold. They may be used in following ways:

PANEL DRAPES: These cover only the side of a window area.

STRAIGHT HUNG DRAPES: these can used with a valence or a cornice but the
window will seems taller without a decorative heading.

SASH CURTAINS: these are a type of glass curtains hung on the window sash.
They can be stretched taut between rods along the tops and bottom of
window sashes or hung in loose folds.

COTTAGE CURTAINS: these are a combination of the café curtain and tie back
styles.

TIER CURTAINS: these are double decker café curtains.

ROLL UPS: these are shades made up of sturdy fabrics and lined with
contrasting fabrics. The shades can be rolled and unrolled to the desired
position and held in place by means of a sash. When rolled up the contrast
coloured lighting and top fabric are shown off together.

FOLD BACKS: these are made up of set of two double sided shades hung
across the entire width of the window on double curtain rods. They are then
folded back to expose the contrasting under panels and panel is tied back.

P a g e 66 | 150
P a g e 67 | 150
P a g e 68 | 150
P a g e 69 | 150
 CURTAINS HEADINGS AND ACCESSORIES-

1. PELMETS AND CORNICES: cornices are box like shapes used at the top
horizontal portion of the drapery treatment to hide the poles and other hard
ware. They are generally 4 to 7 inches deep. The width of cornice of a cornice
should be a little less than one eighth of the overall length drapery. They may
be of wood plastic or mirrored glass. Wooden cornices may be finished in
their natural colour painted in some other colour or covered with cloth, cork,
leather. Sometimes the covering is covered in brass nails.

P a g e 70 | 150
2. VALENCE: these are made of fabrics that have been pleated, scalloped, or
ruffled. They should never exceed one sixth of the windows height and
should be about 8 to 12 in inches in depth. The width of lambrequins should
about a seventh of the length of floor length drapery.

3. SWAGS AND CASCADES: swags are decorative drapery treatment meant to

hide the curtains headings and usually taper to a cascade. These loop and fall
luxuriously over a curtain pole ending in elaborate tale. Headings of these
types are appropriate for large formal room with high ceilings. They tend to
look so heavy in small or average sized room. The depth of the swag at the
center after it has been draped should be about one seventh of the drapery
length or one seventh of the drapery length or one seventh of the distance
between the top of the frame and the floor. The width of the cascade at the

P a g e 71 | 150
 top should coincide with the width of the drapery when hung. The length of
the cascade should 2 to 3 inches its finished width.

4. DRAPERY CRANES: these are appropriate hard ware to use where installation
have to be flexible. On French windows or swinging casement windows this
type of drapery rods with its hinged bracket allow the free edge to swing
away from the door or window with the casement.

5. TRAVERSE AND DECORATIVE RODS; they are used in conjunctions with

runners which are hooked onto the curtain. They come in many types. The

conventional traverse rod used with classic pleated draperies that pull away
from the center to either side of the window. Ideal for corner windows one-
way traverse let one pull the drapery back to either side of the windows
double traverse rods let one hang two pair of drawn draperies and open and
close each pair independent of the other. A triple may be used to hang two
pair of drapes topped with valences. Traverse and plain rods allow one layer
to other drawn draperies over a shirred curtain as well.

P a g e 72 | 150
P a g e 73 | 150
P a g e 74 | 150
FINISHED WIDTH: measure the entire span of the rod. Add allowance for return
and overlap. Double the width of tab tops and triple it for sheers. add a side hem
allowance. To achieve the finished width it may be necessary to join one or more
fabrics width it may be necessary to join one or more fabric width. To arrive at
the number of such panels required divide the total width. To arrive at the no of
total panels required divide the total width by the width of the fabric.

If the fabric design is large and has to be matched add one extra motif for each
length required .it is better to be generous than too exact.

P a g e 75 | 150
1) Window consists of a wooden frame around the side and top edge, and
this part of the window is called, a casement or frame.
2) It is designed to hold ‘sash’- which is a wood or metal frame that holds the
glass panes and is usually movable.
3) The ‘sill’ forms the base of the window, on which casement rests.
4) The strip of wood sometime placed underneath the sill for support is
called the apron’.

P a g e 76 | 150
P a g e 77 | 150
 ASSIGNMENT
1) WHAT IS SASH WINDOW?

2) WHAT IS BOW WINDOW?

3) WHAT IS THE DIFFERENCE BETWEEN BAY WINDOW AND BOW WINDOW?

P a g e 78 | 150
4) WHAT IS WINDOW? EXPLAIN ANY 10 TYPES OF WINDOW?

5) EXPLAIN –
a) WINDOW TREATMENT-

b) BLINDS-

6) EXPLAIN STIFF WINDOW TREATMENT?

7) DIFFERENCE BETWEEN STIFF AND SOFT WINDOW TREATMENT.

P a g e 79 | 150
 LIGHTING
Lighting has become an important element of interior designing. Worldwide
interact in illumination, a gathered momentum in early 20th century. Today,
there is a vast range of light in myriad colors, which are used both aesthetically
and innovatively un any interior.

A key role in creating bright atmosphere within an area. It should be decorative

as well as functional. It should contribute to character and atmosphere of a
room. To achieve the right lightening in an area the direction and quantity of
light in any area, the direction and quantity of light must be chosen for the right
effect and function. The unit of illumination is LUX.

Types of Lighting

• Natural Lighting – It is freely available and not involving any expenditure,

without much power consumption. The disadvantage is that it does not
light up the room uniformly and is not constant. There are 3 types of light-
sunlight, candlelight and fire.
• Artificial Lighting – this is done with the help of incandescent or
fluorescent bulbs:
1) Incandescent lighting- a tungsten filament is sealed in a glass bulb,
which when heated to a point begins to glow. The filament is in the
form of a coiled wire that is very thin and stretched tight. The glass
used is made of standard lime glass or heat resistant, borosilicate glass
, which permits high voltage to be used. Some bulbs are flushed in acid
solution inside of the bulb to make it frosted.
2) Fluorescent lighting- it consists of a sealed glass tube that contains a
small amount of mercury and argon gas and electrified at each end.
The inside of the tube is coated with a fluorescent material like
phosphorous. When an electric current is sent through the tube the
mercury vapor gives out ultra violet light that is converted into visible
light by phosphorous.

Depending on the manner in which the light rays are divided, it can be
classified as:

P a g e 80 | 150
o Direct Lighting – Rays of light fall directly from the source onto the work
surface. This effect is obtained by pointing the light downward. Work
surfaces and decorative elements such as art, plants, and precious artifacts
need direct lighting. Mural appliances, work or reading lamps and rail
spotlight lighting are examples.
o Indirect Lighting – The rays of light are first directed towards the ceiling or
wall and the reflected onto the area where light is required, eg- lights in
bedroom. Direct lighting must be combined with indirect sources of light
that produce broader lighting such as chandeliers, ceiling lamps and in-built
lamps. Since the light is projected towards the ceiling, color will have an
effect on the lighting intensity. On a white ceiling, the reflection will be
stronger than on a ceiling painted on a darker color.
o Diffused Lighting – The light source is concealed or covered and the rays of
light are scattered throughout the area.
o Semi-Direct Lighting – Part of light falls directly on the area while part is
directed upwards and then reflected back. It allows one to create a
particular ambience. Secondary, lamps, side table lamps and all lamps with
shades that project 40% of their light towards the ceiling and 60% towards
the floor. E.g.- side lamps are sources of semi- direct lighting

P a g e 81 | 150
Difference between Incandescent Lighting and Fluorescent Lighting

Incandescent Lighting Fluorescent Lighting

• Can produce glaze and
shadows.
• Produce more heat
• Can soil the wall and
ceilings.
• Installment cost is low.
• Efficiency is low
• Consumes more electricity
• Produces less light
• Intensity of bulbs can be
changed by changing the
voltage of bulb
• Is used for decorative
purpose
• Used with decorative
lampshades.
• Does not give much shadow
• Produces one fifth less heat
• Does not soil much
• Installment cost is higher
• Efficiency is high
• Consumption is less
• Produces more light
• Very few varieties available
• Is used for task lighting and
lighting general area.

CHOICE OF LIGHTS

• FUNCTION- The type of work to be performed. E.g.- cleaning, etc.,

determines the type of light to be used.
• SAFETY- A light source is important in stairways, lifts and elevators in
order to avoid accidents
• IDENTIFICATION- It is used to focus on pipes carrying hot water and
steam.
• BEAUTY AND DECORATION- Lights are used for decorative purpose to
improve the eye appeal of objects especially when the light is focused on
sculptures, paintings, etc.
• WARMTH- A light source is used in kitchen above the counter in order to
keep plates and dishes warm.

P a g e 82 | 150
 CLASSIFICATION OF LIGHTS

• EMERGENCY LIGHTING- A few lights get switched on automatically when

there is a power failure so that accidents are avoided.
• SAFETY LIGHTING- The lighting system on staircases so that people do not
trip when moving from one level to another. Light is focused on each step
and in crowded areas.
• EXTERIOR LIGHTING- This is used to light up the outside of a building so
that it is visible from far. It is used in heritage buildings and for advertising.
• GENERAL LIGHTING- The sufficient light for someone to watch TV or walk
safely through a room or public areas like a lobby or corridor. This is done
through ceiling or wall fixtures or track lighting. This light tends to
distribute itself throughout the entire space creating very little shadow. It
is not good enough to see details or for reading. One may or may not be
aware of the light source as it is usually along eye level. General lighting is
switch operated and is used to illuminate a room. Ceiling fixtures installed
in common rooms and bedrooms fall in this category. It is of 4 types:

A. PENDANT LIGHTING- Hanging lamp, fixtures used to illuminate a certain

task or area. They are adjustable light fixtures used in reading rooms,
kitchen and computer rooms.

B. TASK LIGHTING- A direct beam of light that illuminates a particular area

used for specific task. It includes high quality lighting fixtures including
wall sources, bathroom track lighting and ceiling pendants.
E.g.- task lighting can be a beam of light directed towards the reading
area, sewing area, desktop, ranges, play tables, kitchen sink, and
computer area. Adjustability is important to this lighting. Good task
lighting entrances, clarity and allows one to see clearly.
C. ACCENT OR SPOT LIGHTING- It accents curtain art pieces, major furniture
or other objects and area that provide a sense of drama. The spread,
intensity and color of the beam are often crucial consideration for accent
lights. Anything that is a focal point or should be noticed should have a
P a g e 83 | 150
 accent lighting. It is used mainly for decorative purposes. It is used to
highlight painting and sculptures and recessed areas.
D. SKY LIGHTING- These lights can be adjusted according to the time and
climate. They have a centrally located control panel, switches, knobs and
dimmers and are very popular. The control panel is generally located in a
small hidden area and the lighting for the entire area can be controlled
from there.

METHODS OF LIGHTENING

ARCHITECTURAL LIGHTING
a) Valence – horizontal fluorescent tube placed behind a plant pelmet
casting light upwards the ceiling or to a wall which then falls on the
drapery.
b) Cornice – These installed in a ceiling or were (in the ceiling) so that the
light is directed downwards.
c) Core – a series of fluorescent lights placed in the groove of the wall. 30
cm below the ceiling
d) Soffit – this is a lamp built onto the ceiling, most commonly in use on
stairways, it refer to a built in light sources.

NON - ARCHITECTURAL LIGHTING

- Ceiling and wall fixtures

- Portable lamps

TYPES OF LIGHT FIXTURES

1. PENDANT LIGHTS
2. FLOURSCENT TUBE – used mainly for a general task lighting eg. Dining
rooms, staff cafeterias
3. SWIREL LIGHT – adjustable lamps fixed on water they are good for bedside
lamps.
4. DESK LIGHTS or ANGLE POISE – used for task lighting. It is portable and
the angle is adjustable. Used for desktop or table lighting

P a g e 84 | 150
5. FLOOR LAMP or STANDING LAMP or COLUMN LAMP – it is placed near the
seating arrangement for reading purpose.

FACTORS IN SELECTING/PLANNING THE LIGHTING:

Whether you're planning your own lighting scheme or employing a
lighting engineer, familiarizing yourself with the sorts of things that are
likely to affect your lighting is a great idea. Being informed about how
lighting works will also help with the most fundamental parts of the way
your area is designed.
Below is a list of some of the things that need to be taken into account
when planning your lighting design:
Considerations
• Purpose – The activities that are carried out in specific areas of the
house will determine what sort of lighting should be implemented.
• Size – The size of the room dictates how many fittings will be required
(or how much daylight is required) to light the room sufficiently for the
purposes it's required for.
• Positioning – Where lights are placed, whether they're directional or
diffuse, how they're arranged and how they're spaced all makes a
difference to the light in your home.
• Type – Different types of light globes perform very differently, and not
all globes are ideal for all situations.
• Surfaces – Walls, furniture, carpet, ceilings and mirrors all reflect light
in different ways.
• Decoration – Lighting is pivotal to the way objects and aspects of an
area are emphasized and portrayed.
• Efficiency – A carefully planned and efficient lighting system can save
you a small fortune in the long run - and is more or less a necessity
with the new lighting restrictions in place! LED globes and CFLs are far
more efficient than the halogens and incandescent globes of
yesteryear - but it's important to understand that they don't always
give off the same light either.
While it’s tempting, simply choosing to put halogen downlights
everywhere isn’t the answer anymore. A proper lighting plan can be a

P a g e 85 | 150
 critical feature of your area, and doesn't need to be expensive – you
just need to be aware of your options.

DIFFERENT LIGHTS USED IN DIFFERENT AREAS of HOTEL

GUEST ROOM:
- Entrance lighting
- Bedside lighting
- Dressing table, fluorescent light, bathroom light, top of sink, table lamp,
valence, pendant lighting.
- Chandeliers for dining table

RESTAURANT:

- Tube lights are not used as they have a very strong lights
- Lighting used should be planned on décor and theme of the restaurant.
Pendant lights should be used.
- There has to be general lighting, which could be ceiling lights or
chandeliers.
- A spotlight should be used to direct light on the food and buffet table or
on a floral display.
- Semi – indirect lighting could be employed with the use of translucent
lampshades.
- Light may be directed on a painting or statues.
Lighting has become an important element of interior designing.
Worldwide interact in illumination gathered momentum in early 20th
century. Today, there is a vast range of light in myriad colours, which are
used both aesthetically and innovatively in restaurant.
In restaurants, artificial lighting is more utilized than natural
lighting. Lighting in restaurant should be functional as well as decorative
and it should contribute to the theme of restaurant. Good lighting should
be used keeping in mind the glare aspect. Lighting has a definite
emotional and psychological effect as light is stimulating whereas
darkness is depressing.
The shadow element should not be ignored. Shadows are an
important decorative factor I restaurants, and can be utilized effectively
for emphasis in front of the door, under porch roofs, under sliding boards,
P a g e 86 | 150
 and on uneven surfaces of stone and brick. Shadows assist decoratively,
sewing as a foil for light.
Natural lighting should be utilized as far as possible contributing to
eco friendliness. While designing a restaurant, the following factor be
considered for effective lighting requirements.
- The amount of light required for a specific area should be decided. It is
best such professional expertise restaurant table require 100 lux of
illumination.
- If artificially lighting an area, the amount of heat given off should be
checked. Tungsten bulb given off more heat than fluorescent lights. If the
heat is high the light fitting can be designed to extract the hot air and
either serve it or dispose of it.
- Design and durability are high factor that cannot be ignored. One must
decide whether the lighting scheme should be general or specific only to
certain areas. The various types of lighting that are normally used are
direct indirect, semi direct or differenced. Lamps play fittings should be
chosen keeping in mind the decorative and functional aspect, cost,
cleaning, and maintenance and illumination aspects.
The cost of lighting ranges from a low 10% of total energy
consumption for a specialty, fine dining restaurant to 25% - 30% for a fast
food operation.

Good lighting in a restaurant serves four basic purposes:

- Help to set the mood of guests and staff members.
- Makes food, drink and customers look good.
- Creates a favorable work environment.
- Provides safety and security for guest and staff.
- Other factors that influence the lighting in a restaurant are:

1. TIME – the type of lighting should be in accordance with the amount

of time a guest takes to enjoy a meal. Low lighting makes it difficult for
a guest to read the menu card. Very high lighting level causes guest to
leave the restaurant. The lighting should be moderated in order to
increase seating capacity.

P a g e 87 | 150
2. SIZE – the selection of the lighting system affects a customer
perception of the physical facility. Eg. A low ceiling brightly lit will
appear higher. A room will appear narrower if long walls are lit bright
light gives an impression of speed thereby increasing guest turnover.
3. CONTRACT – it is the perceived difference between the detail of an
object and its background. Use can be made of direct indirect or spot
lighting. Direct lighting is stronger, indirect lighting is softer and spot
lighting should be used to focus attention on a particular feature or an
object.
4. BRIGHTNESS – incandescent lamps & fluorescent lamps are extensively
used. In incandescent lamps, brightness can be controlled.
Lighting changes the colour of food and drink. Eg. Green florescent
makes purple appear greenish grey.

P a g e 88 | 150
 ASSIGNMENT
1) GIVE ONE LINE EXPLANATION FOR
a) HPMV-

b) HPSV

c) ANGLE POISE-

d) DISCHARGE LIGHT

e) LUX

f) EMERGENCY LIGHTING-

g) PENDANT LIGHTING-

2) Classify lights on the basis of sources-

3) Differentiate between incandescent and fluorescent light.

P a g e 89 | 150
4) What are the lighting plans for a guest room and a restaurant?

5) What are the characteristics of good lighting system?

6) Briefly explain the classification of light on the basis of functions

performed.

7) What are the methods of lighting?

8) What will be the quantity of light required in the following-

P a g e 90 | 150
a) Guestroom

b) Lobby

c) Restaurant

d) Coffee shop

e) Executive offices

f) Gym

g) Kitchens

h) Back areas

P a g e 91 | 150
 CLASSIFICATION OF FLOOR FINISHES

The following points should be kept in mind while selecting floorings are:
1. APPEARANCE: Floorings have more visual impact then the furniture and
should go well with the interiors. Patterned surfaces hide soiling and spillages
and tend to make small room look smaller. Blues & greens give cost appearance
and reds give a warm
appearance
2. COMFORT: Warmth, softness & quietness are the factors to be considered.
Harder floor are colder & noisier. Slipperiness to be avoided.
3.DURABILITY: Resistance to wear needs to be considered. Areas with
considerable wear need consideration. Hard floorings like stone and clay last
longer. Marble has indefinite life but is subjected to staining.
4.LIFE EXPECTANCY: Time period for which flooring lasts. In Kitchens the décor
doesn't change often, so life expectancy is for many years.

5.SAFETY: Surfaces to be non-slippery.

6.EASE OF CLEANING: Important consideration. The extra initial cost of flooring
that is easier to clean should be preferred.
7. COST: The true cost of flooring is initial cost including laying of the flooring
plus the estimated maintenance cost.

HARD FLOORINGS/FINISHES: are:

i. Durable, but noisy except for some wooden flooring,
ii. Cold in feel,
iii. Vermin proof, Insect Proof
iv. Fire retardant and
V. Easily cleaned as compared to other floorings.
TYPES OF HARD FLOORINGS:
A. STONE FLOORINGS: Is a good choice of flooring for natural appearance and
indefinite life. Are resistant to wear, water and most cleaning chemicals. Are
very heavy & must be laid on solid concrete sub floor. The most commonly used
are:
1)MARBLE:

P a g e 92 | 150
 • Available in wide range of patterns & colors including white, grey, pink,
green, brown and black Are durable, but lighter colors yellow with age.
• Some marbles like TAVERTINE are cheaper and characterized by small
cavities which offer greater slip resistance, but also allow dust to settle.
• Used in foyers, lobbies, luxury rooms & bathrooms.
2) Other stone floorings can be: Slate, Quartzite, Sandstone, limestone and
granite.
B. CONCRETE FLOORING:
This material is good for areas that take hard ware as resistant to chipping &
cracking, heat, insects and rot.
• Concrete is a mixture of CEMENT & various FILLERS like sand, gravel &crushed
stones. First mixed in dry form & then water is added to form stone like
material.
Suitable for exteriors like patios but some like concrete tiles and terrazzo are
also suitable for indoor use.
Various types of concrete floorings are:

1. GRANOLITHIC CONCRETE:
• Consists of GRANITE CHIPS set in cement.
• Heavy duty flooring.
• It is laid in plastic state on solid sub floor.
Appearance can be improved by polishing.
Used for basements corridors, storerooms, stairways and laundry areas.
For staircases abrasive material is set into the edges of each step to prevent
slipping.

2.TERRAZZO:

Consists of MARBLE or other decorative chips set in cement. Can be machine

ground to produce smooth surfaces. Is laid in situ or as pre-cast tiles where
marble pieces may be larger. When floor area is large the surface is often
divided into sections with brass or ebonite strips to improve appearance.
• Can be attractive flooring if well maintained, available in variety of
colors and patterns.
• Is hard wearing but sometimes slippery when wet.
• Needs to be sealed for durability.
P a g e 93 | 150
 • Used for entrance, cloakrooms, staircases etc.
C. VITREOUS/CERAMIC FLOORINGS:
• Made from clay product and fired in furnace to produce hard, stone
like quality
• Resist chipping, scratching, heat, acids, water, oils and insects.
• Various types are:
i. GLAZED TILES/CLAY FLOOR TILES:
Made from natural clay, fired at high temperature and glazed.
• Not affected by water, acids, grease but grouting between them may
be.
• May crack or break under heavy weights.
Available in various shapes, sizes, colors and patterns.
Tessellated tiles are small ceramic tiles used as mosaics and are highly
decorative.
used in luxurious bathrooms and patios.
ii. QUARRY TILES:
Made from blend of clays, compressed & baked at very high temperature.
Hard wearing, less absorbent but more slippery.

. Non porous, abrasion resistant &resistant to oil & grease.

• Used in cloakrooms, kitchens, canteens & any place for storage & preparation
of food.
iii. TERRACOTTA TILES:
. Unglazed, hard baked tiles, made from hand formed clay.
Available in range of shapes & sizes.
• Porous, so lined with linseed oil sealant.
iv. BRICK:
• Different from terracotta only in shape and thickness, material is same.
• Used in walkways and patios.

D. RESIN FLOORING:
I. Composed of synthetic resins, usually epoxy, polyester or polyurethane
with appropriate hardeners.
II. Unaffected by spillages of water, food, alcohol & chemicals.
III. Fairly hard, abrasion resistant, slip resistant & non porous.
P a g e 94 | 150
IV. Are nonskid, thus suitable for kitchens, canteens, bathrooms, corridors
& laundries.

E. BITUMASTIC FLOORING:
I. i Jointless, low cost & consist of asphalt rolled onto a solid sub floor in
loi plastic state.
ii. Normally black, brown or red in color.
iii. Completely impermeable to water.
iv. Damaged by heat & heavy weights and harmed by acids & oils.
v. Used in public restrooms & hospital corridors.

F. MAGNESITE/OXYCHLORIDE FLOORING:
i. Consists of Magnesium Chloride + Magnesium Oxide + saw dust, laid in
situ or in form of small blocks.
ii. Extremely porous, hence washing should be avoided.
iii. Initial cost is low.
iv. May be sealed or polished to prevent penetration of water & dirt.
v. Harmed by water, chemicals & coarse abrasives.
vi. Used in linen rooms.

G. WOOD FLOORINGS:
i. Most beautiful floorings.
ii. Made from hard woods like oak, teak, maple, walnut etc.
iii. Good appearance, poor conductors of heat & good insulators.
iv. Scratched & get splinter with dragging of heavy articles.
1. Various types of wood floorings are:
1.STRIPWOOD FLOORING:
Consists of length of hardwood strips less than 10cm wide.
Has resilience.
Strips are fixed with adhesive in concrete.
Used in rooms
2.WOOD BLOCK FLOORING:
Rectangular block of hardwood of various dimensions are laid in herringbone
pattern or square basket pattern.
P a g e 95 | 150
 • Are laid in adhesive on a level of concrete.
• Used in bedrooms, offices and banquet halls.
3.PARQUET FLOORINGS:
• Decorative floor and expensive.
• Consist of rectangular pieces of wood.
• Specially selected hardwoods are used like oak, walnut and teak.
• Pieces are glued to wooden subfloor in various beautiful manners.
• Used in prestigious areas like lounges, suite rooms, lobby etc.
• Sizes vary from 125 sq. inches to 2 sq. ft.

4.WOOD MOSAIC:
Used in prestige areas.
• Consists of very small pieces of wood organized in basket weave pattern.
Size in 18 sq. inches.

SEMI-HARD FLOORINGS/FINISHES: are:

• . Durable but less permanent than hard floorings.
• Resilient except thermoplastic tiles.
• Resistant to pests.
• Easy to clean.

TYPES OF SEMI- HARD FLOORINGS

A. LINOLEUM:
. From Latin words linum meaning flax and oleum meaning oil.
• Mixture of powdered cork, resin, linseed oil and pigments.
• Harmed by coarse abrasives, strong acids and alkalis.
• Damaged by extreme temperatures (low: cracks: high: softens)
• Prone to denting and scratching.
• Sealed & polished linoleum is used in linen rooms, corridors, bathrooms
& canteens
B. RUBBER:
Available in sheets & tiles.
• Made from synthetic rubber.
• Maintain a good luster, resistant to chemicals and moisture.

P a g e 96 | 150
 • Harmed by alkalis, grease, sunlight and coarse abrasives.
• Comfortable to walk as resilient.
• Used in entrance halls, canteens and places where noise level should be
minimum
C. CORK:
• Comes from bark of oak tree.
• Bark is ground, mixed with synthetic resin and pressed into sheets at
high temperature.
• Warm & restful.
• Dents, burns and stains easily.
• Absorbs neither dust nor moisture.
• Used in offices, bathrooms and corridors.
D. PLASTIC
Available in wide range of colours, designs and textures.
• Hard wearing, resistant to wear, water and most cleaning chemicals.
• Of two types: - Thermoplastic tiles and vinyl.
. Most durable semi hard floorings.
• Used in hospitals, bathrooms, corridors, offices etc.
DFT FLOORINGS/FINISHES are:
• Resilient and include all types of carpets, rugs and mats.
• Quiet, warm & slip resistant

A carpet has three parts: a) Underlay (Padding): which acts as shock absorber
and prevents unevenness in the floor. b) Backing: is the one in which the pile
of carpet is anchored. c) Pile: Also called face of carpet, this part is one which
is seen on the surface and walked upon.

CARE & MAINTENANCE

a) ROUTINE MAINTENANCE:
Daily removal of dirt with vacuum cleaner or box sweeper.
b) PERIODIC MAINTENANCE:
Involves deep cleaning of carpets.
• Involves shampooing, hot water extraction and dry powdering.

P a g e 97 | 150
 • SHAMPOOING: carpet shampoo machine is used to dispense shampoo,
brushed work! into the piles to clean.
• DRY POWDERING: A powder containing absorbents of dirt and grease
are sprinkled on carpet; it absorbs dirt and grease and is removed by
suction cleaners. Not effective method.
* SUB FLOOR: The effective life of most flooring will depend on how they were
laid initially and subsequent care & cleaning. Many properties of the floorings
may be enhanced or ruined by the BASE i.e. the sub floor on which the
flooring is laid. The sub floor can be of concrete or wood.

Floor type &Method----

ASPHALT COMPOSITION, Sweep and damp-mop daily Occasionally apply self-
shine polish
BITUMASTIC. Never use wax polishes, as the spirit in them will damage the
surface
Thermoplastic Remove marks by rubbing lightly with wire wool then wipe
over with a sponge wrung out in warm water and proceed to polish
CEMENT/CONCRETE/CLAY OR QUARRY TILES, STONE AND BRICK OIL Sweep
or dry-mop daily Periodically wash or scrub with detergent suds. May be
sealed to make the floor non-slip and resistant to dust, , water, and grease
Polish quarry tiles with liquid tile polish or self-shine tile polish
GLAZED TILES, TERRAZZO Sweep or dry-mop daily, or wipe down with mild
detergent solution Avoid all abrasive cleaners.
CORK Sweep or damp-mop daily Wax polish periodically. If sealed, use self-
shine polish occasionally
LINOLEUM Sweep or dry-mop daily, or wipe with cloth wrung out in warm
water
and detergent. Polish with wax or self-shine polish, or use a combination
cleaner-cum-polisher
MARBLE Sweep or dry-mop daily. Wash with soft cloth wrung out in warm
water
and detergent. Rinse well and dry. Remove light stains with a mild abrasive.
lemon juice, or vinegar, rinse off and dry.
RUBBER Sweep and damp-mop daily. Apply self-shine polish weekly until
pores
P a g e 98 | 150
are filled and non-absorbent. Wash only when very dirty, and do not
over-wet. Avoid oil or spirit-based sealants and wax polishes.
VINYL, VINY! ASBESTOS, MATT PVC, FELT BACKED VINYL Sweep or damp-
mop daily, Wash when needed with cloth wrung out in warm soapy water.
Polish with self-shine finisher or combination cleaner-cum-polisher. Avoid oil-
based sealants, spirit-based cleaners and solvents. To remove marks, rub
gently with wire wool.
WOOD, WOOD BLOCKS WOOD MOSAIC HARDWOOD STRIPS PLYWOOD
PARQUET
Sweep daily and occasionally mop or wash. If unsealed, apply wax, polish
periodically. If sealed, damp-mop and buff with dry mop. Use self-shine polish
periodically.

P a g e 99 | 150
 CARPETS

The general carpets have three components,

The face

The primary backing

The secondary backing

1.THE FACE/PILE: the face may be of synthetic fibers or yarns such as polyester
or nylon., natural fiber wool or cotton. The carpet face fibers as well as its
density height twist weave will affect the carpet durability. Dense carpet retains
their shape longer and resist matting and crushing. They also keep stains and
dirt at top of fibers.

Hard-twist pile This is a cut pile with a heavy twist built into the yarn, giving it a
pebbly look. It is used mainly in plain carpets, but it can be combined with other
types of pile to give a textured effect. Hard-twist pile does not show shading and
tracking like a velvet pile does. (Shading is the twisting of pile, caused by footfalls
or the moving of heavy furniture, and shows up as dark patches. Tracking is the
smoothing down of the carpet in heavily used areas.)

P a g e 100 | 150
Looped pile The pile is uncut and is made up of a continuous series of loops. It
active various textures, from a thick and knobby pile to the closely curled low-
loop pile that is like an irregular cord carpet. Looped pile is used in Wilton and
tufted carpets.

Cut pile The loops of the pile are cut in such carpets. Tufted and woven carpets
are produced in cut pile; in Axminister carpets, it is the only type of pile produced

Shag pile This can be produced on a tufting machine or on a Wilton or

Axminsteloom. The pile is long and shaggy and has a luxurious look

Woven cord piles This type is produced on a Wilton loom. The pile is left uncut,
giving! A tight, corded effect. Most cord carpets are made of sisal or man-made
fibers. If the fiber is of good quality, cord offers better resistance to wear than
velvet pile.

Velvet pile Sometimes called velour’s, this is a close-cut pile that has a smooth,
velvet appearance. It is used mainly for plain and two-tone carpets.

Sculptured pile A combination of cut and looped pile gives a carved or

sculptured effect. Different lengths of cut pile and of straight and twisted pile
can also be combined.

These combinations are used mainly in Wilton and tufted carpets

2. PRIMARY BACKING: pale fibers are attached to a primary backing which hold
the fiber in place. A back size is a bonding of material such as plastic rubber latex
or other adhesive that hold the fiber in place.

3.SECONDARY BACKING/UNDERLAY: some carpet have a secondary backing

that is laminated to the primary backing to provide additional stability and more
secure installation.

UNDERLAY

Underlay or underfelt act as a shock absorber between the carpets backing and
an any unevenness in the sub floor, which could the cause the carpet pile to
wear unevenly. It tends to make the carpet feel softer and more luxurious, helps

P a g e 101 | 150
it to absorb pressure from furniture, provide increased sound and heat
insulation and protect the carpet from rising dust and dirt.

There are 4 reasons for using underlay:

1. It act as a shock absorber between the carpet backing and any unevenness
in the sub carpet floor which cause carpet pile to wear evenly.
2. It trends to make the carpet feel softer and more luxurious and help it to
absorb pressure from furniture.
3. It provides increased sound and heat insulation.
4. It helps carpet to protect from dirt.

Classification of carpet:

P a g e 102 | 150
Woven carpets A machine or looms weave the face fiber and backing
together as carpet is being made. Woven carpets do not have secondary
backing. The weave consists of warp and weft yarn are inter woven to form
the face pile and backing at the same time. The pile may be either cut or

uncut. Woven carpets are more expensive than non-woven ones, but worth
their cost since they are more durable. These carpets are used in reception
areas, corridors, dining rooms, and bedrooms.

Wilton carpets These may be produced as patterned, cord, Brussels, or plain.

Patterned Wilton These carpets are woven on a type of loom known as a

Jacquard loom. This is an apparatus that produces patterns from colored
yarns. The pattern information is contained on perforated cards. The holes
in the cards activate the mechanism that selects the colours to be raised to
the pile surface. The Jacquard draws up one colored thread at a time
(corresponding to a set pattern of perforations to be drawn up to form the
pile while the remaining threads are hidden in the backing of the carpet
giving added warmth, resilience, and strength to the carpet. Once the carpet
is done, the pile is cut and closed. A textured effect is often created in such
carpets by varying the height of the pile. No more than five colours are used,
since the incorporation of more colours will result in a very bulky carpet.

Plain Wilton These carpets are made without adding the Jacquard apparatus
to the loom. They have extra jute threads called 'stuffers' added to the
backing to compensate for the lack of the spare colored yarns as filling.

Cord These carpets are plain Wilton carpets with an uncut pie

Brussels These carpets are patterned Wilton carpets that have an uncut pile.

Axminister carpets These carpets are woven in such a way that the pile is
almost entirely on the surface. Each pile tuft is individually inserted into the
dead' threads to reinforce it. The pile is longer and less close than he pile is
longer and less close than in Wilton carpets. le and has a distinct ribbed
effect. There are three types of

Axminster carpets:
P a g e 103 | 150
• Spool Axminster This is the most popular Axminster carpet and a single
piece have an unlimited number of colours in the pattern. The carpet is
woven in such a way! that the pattern is visible on the reverse side too.
• Gripper Axminster This carpet is like the spool Axminster carpet, the only
one reference being the use of a maximum of eight colours, due to its
method of creation.
• Chenille Axminister In French, chenille refers to a caterpillar'. The carpet
is named thus since the pile surface is first produced as a long strip and
then, during the weaving process, the catcher threads attach the strips of
furry pile to the backing. The catcher threads are distinctly visible in the
finished carpet, giving the pile a segmented look like a caterpillar.

Chenille carpets are soft and thick, and are made in many colours and
patterns.

Oriental carpets These hand-woven carpets from the Middle East, Indian
subcontinent, and the Far East are available in a variety of sizes, patterns,
and colours. Based on the country of origin, they are called Chinese, Indian,
Afghan, Persian, Caucasian, or Turkish carpets or rugs. Pakistan and Nepal
also produce oriental carpets. With their rich history and colour, oriental
carpets are often called the aristocrat of carpets. Carpet weaving areas can
be divided into those using floral designs and those using geometric shapes
and patterns.

Floral patterns dominate in Persia and India. Persian carpets use dyes of
vegetable origin. Many Persian carpets are made as wall coverings and prayer
mats.

Caucasian and Turkoman carpets almost always employ geometric designs

and when the rare floral pattern is used in these carpets, the design tends to
be stylized and rectilinear.

In Turkey, both floral and geometric designs are used, although the latter are
more common.

P a g e 104 | 150
 Non-woven carpets

These carpets are produced by attaching the surface pile to a pre-fabricated

backing

Tufted carpets These are available plain or patterned and are usually made
of synthetic fiber blended with wool. The tufts are needled into a backing
usually made of poly propylene in sheet form, but sometimes made of
hessian. The tufts are locked into plad with a skim of latex along the back.
Then either a foam layer or a secondary back in of woven jute or
polypropylene is added. If a foam backing is used, a underlay is not required.

The pile is either looped or cut (high or low, or perhaps a mixture of both

Tufted carpets do not fray and may be cut to any shape. To the untrained
eye, a tufted carpet may be indistinguishable from a woven carpet, however

Shag pile carpets are usually single-coloured tufted carpets with a long,
luxurious pile. The pile can, however, look tangled and matted if it gets heavy
wear. They are hard to maintain, too, since the long pile hides a lot of dust.

Berber carpets These carpets have short, nubby tufts. The pile is dense and
looped. characteristically made from natural, undyed sheep's wool. They are
available in natural neutrals such as white, off-white, fawn, beige, grey, and
dark brown.

Bonded carpets These carpets are neither woven nor tufted. The one feature
that distinguishes bonded carpets is that the materials used are glued, heat-
fused, or in some other way 'bonded together. They are all, therefore,
typically manufactured from man-made fibers. A well-made bonded carpet
is hard-wearing and makes an economical floor covering with good pile.
Bonding can produce almost any effect, from completely flat to a corded or
velvet pile.

• Bonded pile carpets These generally have a pile of nylon or polypropylene,

which is stuck to a PVC backing. Bonded pile carpets are also available as
tiles. The dense pile has a firm anchorage and the carpets do not fray,
seams can be bonded, and the carpets may be stuck to the floor.

P a g e 105 | 150
• Electrostatically flocked carpets Bonding is also used for flocked carpets,
which have thousands of small fibers electrostatically bonded to an
adhesive-coated backing.
• Needle-punched carpets Another method of bonding is the needle punch
or needle loom. In these carpets, a mixture of fibers is punched by needles
and entangled through a backing fabric. This fabric is then impregnated
with an acrylic resin to hold the fibers securely in the backing.

Knitted carpets These carpets are produced by interlacing yarns in a series

of connected loops. As in woven carpets, the pile and backing are produced
simultaneously. Multiple sets of needles interlace the pile, backing, and
stitching yarns together in one operation.

Importance / Functioning of carpet

DECORATIVE VALUES

• Colours, textures effects designs available.

• Transforms a cold lifeless room into a cheerful and warm room.
• Gives personality to a room.
• Gives a feeling of luxury and richness.
• Helps you to appreciate the finer things in life and add to the charm
of gracious living.
• Creates the illusion of spaciousness.
• Also give a furnished appearance to a room.

FUNCTIONAL VALUES
• Sound insulation
• Heat insulation
• Comfort
• Safety
• Ease of care

P a g e 106 | 150
 CARPET LAYING

Laying a fitted carpet is a skilled job and is best done by the contractors. The
underlay must fit and be laid smoothly and the carpet should be stretched
slightly in the laying so that it will not buckle with wear. The methods of laying
are:

1. Turn and tack

2. Tackles gripper
3. Velcro
4. Rings and pin
5. Press studs.
• TACKLESS GRIPPER: The carpet is stretched on to narrow strips of
metal with protruding tacks. The strips line the perimeter of the
area to be carpeted and are dangerous when exposed.

• TURN AND TUCK: The edge of the carpet is turned under Loke a
hem and then tacked into position. Unless well fitted this method
can create unevenness which traps dust. It is usually only used with
woven carpets.
• SUNKEN: The method may be used when there is a change in floor
level. The carpet is placed into a “Well” and edged with wood strips
/metal.
• GLUED: This is more permanent then the other methods. It is
usually used with rubber or foam backed carpets and can cause
early wear unless the sub floor is very even.
• TEAMPORARY METHODS: These usually involve the addition of
tape sewn round the edge of the carpet. This tape may contain
pegs, hooks, press-studs or “touch and close” loops “Velcro” which
will attach themselves to corresponding sockets, loops or hooks
attached to the floor surface immediately beneath the carpets.
sometimes the carpet is edged with rubber so that it will lay firmly
in place without any additional anchorage.

P a g e 107 | 150
 CARPET PROBLEMS

1. PILE DISTORTION: Fibers can become twisted, pilled, crushed or flared

and matted. Pilled distortion occurs when the carpet receives heavy foot
or equipment traffic .Improper cleaning methods can also cause pilled
distortion.
2. SHADING :Shading occurs when the pile in a carpet is brushed in two
different directions so that dark and light areas occur .Vacuuming or pile
lifting the carpet in one direction can help to reduce a shading problem,
but will probably not eliminate it.
3. FADING: Every carpet will fade with time. Sunlight, wear, cleaning and
natural ageing can combine to accelerate color loss. Premature facing
may occur if the carpet is improperly cleaned.
4. MILDEW: It forms when moisture allows molds in the carpet to grow.
Mildew can cause staining, odor, and rotting. Natural fibers are especially
prone to mildew, but all carpets should be kept dry and treated with an
antibacterial to prevent the problems.

5. SHEDDING/PILLING: Short position of face fibers is often trapped in the

carpet when it is not manufactured. As new carpet is walked upon these
position works themselves to the surface of the carpet and can make a
new carpet.

CARING OF CARPETS

1. suitable underlay
2. proper fixing
3. using jute or coconut fiber mats at the front door
4. covering the carpet with length of canvas and plastic
5. having a movable furniture arrangement
6. spraying the carpet to protect them from moths and other insects.
7. Repairing frayed edges and worn parts immediately
8. Cutting and pulling the pile when it comes out from the side
9. Protecting a damp carpet from metal castor on the legs of furniture
10.Regular cleaning and maintenance checks should be carried out
11.Training all the staff regarding care of carpets

P a g e 108 | 150
 12.Promptly reporting spots, spills, and tears so that immediate action can
be taken.
13.Proper temperature and humidity control
14.Carpet must dried immediately after shampooing

ADVANTAGE OF USING CARPET

1. Add to the décor

2. Gives a luxurious appearance
3. Gives sound insulation
4. Add warmth
5. Have a non- slip surface
6. Carpet squares and rugs break up a floor surface and can be turned
around
7. Fitted carpet make a room look larger
8. Patterned carpet don’t show stains.

DISADVANTAGE OF USING CARPETS

1. Surface holds 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.

CARPET MAINTENANCE

1. Routine maintenance
• The housekeeping department must inspect the carpet in all areas.
• Other employee must help in preserving the carpets.
• Housekeeping must supervise review the cleaning procedure of hotel
carpets and ensured that they are followed.
• Cleaning equipment should be inspected for safe and efficient
functioning.

P a g e 109 | 150
 2. PREVENTIVE MAINTENANCE

• Putting runners or mats over carpet that are in high traffic areas can
prevent soiling.
• Proper furniture glides should be placed under chair and tables to
reduce pile distortion and tearing.
• A water proof plastic carpet can be used for protection.

• 3.DAILY MAINTENANCE
• Carpet should be vacuumed once a day and periodic spot cleaning
carried out more frequently if necessary.

METHODS OF CLEANING CARPETS

1.VACCUMING

Different kind of vacuum cleaner can be used but they all follow the same
principle of working up the dirt and removing it by suction. The different kinds
of vacuum cleaner are given below.

- Beater bar vacuum: uses a bar to agitate and lessen the dirt.
- Brush vacuum: agitate the carpet with the brush. This is best use for
carpet glued to the floor.
- Upright sweeper: has a large agitator suction head that pull dirt into a
bag attached to the handle of the machine.
- Upright tank vacuum: used to clean upholstery and drapery.

2. DRY POWDER CLEANING

Dry powder crystals are duster on the carpet and worked into the pile with the
hand brush or a machine. The powder absorbs oil stain and soil which can be
removed by vacuuming. Since no drying time is required this method can be
used in higher traffic areas.

3. DRY FOAM CLEANING

Dry foam is sprayed on the carpet and a rotary floor machine is used to brush
the foam into the carpet. The foam is then removed with a wet vacuum.

P a g e 110 | 150
 ASSIGNMENT

Q1 WHAT ARE THE COMPONENTS OF CARPETS?

Q2 DEFINE FACE OR PILE OF THE CARPET?

Q3 NAM EDIFFERENT TYPES OF PILES?

Q4 EXPLAIN DIFFERENT TYPES OF PILES?

P a g e 111 | 150
Q5 EXPLAIN BRIEFLY.

a) PRIMARY BACKING

b) SECONDARY BACKING

c) UNDERLAY

Q6 WHAT ARE THE REASONS FOR USING UNDERLAY?

Q7 EXPLAIN DIFFERENT TYPES OF CARPET?

P a g e 112 | 150
Q8 STATE THE IMPORTANCE OF CARPETS ON THE BASIS OF DECORATIVE AND
FUNCTIONAL VALUES.

Q9 WHAT ARE THE METHODS OF CARPET LAYING?

Q10 LIST DIFFERENT CARPET PROBLEMS AND POINT FOR CARING OF

CARPETS?

P a g e 113 | 150
Q11 WHAT ARE THE ADVANTAGES AND DISADVANTAGES OF USING CARPET?

Q12 EXPLAIN THE CARPET MAINTANENCE AND METHOD OF CLEANING

CARPETS?

P a g e 114 | 150
 FURNITURE
An important part of interior, which will not only help to create an
ambience but also enables housekeeper to select a design of room and
public area and function.

POINTS FOR SELECTING FURNITURE

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 chair should with chosen with a particular
table in mind. Similarly tables and chairs that are suitable for canteen will not normally
be suitable for first class restaurants.

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

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.

Serviceability
this depend on the purpose for which the furniture is intended, e.g.; shelves or
drawers in the bed room will be different from open shelves in the kitchen or living
room.

Quality
This will determine the durability of furniture. The appearance and durability of the
furniture will depend on the material from which it is made and the method of
construction.
Mobility and Flexibility
Versatility

P a g e 115 | 150
 Ease of maintenance
Cost
Construction
Practicality in design and size

Points to be kept in mind while choosing furniture

• There should not be rough surfaces.

• The backs and insides should be well made and relatively smooth.
• There should be no unfinished edges.
• The edges of plywood and laminated tops should be smoothened off
so that they are not liable to damage.
• Joint should be of right type, light and well finished.
• There should be excess give around the joints.
• Furniture glides when carpet is in use.
• Has efficient hinges, bolts, latches, locks and handles.

TYPES OF FURNITURE

1. FREE STANDING FURNITURE (can be rearranged whenever necessary)

Furniture such as dressing tables, wardrobes, tables, chairs etc. may stand
on the floor, and hence are called free standing furniture. They should be
well balanced and firm.
2. CANTILEVERED FURNITURE (fixed on brackets, fitted to the wall and no
legs are there)
Dressing table, luggage racks etc. should be firmly fixed to the wall to with
stand the weight that they have to bear. Similarly drawers and shelves
should be strong enough to hold the necessary articles. Draws should run
smoothly on channels and should be fixed with stoppers.
3. DOORS(built in)
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

P a g e 116 | 150
 should be attached in a position convenient for their use, they should be
comfortable to hold and free from sharp edges.
4. FURNITURE ON CASTOR(essentially a standalone item)
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

• WOODEN FURNITURE
This is the traditional and oldest material used for furniture. Today
with demand for lighter and more easily moved furniture there is a
wide choice of woods. Woods can be used for decorative purpose.
Solid wood is not always a most suitable material for a piece or part so
the piece of the furniture.

TYPES OF WOOD
• PLYWOOD
This is made by bonding together an odd number of slices or plies of
wood which are 1 to 2 cm thick, so that the grain of one ply is at right
angle to that on either side of it. Since there are an odd number of plies
the grains of the two outside pieces will run in the same direction.
Plywood does not wrap or twist to the same extend as solid wood and
is equally strong in both direction. Plywood is frequently used for table
tops where stability is required.
• LAMINATED WOOD
This is also built in layers but in this case the grains of the wood all run
in 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
arm of furniture, where the greatest strain is in one direction.
• HARD WOODS

P a g e 117 | 150
 • 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
• WALNUTS: fine texture, strong, easy to work with and resist shrinking
and warping and finishes well. Best use for gun stocks, solid and
veneered furniture, novelties, cabinets and wall paneling.
• OAKS: strong, with good bending qualities. Is durable and finishes well
and resist moisture absorption. Used for furniture, trimming, boat
frames, desks, and flooring.
• MAPPLE: fine textured, but strong and hard. Has moderate shrinkage
and machine well. Best used in flooring, fine furniture and
woodenware such as bowling alleys.
• CHERRY: close – grained and resist warping and shrinking. It will
redden when exposed to sunlight and ages well. Used in making
cabinets, boats 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 and takes high polish.
Used in musical instrument, piano cases, tool handles, art project,
furniture.
• TEAK: hard and durable and resistant to moisture and rot. It resists
warping, cracking and decay. Best used in fine furniture, paneling,
shipbuilding, doors, window 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, paneling
and trims. Also used for furniture, sub – flooring and crates.
• HEMLOCK: light in weight, uniformly textured. It machines well but is
prone to decay. Used in outdoor furniture, doors, frames, windows,
plywood, veneer, general mill work and interior trims.
• FIR: works easily and finishes well. It is uniform in texture and non-
resinous. Has low resistance to decay.

P a g e 118 | 150
 • REDWOOD: light in wait, durable, and easy to work. Has a natural
resistance to decay. Used in outdoor furniture, fencing, house sidings,
interior finishing and paneling.
• 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, aircraft, crates, boxes, general, mill work and ladders.
• CEDAR: has a fresh sweet odor and is reddish in colour. Easy to work and
uniform in texture and resistant to decay. Used in making chest, closet
lining, shingles, posts, dock plants, novelties and venetian blinds.
• VENEER: a thin surface layer as of finely grained wood glued to a base of
inferior material. A thin layer of fine quality wood may be glued to the
surface of cheaper wood. Wood veneer 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 quiet high. It is usually
found in conference rooms, board rooms and restaurants.
• All wood should be properly seasoned as wood 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 protected finishes which may be given to complete the treatment
of wood. These determine the texture of the wood. Its resistance to
abrasion and the ease with which it can be cleaned.

CARE AND CLEANING OF WOODEN FURNITURE

• One should avoid banging and scratching the furniture.

• Spill should be wiped up immediately.
• Stain must be treated as soon as possible.
• The top of dressing tables, coffee tables etc. should be protected with
glass.
• The wood should be regularly examined for wood worm and treated
accordingly.
P a g e 119 | 150
• Glossy surface should be polished regularly but polish should not be
applied to matte surface as they lose the matte finish and become grey.

2. METAL FURNITURE

Metal in form of iron or steel has been used for many years for
bedsprings or for sofas. But these materials are being used in
modern furniture due to their strength and ease of shaping. Other
material being used are aluminum, copper and brass.

CLEANING: wiping with a wet cloth easily cleans it.

3. PLASTIC FURNITURE

This material rarely used in hotels. It is often used in canteens and

sometimes in offices.

CLEANING: it is easily cleaned with a solution of soap and water.

4. UPHOLESTERED FURNITURE

This type of furniture is much lighter in weight. Only the frame will be of
wood. The stuffing is made from cotton fibers. The upholstery fabric used
will depend upon individual state.

5. CANE, WICKER AND BAMBOO FURNITURE

Cane and wicker furniture is most commonly used in low or medium budget
hotels. Unless well maintained it is liable to become out of shape and pieces
of wicker can protrude and catch on to clothes.

TYPES OF FURNITURE JOINTS

DOVETAIL- These joints are often found at drawer corners. Dovetail should
fit together smoothly. Desks, luggage racks, chest of drawers, and pieces that
provide stage are primarily constructed using dovetail joints. Furniture
pieces, in which the dovetails joints are too small or cracked should not be
purchased.

P a g e 120 | 150
 DOUBLE DOWEL: these joints are two dowel to peg the joints together. They
are sturdy joints use to create the frame for the case goods or to attach legs
to the side rails of chairs.

BUTT: These are joints in which two pieces are simply joined together end to
end. They are weak joints and should not be used in places subject to stress
or weight.

MITRE: These are used at the corners of the tables where two angled
surfaces meet up a right angle, and are reinforced with dowels, nails, screws
or splints.

TOUNGE AND GROOVE: These joints are used to joint to boards together,
side by side as in a table top such that they slide into each other and hold
together.

MORTISE AND TENON: These joints are the strongest of all when joining
pieces of wood at right angles. The end of one piece of wood is shaped to fit
into a hole in the order. This type of joint construction distributes stress over
a wide area.

CORNER: They are used at a corner joints as screwed reinforcement, to

provide extra support in quality furniture.

Modular - Build against the wall and multiple joint are used
Antique – 100 yr. Old

P a g e 121 | 150
 ASSIGNMENT
1)DOVETAIL-

2)MITRE-

3)MORTISE AND TENON-

4)LAQUER-

5) SWAG-

6)WINGCHAIR-

7)WHB-

8)VENEER-

9)TICKING-

10)NIGHT STAND-

P a g e 122 | 150
 ACCESSORIES
Accessories are elements that bring charm, individuality and vitality to a room.
A room without accessories would be uninteresting. They do not only add
meaning but they lend personality and individuality to a room. They may be
defined as the punctuation marks of decorations.

Accessories are not chosen for their beauty alone but for what they can do to
promote the appearance of the room as a unit.

Accessories are said to be punctuation marks in any design and their selection is
often a matter of individual choice .accessories are not only add a touch of
interest to the décor they also make it more meaningful. They are therefore
chosen not for their beauty alone but for wat they can do to promote the
appearance of the room. Accessories that are put into a room might often be
more expensive than the furniture itself.

In the average hotel guest room accessories are limited to pictures or paintings,
lampshades, toss pillows ashtray and the like.

In suite rooms that are more expensive in décor, there is a greater scope for the
use of accessories. These may range from decorative candles and planters to
bookshelves screens and decorative mirrors. They may also include sculptures,
artefacts, and elaborate carvings.

KINDS OF ACCESSORIES

The most personal phase of décor is the choice of accessories.

A . FUNCTIONAL

LAMPS: They should provide adequate lightning where it is needed. Well-chosen

lamps and lighting fixtures are extremely important in determining the
characteristics of a room because they play a major role in lighting a room. Lamp
assumes special importance as accessories.

LAMP SHADES: should be tried out in the room for which they are intended at
the same time ensuring that the shade matches the décor of the room.

P a g e 123 | 150
MIRRORS: mirrors produce a feeling of spaciousness in a room. In some areas
such as bed rooms and dressing rooms. Mirrors are essentials. They also
extremely useful in most entrance halls.

CLOCKS: must keep time and have faces that are easy to read.

BOOKS: although books in open shelves are among the most interesting and
decorative of all accessories. Built in book shelves are preferable as they confirm
better to the lines of the room.

ASHTRAYS: adds considerably to the décor scheme of the room.

CUSHIONS: a collection of colorful cushions and bolsters often add to the

interest only if they blend with the color and textures in the room.

B. NON FUNCTIONAL AND DECORATIVE

PICTURES: pictures give a room life and interest. In luxury hotels an artist is
sometimes commissioned to paint asset of paintings. Paintings should be hung
on plain background which does not compete for attention. The frame should
suit the picture and the style of the room. The texture and color of both frames
and materials should also be in harmony with all elements in the room. An
original work of art is a joy to have and may increase in value over the years, but
if it cannot be afforded, a reproduction is a good buy.

SMALL SCULPTURES: Small figures in stone, wood, metals, ivory (white stone),
pottery (anything made from sand or clay) , porcelain or glassware suitable for
room decoration, and can be placed in pairs. It must be compact in design.

FLOWER ARRANGEMENT: Plants, leaves, flowers provide effective and

economical accessories for any type of decorative scheme, when used with taste
and discretion they add a warm livable quality to almost any room.

ACCESSORIES FOR LIVING ROOM

Lamps, cushions, walls, decorating, paintings, ashtrays, boxes for storage of
cigar. Sculptures, plants and flowers, books, magazines and collection of every
kind.

DINING ROOM

P a g e 124 | 150
IN display your best china silver or pewter. On a side table or side board, a tea
or coffee service, crystal ware and decanters.

BED ROOM

Lamps, mirrors, telephone, a clock waste paper basket, boxes to hold, bed
spread can contribute greatly to the character of the room. Family photographs,
pictures and flowers.

CONSEDERATION FOR ACCESSORIES

• Good art does not have to be expensive. Primitive and folk art are
interesting. To appreciate art frequent visit the exhibition and galleries
build up familiarity and an ability to evaluate art.
• Good taste is based on good quality and good workmanship. Follow the
old tenet less is more.
• Small objects like collections of objects of art or sentimental objects of
interest should be arranged in groups rather than in rows.
• In traditional rooms accessories should suit the period décor. In
contemporary rooms the accessories should suit the atmosphere aimed
for whether formal or informal.
• Try to convey the taste and personality of the owner through his interest
like display of books his collections of books, favorite pictures colors etc.
• Picture should be placed either single if they are large, where there is
plenty of walls space over a piece of furniture. If they are small arrange
them in group according to subject, style of painting, frames or some
unifying factors. Keep pictures at eyes level. Try to have the top or bottom
line uniform. Never arrange pictures in step except the staircases.

PLACEMENT OF ACCESSORIES

In any room the accessories should be placed judiciously in relation to existing

grouping of furniture and they should not disrupt the emphasis already there.
The most important accessories in any room should be at the Centre of interest.
Accessories should be arranged in interestingly new ways, articles that are

P a g e 125 | 150
placed together should be made of material that is pleasantly associated e.g.
Silver and crystal, jade and teak wood.

1. proportion must be right. A piece of sculpture or a lamp should not dwarf the
table it stands on. A picture should not seem insignificant in comparison to the
sofa over which it is hung.

2. The textures and shapes of accessories as well as their color should be

taken into account and satisfying contrast and harmonies worked out.

3. Line and form of the accessories should confirm to the general design of
room.

There are no rigid rules to follow in choosing accessories.

2. Select things that reflect your own tastes and interests.

3. Keep your color scheme in mind.
4. Combine old with the new but make sure they share the same mood-
formal, informal simple and classic.

P a g e 126 | 150
 ASSIGNMENT
1) What are the different types of accessories?

2) What are the considerations taken while choosing accessories?

3) What considerations should be made while placing accessories?

P a g e 127 | 150
EXPLAIN IN BRIEF

1) Points to be kept in mind while choosing a furniture?

2) What are different types of furniture?

3) What are the different types of material used for making a furniture?

P a g e 128 | 150
4) Explain different types of joint in detail?

5) What are the points to clean a wooden furniture?

P a g e 129 | 150
 REFURBISHMENT AND REDECORATION

REFURBISHMENT: To refurbish means to renovate and refurbishment covers

replacement of furniture and fittings which have been worn out or become
obsolete. It should not be confused with re-decoration simply involves
renewing paint work, wall paper etc. or spring cleaning which is the thorough
cleaning which should take place once a year.

The frequency of refurbishment depends on the budget of the establishment

and the amount to wear the interior is subjected to some of the luxury class
hotels budget for refurbishment over a period of 7 years while other
establishments would like to replace their furnishings regularly but cannot
because of the high cost.

Before a program of refurbishment is embarked upon a number of questions

should be asked and answered.

POINTS TO BE CONSIDERED WHILE REFURBISHMENT:

EVALUATION: A physical inspection should be carried out is ascertain if the

project is really necessary. A work sheet should then be prepared in detail.
This is normally done in conjunction with the chief engineers or the head of
the maintenance department

AVAILABILITY OF TIME: When considering the work and the costs involved,
the expected completion dates must be planned. The work should be carried
out during a period of low occupancy or at the most convenient time.

BUDGET: How much money is available for the project. There may have to
be a compromise between what actually needs doing and what can be
afforded and the budget adhered to

THEME: If the original theme of the establish the suitability of the newly
chosen theme should feasibility study and market research carried out.
theme of the establishment or area is to be changed he newly chosen theme
should be researched and a

P a g e 130 | 150
DESIGN: The project should be ergonomic project should be ergonomically
sound possibly using work studies and all the practicalities of hygiene,
cleanliness and considered.

DECOR: Suitable fabrics, finishes and colors should be chosen. Fabrics and

mines should be hard wearing, fire resistant, vandal proof, easy to clean and
give the right kind of atmosphere.

STAFFING: The project work may be carried out by direct labor, or

contractors and cost comparison made. If refurbishment takes place, there
should be the necessary staff to maintain the new image. Consideration must
also be given to uniforms, recruitment and training.

EQUIPMENT: The equipment to do the work concerned, may need to be

purchased or hired and availability checked.

RAW MATERIALS: Sufficient supplies should be ordered and facilities should

be made for the inconvenience to guest's staff and supplies while project
work is in progress. Temporary arrangement may need to be made.

SUPERVISION: Close supervision is necessary to see that the work goes on

according to specification and within the time parameter.

PROCEDURE:

All the correct company and statutory procedures should be-

• Planning permission

• Fire regulations

• Health and safety regulations

• Licensing laws

CONTROL: All aspects of control should be finalized.

• Financial control
P a g e 131 | 150
• Fire regulations

Health and safety aspects

• Insurance

• Contracts

• Inspection

• Records kept

For the housekeeper, record keeping is perhaps the most important aspect
of control. She should keep documentation in the form of room history card
so that she has details of all work carried out for the purpose of future
planning.

REDECORATION: The housekeeper would not be involved in applying paint

or putting up wallpaper. However, he/she should be able to oversee the
process and ensure that a high standard of work is maintained. There should
be a written contract with outside decorations including starting and
finishing dates. The contract should clearly state the work that is required
and the order in which it is to be carried out. The housekeeper should discuss
with the foreman how best to do the work with the minimum of disruption
to staff and guests.

The housekeeping staff will prepare rooms for decorating contractors. That
should:

1. Strip beds and remove bedding.

2. Remove all items of furniture/pictures to a safe place

3. Take down curtains

4. Take up carpets or covers with polythene dust sheets with edges tucked

under

5. Disconnect light fittings and remove from the wail.

P a g e 132 | 150
6. Cover furniture with dust sheets and put in the center of the room.

PLANNING:

Who: in house contact?

When: according to PPM (Planned Prevention Maintenance)

To what extent: area of rooms

Where: number of rooms

The job requires good planning supervision contest time scale.

WAYS TO CONTROL RENOVATION COST:

• Have an architect who knows hotels and hotel renovation plans-

check references and view recently completed jobs. Technical expert
advice
• No short cuts on design. Detailed drawing makes it possible to give
anaccurate cost.
P a g e 133 | 150
 • Devote time to study the project and stay informed about its progress.
Be consistent in what you want.
• Stick to original cost estimates. Find a firm who knows the meaning of
Stick to original cost estimates. Find budget.

a. Draw up cost parameter and plans an adequate term to develop budget.

b. Using a fixed amount of money in hand and then degree of renovation to

be done

• One senior manager other than the GM should supervise progress

• Schedule time: to protect loss of revenue, work should be on schedule.

HOUSEKEEPING ROLE IN RENOVATION:

1. The housekeeping is aware of areas where renovation is required due to

supervision of cleanliness in hotels.

2. Survey the areas needing renovation with the maintenance engineering

order to establish on priority basis.

3. Inform related areas well in advance so that alternative arrangements can

be made to avoid inconvenience to

4. Co-ordination/ co-operation with front office to establish the most

suitable time for carrying out the renovation program.

5. Snagging list is made in combination with the engineers so that! existing

problems may be identified and rectified along with renovation.

6. Provision for shifting, storing and protecting areas while renovation is

going on to reduce/prevent extent of damage.

7. Step up in cleaning requirement due to recessive soiling.

P a g e 134 | 150
 ASSIGNMENT

Q1 DEFINE REFURBISHMENT?

Q2 DEFINE REDECORATION?

Q3 WHAT ARE THE POINTS TO BE CONSIDERED WHILE REFURBISHMENT?

P a g e 135 | 150
Q4 DRAW FORMAT OF WORK SHEET?

Q5 WHAT ARE THE WAYS TO CONTROL RENOVATION COST?

Q6 WHAT IS THE ROLE OF HOUSEKEEPING IN RENOVATION?

P a g e 136 | 150
 PRE – OPENING OF A HOTEL
The opening of a good 5 star hotel from the time of planning to its opening day
would take at least 3 – 4 years for completion. Most hotels would first have a
soft opening, to check out the teething problems (initial problems) that all new
projects face, before they go into full operation. To carry out this task it is usual
to appoint a commissioning officer and commissioning team.

Although the commissioner team is responsible for all the activities held in the
organization from starting to the opening day of the hotel but the major duties
of the team is:

• To clear the path of the operational managers.

• Act as a central pivot (central focal point) for all the activities.
• Act as a catalyst for combining department needs.
• Direct the activities of all the departments.
• Leads the commissioning team which approves the plan on behalf of
organization.

The commissioning team includes room division incharge, housekeeping

director, food & beverage director, maintenance engineer, purchase officer, and
worker groups representing each department example department assistant
head or senior supervisory staff.

It’s a continuous phase of operations which is being classified on time basis:

CONSTRUCTION PHASE:

• Decide on the number and type of rooms and public areas.

• Decide on the operational and support services needed for running the hotel
smoothly.
• The architect and HK consultant will decide on the size and design of the
main control room, executive HK office, desk control room, emergency
stores, minibar stores (if HK provides it), main HK stores.
• Decide on the layout of the linen room, laundry, tailor/upholstery section,
and florist section. (size should correlate with anticipated turnover and
weather the services are going to be totally managed by the hotel or partially
or fully outsourced).
P a g e 137 | 150
ONE YEAR IN ADVANCE:

• The executive housekeeper should give the architect and interior designer
the theme and blue prints of the various guest rooms and public areas.
• The housekeeper’s involvement in the selection of all material for all surfaces
is critical as the HKD has the responsibility for its upkeep and maintenance in
the long run.
• Check if the materials are available locally or have to be imported.
• Blueprints of all service area should be ready. Check if space is adequate to
handle work load.

COUNTDOWN TO OPENNING A NEW HOTEL

NINEMONTHS
• SOP’s are developed for regular jobs and unforeseen contingencies and
emergences example; fire, accidents, misbehavior.
• Asses the room supplies and par levels to be maintained for recycled and
non- recycled inventories in the light of projected room sales.
• Asses staffing levels depending on projected performance and productivity
standards and check the possibility of contract labor.
• Identify and asses the equipment requires. Check if locally available or does
it have to be imported. Do a market survey and identify the suppliers, trial
runs may be done if needed.
• Asses expected revenue for the first year of operation and prepare
operational budgets based on anticipated room sales.
• Prior to handover of property by the building contractor check insurance,
safety security measures incorporated.
• PUNCH LIST is prepared for the engineering department to attend to the
builders and clean the area.
SIX MONTHS IN ADVANCE
• Draw of the list of requirements for guestroom according to types of
furniture, fixtures, and soft furnishing.
• Identify the suppliers for all room supplies and amenities. Get samples and
check if it needs specification.

P a g e 138 | 150
• Establish job titles, job specification and job description needed for the
department.
• Draw out detail SOP and check list.
• Establish training teams and pre – opening teams.
• Establish par levels for recycled and non – recycled inventories.
• Select the tailor and uniform design for all departments. Obtain sample of
each, get it laundry tested and approved by the management.

THREE MONTHS IN ADVANCE

• Check floor plans of all areas and start setting up rooms, service areas and
public areas. FFE. Interior decorator makes an inventory of rooms along with
colors schemes and soft furnishings.
• Check receipts of heavy equipment’s against purchase order install and run.
• Check premises for space allocation.
• Prepare equipment requirement, check against purchase orders .
• Prepare deficiencies, including necessary arrival date.
• Prepare floor plan of each space noting of space due to construction.
• Prepare par stock diagram.
• Check installers contact and contracts responsibly for turnover condition.
• Prepare list of local availability of contract cleaners if needed.
• Price per unit
• Labor union
• Unemployment rate
• Alternatives
• Check for personal application and do preliminary selection.
• Prepare staffing chart for time goal.
• Check key system and security of master and section keys.

TWO MONTH IN ADVANCE

• Interview and select (if possible) assistants and supervisor.

• Schedule participation in mass higher if applicable.
• Schedule and prepare orientation and training session.
• Prepare position and job description for departments.
P a g e 139 | 150
• Prepare manual for room attendant :
- House person
- Servicing room

- Uniform control
- Rooms control
- Such other positions as designated
• Prepare detailed layout of all area:
- Office
- Rooms control
- Uniform control
- Sewing room
- Storage of cleaning supplies
- Linens
- Equipment’s
- Amenties
- Paper goods
- Soap supplies storage
- Lost and found storage
- Check purchase orders for delivery dates of necessary supplies related to
the above activities
• Items such as:
- Shelving
- Wheeled equipment’s
- Bottles
- Caddy
- Cart bags
- Linen pickup and delivery

• Determining cleaning supplies

- Usage
- Issue
- Dilution
- Containers
- Rag storage
P a g e 140 | 150
 - Cleaning towel issues
- Sink and water availability
- Check to ascertain product usage in other areas of hotel for maximum
discount and services

• Communication systems
• Work assignment methods and form sections for room attendant and
housekeepers
• Forms designed and ordered
- Room attendant report AM to PM
- House person report
- Supervisor report
- Inspection report (multiple use)
- Accident report – secure for personal
- Attendance report
- Key control report
- Performance record
- Room history record
- Such others as necessary
- Storage area for above records
• Public area cleaning staff secured and trained as needed (these people may
be used in other area until public area is turned on.) supervision of public
area cleaning establishment and trained.
• Back of house cleaning procedures established and staff online by four
weeks previous:
- Will setup storage areas
- Stock and organized by prepared plans
• Establish all systems :
- Review and refine
- Delegate some responsibilities in checking system to assistants.

P a g e 141 | 150
 ONE MONTH IN ADVANCE:

• Hire staff for prepared schedule of turnover rooms. Proceed with

construction cleanup.
• Move into housekeeping area and become operating wherever possible.
• Last two weeks hire and train office personal in duties:
- Telephone etiquette
- Solutions to all imaginable problems
- Location of materials
• Setup daily log and implement.
-Lost and found log
-Payroll procedure
-Handling and storage of VIP gifts
• Being uniform issue and fitting (some use an outside firm to this)
-Install uniform issues and handling
• Hire night maintenance staff
- Train supervisors
- Schedule daily (nightly)
• Determine night turndown service and select staff train
• Evening linen delivery staff selected and trained. (prepare daily work
schedule for evening personnel with meaningful tasks even before hotel
opens).

ONE WEEK BEFORE:

• Assign area and sections to employees with job schedules.

• Final clean and stage room on turnover.
• Setup area linen room and storage by sections. Establish par stocks and
ordering procedures.
• Train staff
• Select additional staff
• Public areas clean up daily
• Prepare frequency charts for extra cleaning
• Setup schedule of meeting for staff
- Daily for assistants
- Weekly – supervisors
P a g e 142 | 150
- Monthly – entire staff
• VIP procedure on:
- Room gifts
- Early maid
- Special attention
• Issue policy on:
- Bedrooms
- Hair dryers
- Cribs, etc.
• Check that all the systems are clearly communicated to all employees in
house rules.
• Pre – plan
- Morale and motivation ideas
- Improved productivity
- Improved quality
- Interdepartmental cooperation
• Tour the property constantly looking for ways to improve service and
morale.
• Fix opening day duties of each member and depute staff ( if required).

P a g e 143 | 150
 ASSIGNMENT

EXPLAIN THE TERMS

1) Punch list : __________________________________________________

____________________________________________________________

2) House break-up:______________________________________________
______________________________________________________________
3) Horticulture: _________________________________________________
____________________________________________________________
4) commissioning team: __________________________________________
____________________________________________________________
5) job description: ______________________________________________
__________________________________________________________

EXPLAIN IN BRIEF
1) Explain the task to be carried out before nine months of a pre- opening
hotel?_____________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
2) Explain the task to be carried out before two month of a pre opening
hotel?
_______________________________________________________________
________________________________________________________________
________________________________________________________________

P a g e 144 | 150
P a g e 145 | 150
P a g e 146 | 150
P a g e 147 | 150
P a g e 148 | 150
P a g e 149 | 150
P a g e 150 | 150