Monday 27 February 2012

LINEN ROOM (A.O) 2ND YEAR



THE LINEN ROOM
The linen room is the centrestage for the supporting role that the Housekeeping Department plays in the hotel. Most linen rooms are centralized and act as a storage point and distribution centre for clean linen. Usually, a par stock is maintained on each floor or at each unit to suffice immediate requirements. Although the term ‘linen’ originally referred to those fabrics made from the fibre derived from the stem of the flax plant, linen in this context means all launderable articles and often includes pillows, mattresses, shower curtains, fabric lampshades and upholstery thatare also handled by the linen room.
THE ACTIVITIES OF THE LINEN ROOM

  • COLLECTION AND TRANSPORTATION
  • SORTING AND COUNTING
  • PACKAGING
  • DISPATCH
  • DELIVERIES
  • CHECKING AND INSPECTION
  • STORAGE
  • DISTRIBUTION TO UNITS
  • MONOGRAMMING
  • REPAIRS AND ALTERATION
  • STOCK TAKING AND RECORDS
  • SECURITY

Collection and Transportation
This is facilitated through chutes, canvas bags, trolleys, collapsible wire carts, skips.. It is an essential activity when laundry services are on contract. Guest laundry may also be collected, and billing and marking undertaken, should the laundry be off-premises.
Sorting and Counting
Sorting is carried out primarily to make counting possible as well as for streamlining laundry procedures. Linen is counted in order to make a record so that issuing to departments may be accurate and it is possible to tally the exchange of linen between the linen room and the laundry and a basis for billing exists.
Packaging
Linen is packed in canvas bags to prevent damage to the linen articles. Those articles that need mending and those, which are heavily stained, may be segregated and put into separate canvas bags. The use of colour coding in this respect is useful.
Despatch
This obviously refers to the off-premises laundry. The time for despatch is usually anytime between 1300 hrs and 1600 hrs so that servicing of rooms is over by then and guest laundry will have been collected. It is possible that soiled linen from the F&B outlets will also have been collected.
Deliveries
Clean linen is delivered in the morning hours and evening deliveries are usually for guest laundry.
Checking and Inspection
Checking the quantity to ensure that the amount of laundered linen tallies with the amount of soiled linen articles sent. Inspection of the quality of wash i.e. stains and dirt removed, no damages, no loss of shape or colour, no blue streaks or patches from the optical brightener, properly ironed. It is also possible that articles belonging to other hotels have been inadvertently delivered, so checking for this is essential.
Storage
The amount of space to be allocated for storage depends on the size and type of operation and the linen coverage
When designing the storage space for linen it is necessary to consider the type of shelves required, the method of storage as well as hygiene and safety factors.
Distribution to units
This is generally done on a clean-for-dirty basis. Some hotels use other systems of exchange such as topping up or a fixed issue based on expected occupancy. Still others may use a package system. Linen may be colour-coded for convenience. Whatever the system, it must be practical and serve the purpose of control. In some hotels specific timings are fixed for issue of linen.
Monogramming
The name or logo of the establishment is put onto the linen item for identification. The supplier may do this or the establishment, by embroidering, printing or embossing either directly on the fabric or on labels which are attached to the linen article. In special cases, the logo/name may actually be incorporated in the weave by the manufacturer. To judge the life span of an article, the date that it was first put into circulation may also be indicated on the article.
Repairs and Alteration
Damaged items are mended by stitching or darning. Alteration of uniforms is usual and condemned linen is converted into useful items called cut-downs/ makeovers. It is important to maintain a record of the condemned articles and the makeovers, so that they can be adjusted in the stock records.

SUGGEST WHAT USEFUL ITEMS CAN BE MADE OUT OF THE FOLLOWING CONDEMNED LINEN ARTICLES:
Bedsheets, pillowcases, blankets, bedcovers, curtains, towels, shower curtains, tablecloths, serviettes,

Stock-taking and Records
Many records are entered on a day-to-day basis for the exchange of linen between the linen room, laundry and floors/departments. Purchase records are essential and records of condemned linen and makeovers are usually maintained. Periodical stocktaking is carried out and the annual stocktaking is recorded in the stock register, thereby providing the value of linen as an asset.
Security
It is important that the access to the linen room is restricted so as to prevent misuse and pilferage. Also linen is prone to fire breakouts so precautionary measures are taken to prevent this and the linen room is strictly a non-smoking area.
Uniforms
Usually there is a section in the linen room for this purpose. However in large organizations, where each uniform is specially designed, there is need for a separate uniform room.


HOURS OF OPERATION
This varies from one organization to another but is usually from 7a.m. to 7 p.m. or at least for 10 hours in the day. When locked, the keys are kept with the Security or the Resident Manager or the Housekeeper. In the event of an urgent requirement of linen during the night, the Duty Manager or the Night Houseperson may remove items from an emergency store or from the main Linen Room and leave a note with details of what has been removed.
LOCATION OF THE LINEN ROOM
- adjacent to the laundry if on-premises, usually with an interconnecting window between the rooms.
- near the service entrance if the laundry is off-premises.
- near the service elevator for easy transportation to various units.
- away from the food production area to avoid a fire hazard as well as prevent linen from absorbing food odours, smoke, soot and dampness.
LINEN ROOM REQUIREMENTS – Equipment and Areas
- storage shelves both open and closed
- hanging space
- Reserve Stock storage
- drop counter for exchange of linen (stable-type door)
- trollies for clean linen
- soiled linen hampers
- Linenkeeper’s desk and storage space for records
- telephone and computer
- stepladder
- washbasin
- storage for materials required to clean the room
- sink and drying rack (optional)
- iron and ironing board
- area for accumulation of soiled linen
- area for receiving laundered linen
- area for sorting and counting of linen
- sewing section
- work tables (with table tops in contrast to white)
- traffic lane to laundry
- traffic lane to uniform room
PLANNING THE LAYOUT OF THE LINEN ROOM
Like the planning of any other operational area, the following must be considered
1. Architectural features 2. Hygiene and Safety aspects 3. Activity areas
Assignment:

CLASSIFICATION OF LINEN


  • BED LINEN
  • BATH LINEN
  • SOFT FURNISHINGS
  • GUEST LAUNDRY
  • NAPERY
  • CLEANING CLOTHS
  • STAFF UNIFORMS

SELECTION CRITERIA FOR LINEN ITEMS
Each individual piece of linen requires special consideration in terms of quality, type and size.

BED LINEN
Bedsheets
Should have a good finish, usually with a slight lustre, and be made from a non-crease fabric so as to retain its appearance. For comfort, the texture should be soft and smooth, absorbent and free from static. They should be easily laundrable and the fabric should not lose colour in repeated washes.
Superior quality bedsheets made from linen or union (a combination of cotton and linen) are expensive and not easily available. Cotton is absorbent, less expensive and is capable of withstanding extremely hot washes. Cotton may be Percale or Muslin. More frequently used are combinations of natural and man-made fibres like polyester cotton or terry-cot. Blending with man-made fibres offsets the disadvantages of the natural fibre. The introduction of a man-made fibre increases durability and makes laundering easier, but some of the absorbency is lost. 65% of cotton and 35% man-made combinations are the best. Blended no-iron sheets must be folded while still warm from the tumbler to eliminate creasing.
The crinkle sheet or night sheet is made from cotton seersucker.
A sheet should be large enough to be tucked in securely all around the mattress. The width of the fabric is dependent on whether the bed is single or double. When cutting the length of fabric for the bedsheet, it is necessary to make a provision for:
Fitted sheets are unpopular as they have more disadvantages than advantages.
Pillowcases
These are generally made from the same fabric. The housewife tuck-in type is now rapidly being replaced by the longer bag-type which are folded in at the open end. In order to calculate the amount of material required to stitch a pillowcase, it is necessary to measure the circumference of the pillow and add on 2 to 4 inches to allow for shrinkage and a perfect fit.
Blankets
These need to adhere to the body in order to provide warmth. In order to be comfortable, they should be soft, smooth and resilient and not too heavy. Though expensive, pure woollen blankets that are napped are ideal in this respect, but they are difficult to launder and are attacked by insects. To cut costs, improve launderability and prevent attack by insects, wool is often blended with a synthetic fibre (acrylic) and the percentage of woollen fibre is mentioned on the label. A less durable alternative is made from nylon fibres electrostatically flocked on polyurethane (fibrelock)
This is suitable for those who are allergic to wool. Electric blankets are uncommon as they are difficult to maintain and anchor to prevent pilferage. Moreover persons who suffer from phobias would opt for the ordinary blanket.

SOFT FURNISHINGS
Duvets
Duvets have become increasingly popular in hotels and are fast replacing the blanket, especially on double beds. They consist of a filling sandwiched or stitched in a fabric case with a changeable cover.
The fillers may be duck/goose down, a feather mix or a combination of the two. The down feathers are the small, fluffy feathers from beneath the wings and the breast of the fowl. Goose down is superior and lightweight because of the hollow quills. The well-known Eider goose and Siberian goose down are the best. Although they are warmer, professional cleaning is necessary and they are heavier and more expensive than their synthetic counterparts. The synthetic filling is usually polyester fibres. These duvets are lighter and can be washed in large-capacity washing machines. Casings can be cotton cambric or synthetic fabric but must have a close weave to keep the filling in place. The higher the tog value or rating, the warmer the duvet will be. 10.5 is the average tog rating. While the polyester fibre-filled duvets have a tog between 8 and 11, the best down duvets have a count between 11 and 14. The tog rating is generally printed on the duvet. Even if the establishment uses natural fillings to provide the best degree of comfort, a small stock of duvets filled with man-made fibres should be made available for anyone who has an allergy to the natural product.
It is essential for the duvet to have an outside cover. Changing a duvet cover is a skill which is developed with practice. To save laundry costs and labour, it is advisable to provide a covering sheer in conjunction with the duvet cover. Though it is common to have all of them in white, the duvet cover, the bottom sheet and valance could be part of the colour scheme of the guest room.
Using a duvet in hotel bedrooms has advantages and disadvantages
Bedspread/Bedcover/Counterpane
These are purchased, considering appearance, durability and size. The colour and print should match the décor, and soil should not show easily. The weave should not be susceptible to snagging. The fabric should drape well and not crease easily (quilted for this purpose). The durability of the fabric is judged by the effect of laundering and constant use. The life expectancy may be totally disregarded in order to meet with a certain decorative colour scheme. Readymade bedcovers lack individuality so they are usually stitched and a number of styles are possible. Bedcovers should be interchangeable wherever possible. The amount of fabric required to stitch a single bedspread is approx. 8 metres.
Curtains/Draperies
These are also purchased considering appearance, durability and size. Sheer curtains/net curtains/glass curtains combined with heavy draperies are usual in a guest room. This combination allows light to pass through and facilitates privacy as well. Sheer curtains are generally made from synthetic/blended net or lace or from plain nylon or terylene. It is advisable to use a fire-resistant finish or fabric for these curtains. Draperies are usually lined. Lined curtains are thicker, fall better and allow less light to pass through. They are less likely to fade, soil less easily and thereby last longer. When selecting the curtains, the appearance is judged by ensuring that the colour and pattern match the décor; viewing the fabric hanging and gathered in folds; viewing the fabric with daylight behind it; viewing the fabric with artificial light falling on it. It is also advisable to select patterns which are repetitive after shorter lengths to reduce wastage when stitching wide curtains. The amount of material required is dependent on the window treatment and 15 metres is the average requirement. A heavy fabric is usual for public areas and a lighter one in the guest rooms.
Cushion Covers and Upholstery
Like the rest of the soft furnishings, these must also match the décor. It is also important that they are resistant to dirt, accumulation of dust and snagging. The fabric should be non-slip without being rough and free from static so that it does not cling to customer’s clothes. It also should not lose lint or colour easily.
Cushion covers should be laundrable and non-crease. Upholstery fabrics should not stretch after they have been fitted. In both cases the fabric should be firm with a close weave. This, however is more applicable in the case of upholstery and in most cases the fabric has a jute backing.

BATH LINEN
Requires to be gentle on the skin, with a high degree of absorbency and lint-free. Linen or cotton are the fibres from which the towels are made. The weave may be a Dobby weave which is used to make a fabric called Huckaback, that is often used for face towels and sometimes hand towels. Bath towels are invariably made from Turkish towelling using a pile weave known as the Terry weave.
The loops of the towels should be at least 1/8” high for good absorbency. When selecting Turkish towels hold them against the light out find out how close the basic weave is. Coloured and patterned towels may be selected for public areas like the swimming pool, health club or beauty parlour, largely for identification. White towels are preferred to coloured ones.

NAPERY
Table linen
The fabric selection is largely dependent on its laundrability. Stain removal should be possible and it must have the ability to retain colour and shape. As far as appearance is concerned, it should match the décor and have a lustre for a good finish. The fabric should be preferably non-slip, as all restaurant tables do not have a baize top. Linen is better than cotton but very expensive. Starched cotton casement is commonly used. The fabric considered ideal for table linen is Damask. The pattern is highlighted by using lustrous yarns. Blends are unsuitable as the linen cannot be starched for the ‘crisp’ effect. Also, the resins present in blends attract grease, making oil stains difficult to remove and often these resins break down when exposed to the heat in the tumble dryer. Tablecloths should hang 9” over the edge of the table. Sizes vary according to the size of the table. If they are to be stitched, then an allowance should be made for 5% shrinkage along the length. Although is seems that it is only necessary to hem tablecloths at the ends that unravel, it is preferable to hem all four sides so that the article retains its shape.
Moultans
Where the dining tables, do not have a baize top attached, this length of baize cloth may be used.
Banquet Frills (Juponé)
These are coloured and lustrous, usually made from satin or rayon which may be plain or patterned. The pleats may be stitched or pleating may be done when draping the table. Varied styles may be used when draping which will affect the length of fabric required. The width of the fabric must correspond with the height of the table.
Clean linen in a good state of repair is responsible for the image of the hotel. Utilizing good quality linen and changing it frequently reflects the standard of the establishment


PURCHASE OF LINEN
There are three major factors to be considered when purchasing linen:-
Quantity
Quality
Size




Quantity
The quantity of linen purchased is largely dependent on the following factors:-
1. size of the establishment
2. standard of the organization (will determine frequency of change)
3. turnover or occupancy
4. laundering facility
Generally a hotel should have a minimum of three sets of linen
Linen Coverage is a term used to refer to the total number of sets of linen maintained by the hotel and their distribution. The number of sets is also referred to in terms of ‘par’.


Quality
The best quality linen must be selected within the available budget.
To select good quality linen , it is necessary to give due importance to:-
1. fibre selection and quality of yarn
2. thread count
– the total number of warps & wefts in 1sq. in. of gray goods fabric.
The total thread count should be above 150. The balance between
warp and weft is also important. The warp is higher and the weft
should be no more than ten less. (indicated on fabric as warp no. X weft no)
This balance is especially necessary for stretch recovery during flatwork ironing.
3. finishes especially colour fastness
4. reputed manufacturers
It is advisable to obtain samples and launder them to observe the effects of laundering.


Size
Purchasing linen of the correct size is extremely important as wrong sizes can affect appearance and even hamper operations.

Selection of linen depends on
- fibre, percentage of fibre, mixtures/blends, yarn quality
- thread count, balance between warp and weft, firm selvedge
- finishes (for appearance and laundrability)
- VFM and Life expectancy v/s Frequency of replacement

RULES FOR LINEN PURCHASE
1. Check for the amount of ‘dressing’ that falls out from the
fabric when rubbed together.
2. Look for a firm smooth weave and strong selvedge.
3. Machining should be strong (10 to 15 stitches per inch).
4. Obtain samples and test for laundering effects.
i.e. shrinkage, loss of shape, colour
5. Buy in bulk to avail of discount.
6. Stagger the supply to overcome/avoid storage problems.
7. Large orders should be marked or monogrammed by the
supplier.
8. Select a supplier on the same level as your organization,
preferably with a recommendation.
9. A Purchase Index Card must be maintained for every linen
item in stock.
10. Accurate specifications must be provided when placing
orders, particularly with reference to size.
11. Orders should be placed well in advance, so that the
specifications may be met with.
12. A good rapport with the supplier is essential especially
with regard to credit facilities.


PURCHASE INDEX CARD
ITEM…………………………………………………………………………………..
DESCRIPTION ……………………………………………………………………….
SUPPLIER’S NAME………………………………………………………………….
ADDRESS…………………………………………………………………………….
………………………………………………………..TEL. NO. …………………….
REMARKS…………………………………………………………………………….
Date
Rcvd
Amount
Rcvd
Unit
Cost
Date
Issued
Amount
Issued
Date
Cond-emned
Amount
Cond-
emned
STOCK
Sign.

The purpose of a Purchase Index card is to:
1. indicate purchases between current and previous stocktaking.
2. provide a record of condemned articles.
3. act as a ready reference for ordering, also indicating the level of Reserve Stock.
4. provide a means of judging the life span of linen articles.
It is possible to maintain this record in the computer for convenience.


STANDARD SIZES OF LINEN ITEMS
Sheets:
Single 78” x 108” (203 cm. x 274 cm.)
Double 90” x 108” (224 cm. x 274cm.)
King size 117” x 108”(295 cm. x 274 cm.)
Pillowcases:
Standard 20” x 30” (50 cm. x 75 cm.)
King size 20” x 40” (50 cm. x 100 cm.)
Blanket:
Single 70” x 100” (175 cm. x 250 cm.)
Double 90” x 100” (228 cm. x 250 cm.)
King size 116” x 100”(290 cm. x 250 cm.)
Towels:
Bathsheets/Bath Blankets 40” x 70” (100 cm. x 178 cm.)
Bath Towels 30” x 54” (76 cm. x 137 cm.)
Medium-sized Towels 22” x 40” (56 cm. x 100 cm.)
Hand Towels 15” x 24” (38 cm. x 60 cm.)
Face Towels 10” square (26 cm. square)
Roller Towels 18” (45 cm.) width in huckaback
Bath Mat 24” x 36” (60 cm. x 92 cm.)
Table Linen:
Square Tablecloths: 36”, 54”, 63” or 72” square
(91, 137,160. 182 cm. square)
Rectangular Tablecloths 52” or 90” x 72”
(133 or 230 cm. x 183 cm.)
Serviettes 24” square (60 cm. square)
Cocktail Napkins 10” square (26 cm. square)
THE LINEN CYCLE
Collect linen from the floor pantry
Exchange clean linen for dirty at the point of use
Sort, count and bag soiled linen
Transportation to central collection point
Linen Room
Count, record
and despatch
Laundry
(OPL)
Laundry
(Off-Premises)
Check and Inspect
Mending
if required
Condemn
Replace
Storage with a rest period on the shelf
for linen in use
Issuing to units


CONTROL OF LINEN
Control of linen falls in three areas of activity:
1. Hygienic standard and appearance of linen.
2. Daily routine exchange of linen between floors and departments, linen room and laundry.
3. Purchase records, inventories, stock-taking and stock-taking records.
Checklist to reduce linen damage

Handling linen from purchase to use to laundering and storage before it is used again is a difficult task requiring much expertise as well as close supervision. Each system has its own merits and linen control must be balanced against saving time and wages.
Primarily, purchase records must be correctly maintained as they form the basis of stock taking. Daily records keep a track of linen on a day-to-day basis. It is also necessary to maintain a record of condemned linen and any remakes from these discarded items to provide a clear picture during stocktaking.

STOCKTAKING
Stocktaking is counting what you have (ACTUAL or PHYSICAL STOCK) and comparing it with what you are supposed to have (BOOK or RECORDED STOCK). It is an essential activity that must be carried out at regular intervals. Any discrepancies should be accounted for and adjusted in the records. It is an operational necessity in order to be able to predict future requirements. Stocktaking acts as a control measure by highlighting discrepancies, thereby promoting investigation. It also acts as a deterrent for pilferage and ensures rotation of stock.
Procedure for linen stocktaking
Departments concerned must be intimated at least one day in advance. All linen must be counted on the same day or at least the similar type linen is counted at a time (Room Linen is separated from F & B Linen), so as to prevent ‘borrowing’ to make up deficiencies. A convenient time is chosen when all linen movement can be halted without causing too much of a problem to the operations.

TOTAL LINEN COUNT
Actually in use
+
IN CIRCULATION Clean in pantry & trolley
+
Soiled in pantry &trolley
+
Clean on shelves
+
IN LINEN ROOM Soiled to be sent to laundry
+
Reserve Stock
+
IN LAUNDRY - Outstanding Laundry
LINEN STOCK REGISTER
Date____________________
ITEM
Pr.
stock
B/F
Dt……..
Add
New
Stock
Total
Less
Cond.
Linen
Total

LINEN HIRE
Hiring linen is uncommon in India, but many hotels in other parts of the world do not purchase linen, and prefer to hire laundered linen from a hiring company. Linen hire companies supply clean linen to hotels on a hire basis. Thus it is a contract with a company which rents and launders linen. The system has both advantages and disadvantages.
Advantages
• Initial purchase investment is eliminated.
• No laundering of linen is necessary.
• Less storage space.
• Less staff which means fewer salaries to pay.
• No need to order linen so purchase function is eliminated.
• No repairing of linen by the hotel.
• It is ideal for spasmodic trade such as seasonal hotels, by avoiding capital expenditure and the need to store seldom used linen.
• Linen hire charges may be no greater than the combined depreciation and laundering costs.
Disadvantages
• No individuality.
• Choice is limited – the linen specifications, sizes and standards may be different from those required by the hotel.
• No cut-downs or makeovers possible.
• Damages have to be paid for, usually at a higher rate.
• The hotel is totally dependent on the hiring company.
• There is no control over the quality of wash.
• Linen supply may be affected by bad weather or strikes causing a breakdown in operations.
• If low occupancy, there is a loss due to unused linen.
• Excess requirement is charged at the current rate.
• Guest laundry will have to be dealt with or co-ordinated with a commercial laundry.

THE SEWING ROOM
The sewing room is essentially a part of linen room operations and may be located in the linen or uniform room or serve both these areas. Due to the high cost of labour, very little actual sewing is done in this section of the linen room, but a great deal of machining is carried out. A well-run sewing room can definitely be an economy for a large organization. Monogramming may be a function of the sewing room. Certainly, mending and alterations are done here. This preserving of linen and creative use of condemned articles can contribute greatly to saving costs.
Activities of the sewing room
• Machine marking or monogramming may be carried out in the sewing room and when marking linen, it is usual to mark on the right hand side of the article, the name of the organization and the department and the date it was put into circulation. The latter shows the wearing quality of the article and helps to estimate the life span of the article.
• Frayed parts and tears frequently occur in towels, table and bed linen and these are repaired by machine darning. Patching, repairing flaps of pillowcases and torn pockets are among the common sewing tasks. Ideally, mending should be carried out before laundering, but dealing with soiled or wet articles is unpleasant, so mending is usually done on laundered linen.
• Straight-forward , ordinary machining is done for hems on sheets or towels. New items which require straight stitching like bedsheets and tablecloths, may be made.
• Creating makeovers and cut-downs involving the innovative use of discarded linen.
• Stitching of buttons, hooks etc and the mending and alteration of uniforms.
Areas provided
• Space for work tables.
• Space for ironing.
• Two or three sewing machines with storage cum work tables alongside (foot treadle operations to facilitate darning).
• Storage space for items to be mended /altered.
• Cupboard for storing accessories.
• Storage space for rolls of fabric.
Equipment required
• 2/3 sewing machines, manual or motor preferably with a foot treadle which leaves hands free for darning; thread release on looper for tension control so as to enable stitching to be carried out on fabrics of varied thickness; different runner attachments to facilitate zig-zag stitching, edging, mending and darning.
• A sewing kit containing:
A sharp scissors
A snippet scissors
Threads of various colours
Buttons of different types
Plain pins, sewing needles and machine needles
A ripper
Spare bobbins
Machine oil and machine repair kit
Tailor’s chalk and pencil
Ruler and measuring tape
A heavy/steam iron with an ironing board and a power point in the vicinity
Above all, good lighting is essential to facilitate the sewing functions without eyestrain.

UNIFORMS
Providing uniforms for hotel staff is one way of ensuring proper grooming, thereby reflecting the standard of the hotel and creating a good impression on the guest. Having a uniform creates a sense of orderliness and enables the guest to identify staff and their position in the organization. To the employee, it is a status symbol, creating a sense of belonging and thereby boosting employee morale. Apart from the aesthetic appeal, uniforms are frequently designed to suit the task that is carried out.
Uniforms may be of standard sizes or made-to-measure. Made-to-measure uniforms look smart and are essential for senior staff. Standard sizes lower the total requirement of uniforms but may be ill-fitting and do not look as smart. The number of sets of uniforms provided is dependent on the nature of the tasks being performed and whether the organization has an on or off-premises laundry. Uniforms are a large investment and the cost does not end with purchase. Maintenance and replacement also have to be considered. Budget is a factor that influences all other factors to a great degree. When designing a uniform, both the functional as well as the aesthetic aspect must be considered. Depending on the task to be performed, the uniform must be comfortable as well as practical. The durability of the fabric must be considered as well as its laundrability for ease of maintenance. The uniform must harmonize with the décor by blending or contrasting and is often required to synergize with the existing theme. It must also be designed to suit the average individual.
When staff are issued uniforms, a record is maintained in order to ensure that the uniform is returned when they leave the organization. The number of times an employee is allowed to
change the uniform is largely dependent on the type of tasks he performs, number of sets of uniforms that have been provided to him, the laundering facility, the type of fabric and the laundry process involved and the policy of the organization. The usual system for exchange is clean-for-dirty and the timings are stipulated according to the shift timings. Some hotels have specific days for different department to facilitate streamlining laundry and uniform room operations. When planning the layout of the Uniform Room, it must be borne in mind that some uniforms will be kept on hangers while others will be folded. Consequently the storage space must include hanging space as well as shelves. The uniforms must be segregated according to the department. To make the task of issuing uniforms easier, it is usual to arrange them according to size or alphabetically according to name. The Uniform Room usually incorporates the sewing section and in some organizations both these areas are sections in the Linen Room due to their inter-related functions. It is advisable to have a trial room that may double up as an emergency changing room if the need arises. However, for security reasons, entry should be restricted to Uniform Room personnel only and uniform shelves should not be accessible to staff from other departments. For operational purposes, space must be allocated for uniform attendants to be positioned at the exchange counter, where they can enter the necessary records. There must be a provision near the exchange counter for storing uniform co-ordinates and accessories. Adequate hampers into which soiled uniforms can be segregated and deposited, as well as trolleys for hanging as well as folded uniforms are also an operational necessity.
Uniforms play a very crucial role in establishing and reinforcing the image of a hotel or restaurant. After all, other aspects of housekeeping are inanimate, material things. It is the people who bring warmth and friendliness into these spaces and these people are the employees of the hotel. Ill-conceived, and poorly co-ordinated uniforms worn by hotel staff can create a jarring note in the entire image projected by the hotel.

lighting - more


Ceiling light fixtures

Modern central ceiling fixtures provide good levels of ambient light for almost any room. Some are fitted with an uplighter which can be made from glass, soft fabrics or plastics, this diffuses the light and disguises the light source. Ceiling light fixtures provide good general illumination, often referred to as ambient lighting. Luminaires for modular ceilings in combination with an appropriate ceiling assembly are referred to as luminous ceilings. In essence, ambient lighting provides a minimal amount of brightness, enabling people to move around and see each other easier. The contemporary light sources commonly used in luminous ceilings include tubular fluorescent lamps and compact fluorescent lamps without integrated ballast.
A ceiling light fixture can provide the finishing touch to any room and can be used in virtually any location from the living room and bathroom to the stairway and hall.


About modern + contemporary lighting

Light is life. Lighting level, light colour, modelling and changes from light to darkness impact on the rhythm of our daily lives, on our sense of wellbeing and on our mood.
Above all, however, light is the medium that enables us to see. 80 percent of the information we receive about the world around us is gathered by our eyes. Insufficient light or darkness prevents us getting our bearings and make us feel insecure. A sense of security at night is restored only when the darkness is banished by artificial lighting.
Over the centuries, the phenomenon of "light" has been studied and its mysteries explained by physics: light is visible electromagnetic radiation transmitted by a light source in waves. And it takes time to move from its point of origin to the eye of the observer. In a vacuum, light travels at a velocity of 300,000 km/s (speed of light). Each wavelength has a distinct colour appearance.

Contemporary Lighting and vision
We perceive the world around us through sense organs. And the most important sense organs of all are our eyes: they provide around 80 percent of all the information we receive about our surroundings. Without light, that visual perception is impossible.
A brief history of modern lighting
As long ago 300,000 years ago, human beings used fire as a source of warmth and light. Campfires – and later torches and oil or tallow lamps – brought light and life into caves in which sunlight could not penetrate.
As settlements developed, lighting found more and more applications outdoors. Around 260 BC, the Pharos of Alexandria harnessed light to send signals; in 378 AD, streetlighting seems to have been in use in the ancient city of Antioch.
Although oil lamps were mere utensils, they were decorated and designed for aesthetic appeal. In 1783, lamp development took a major step forward with the invention of the central burner. In the same year, a way was found to make gas from coal for streetlamps. In 1879, the age of the electric light dawned when Thomas A. Edison "re-invented" the light bulb invented 25 years earlier by the German clock-maker Johann Heinrich Goebel.
In recent decades, lamp and luminaire development has been particularly dynamic. Modern technologies, new materials and new optical systems are opening up new possibilities in artificial lighting - while at the same time maximising economic efficiency and minimising environmental impact.

Lighting and the environment
It is not only lighting itself that impacts on the environment but also the products that go into a lighting system. Environmental acceptability is thus an important quality criterion for manufacturers of lamps, electrical components and luminaires. Environmental issues addressed in recent years include lighting power consumption, lamp recycling, light pollution and the effect of artificial lighting on insects.
About ten percent of the total electricity consumption is used for lighting. Up to 80 percent is consumed by industry, commerce, public authorities and transport; just one fifth goes into private household lighting. So power consumption is not very high to start with, but every hour saved helps ease the pressure on the environment. It has been known since before the 1997 Kyoto climate protocol that emissions of the greenhouse gas carbon dioxide (CO2) need to be reduced.
The energy-saving options offered by the lighting industry include long-life lamps with high luminous efficacy, efficient electronic control gear, luminaires and lighting systems with optimized optical control characteristics and means of incorporating daylight near windows into artificial lighting systems. The aims of these innovations since the introduction of the energy-saving lamp in 1981 are to maximize output (=light), minimize input (=electricity) and improve the quality of lighting.
A central role in economical lighting is played by lighting electronics. A great deal of lighting, particularly in offices and factory bays, is provided by linear fluorescent and compact fluorescent lamps. Here especially, the use of electronic ballasts (EBs) makes a valuable contribution to environmental protection. It also, of course, reduces operating costs in comparison with conventional lighting systems. And last but n ot least, EB operation makes for greater lighting comfort – because it permits tailored lighting which meets high ergonomic standards, promotes a sense of wellbeing and is good for our health.
At some point, even the most economical lamp comes to the end of its useful life. And it is important that it is properly disposed of. Where disposal is easiest is in the case of incandescent and tungsten-halogen lamps. Consisting of metal and glass, these light sources contain no environmentally harmful materials and can simply be disposed of as normal household waste.
Fluorescent lamps, however, do contain environmentally relevant substances, so they must not be disposed of as household waste. Nor should their bulbs be disposed of at glass recycling points. Although energy-saving lamps, compact fluorescent lamps, linear fluorescent lamps and other kinds of discharge lamps today contain only minute quantities of mercury.

What are recessed ceiling luminaires?
Luminaires for mounting in cavities or ceiling voids. Most of the luminaire is recessed in the ceiling and thus not visible. In many cases, the luminaire face is flush with the ceiling. See also Surface-mounted ceiling luminaires, Pendant luminaires.
What is illuminance?
Illuminance (symbol: E) is measured in lux (lx) and indicates the amount of luminous flux from a light source falling on a given surface. Illuminance is 1 lux when an area of 1 square metre is uniformly illuminated by 1 lumen luminous flux. Illuminance is measured on horizontal and vertical surfaces, using an illumination photometer. Where a white room and a dark room are provided with the same lighting, the white room appears brighter.
What is a glare?
Glare can be caused directly by luminaires or other surfaces with excessively high luminance, e.g. windows (direct glare). Direct glare is assessed by the UGR method. It can also be caused in directly by light reflecting from shiny surfaces (reflected glare). Glare impairs visual performance (physiological glare) and visual comfort (psychological glare).
What is uniform illumination?
For the performance of a visual task, it is important to ensure not only the right lighting level but also the right degree of uniformity in the way the brightness is distributed. The yardsticks for this are uniformity of luminance and uniformity of illuminance, each expressed as a ratio between lowest and mean or lowest and highest values.
What are luminaires?
The term "luminaire" refers to the entire electric light fitting, including lamp. Luminaires protect lamps, distribute their light and prevent it causing glare. Luminaires are differentiated on the basis of type lamp (incandescent, fluorescent, discharge lamps), number of lamps (single-lamp, twin-lamp, etc.) intended location (interior luminaires, exterior luminaires), degree of protection (luminaires for dry, damp and dusty interiors), type of construction (open luminaires, enclosed luminaires, reflector luminaires, specular reflector luminaires, louvered luminaires, diffuser luminaires, floodlights) and application (technical luminaries, decorative luminaires).
What are wall luminaires?
Wall luminaires are used for task lighting, as part of the general lighting in a room and as a source of supplementary, accentuating light. They generally belong to a luminaire "family" of uniform design.
What is colour rendering?
The colour rendering of a lamp indicates the effect its light has on the appearance of persons or coloured objects. This is rated by reference to the "general colour rendering index" Ra, which indicates how natural colours appear under a lamp's light. The colour rendering index is based on eight frequently found test colours. Ra = 100 is the best rating; the lower the index value the poorer the colour rendering properties. Lamps with an Ra index less than 80 should not be used in interiors where people work or spend lengthy periods of time.
What is a lamp?
No lamp, no light. The term "lamp" refers to an engineered artificial light source, e.g. incandescent lamp, energy-saving lamp, compact fluorescent lamp. Lamps are used in luminaires which distribute and direct the lamps' light and prevent it causing glare.
What are incandescent lamps?
Incandescent lamps are typical thermal radiators. They consist of an evacuated glass bulb containing a tungsten filament, which glows when heated by an electrical current to around 2,600 – 3,000 degrees Kelvin. Most of the radiation emitted is in the infrared range.
What are tungsten halogen lamps?
In terms of technical design and in the way they work, tungsten halogen lamps are similar to incandescent lamps. The gas with which they are filled, however, contains halogens or halogen compounds. Within a certain temperature range, these additives enable volatizing tungsten atoms to be redeposited on the filament and and thus prevent blackening of the bulb and the consequent decrease in luminous flux. This makes for higher luminous efficacy and a longer life compared with incandescent lamps. Also, owing to the much smaller dimension of the burner and filament, precise optical control is possible.
What is light colour/ warm white light?
Light colour describes the colour appearance of a lamp's light. Light colours are based on colour temperature expressed in degrees Kelvin (K):
warm white (ww) < 3,300 K
neutral white (nw) 3,300 K to 5,000 K
daylight white (dw) > 5,000 K.
Lamps with the same light colour can have different colour rendering properties. Light colour helps create the atmosphere of a room: warm white light is found cozy and comfortable; neutral white light creates a more businesslike atmosphere. Daylight white light is only suitable for interiors where illuminance exceeds 1,000 lux; where illuminance is lower, daylight white light makes the surroundings look pale and monotonous. 

Wednesday 22 February 2012

USE OF COLOUR (3RD YEAR) A.O.


Use of colour



The 12-part colour wheel is based on the three primary colours (red, yellow and blue) placed evenly around a circle. 
Between the three primaries are the secondary colours (green, orange and violet), which are mixtures of the two primaries they sit between.
The tertiary colours fall between each primary and secondary. Between yellow and orange, for example, is yellow orange; between blue and violet is blue violet and so on.
All the colours around the outside of the colour wheel are called saturated colours. They contain no black, no white and none of their complimentary or opposite colour.
Compound colours are colours containing a mixture of the three primaries. All the browns, khakis and earth colours are compound colours.
Complimentary colours are those opposite each other in the colour wheel, such as red/ green, blue/ orange and yellow/ violet. Put these colours together and your eyes with almost sting, as these colours are equal in colour value.
A colour triad is a colour taken from 3 sides of the wheel. If this is blue/ yellow/ red you will create a circus, child's room effect, fun, bright and cheerful.
Pick only colours from one part of the colour wheel such as the blues/ purples/ greens you'll get dark effects, watery, night, mystical, relaxing. Choose red/ orange/ yellow and show heat, light, zing, wow factor and stimulation.
Choose two colours side by side from the wheel and one from opposite and you'll get contrast and harmony working well together and the opposite colour balances the other two.


Primary Colours

For rooms that come off feeling strong and solid, a scheme of primary colours -- red, blue, and yellow -- is an ideal choice. Each is a pure colour that can't be created by mixing other hues. Use them in pairs or combine all three; they work equally in country, traditional, and modern rooms.

Secondary Colours

Mixing two primary colours in equal amounts creates a secondary colour --green, orange, and purple. Like all colours, each secondary hue can be tinted with white or shaded with black for variations. If you can't envision a bold orange and green room, think about pairing up their paler tints of peach and sage. The primary and secondary colours illustrate that you can make a compatible triadic scheme by choosing any three colours equidistant on the wheel.

Tertiary Colours
These colours are an equal mix of a primary and its closest secondary colour: blue-green, yellow-green, red-orange, red-purple, and blue-purple. These colours can be combined to give a sophisticated look.



COLOUR HARMONY

Colour is a very potent feature in interior design because it evokes almost immediate response from the eye and can produce both physical and psychological reaction.  Designers can work wonders with colour and colour combinations if they have a good knowledge of colour and its effects. 

A good decorator always combines both value and practicality to evolve a scheme, which will work to the best advantage of the interiors.  Standard colour harmonies are divided into two main groups:

  1. Similar or Related Harmonies
  2. Contrasting or Complimentary Harmony

SIMILAR OR RELATED HARMONIES:

Selecting colours that are close to each other on the colour wheel produces related harmony. This includes two types of schemes - monochromatic and analogous schemes.

Monochromatic harmony indicates the selection of one colour or hue.  Different values must contrast in a single colour harmony.  This scheme is quite safe, effective, and peaceful in small areas. However, tends to get tiresome and monotonous, if carried out in an entire room.  Additional interest may be created by providing contrasts and combining textures through various surfaces.

Analogous scheme is produced by a combination of adjacent hues that have one hue in common.  The analogous are a combination of primary or secondary colours with two intermediate colours on either side of it.  This scheme is quite restful and shows greater varieties.

CONTRASTING OR COMPLIMENTARY HARMONY:

Combining colours that are opposite to each other and far away on the colour wheel produces complimentary harmony. They should differ in value and intensity. 

This group includes different types:

A.        Complimentary harmony
B.        Double complimentary harmony
C.        Split complimentary harmony
D.        Triad harmony

A.   Complimentary Harmony:

This is obtained by using colours lying opposite each other on the colour wheel e.g. blue and orange with yellow and violet etc.  This type of harmony provides a richer effect of colour than related harmony.  It can be successfully used for rooms, window displays and outdoors.  It should have strong colour intensity.

B.   Double Complimentary Harmony:

In this scheme, two directly adjacent colours and their complimentary colours are used together for a double complimentary harmony e.g. yellow and yellow green with red and red violet.  In using this scheme, the outstanding view should contain the largest amount of colours, that is, the dullest of all the colours.  The next may be a little bright but should be partially neutralised.  The fourth colour, which is used in the least quantity, should have the brightest intensity.

C.   Split Complimentary Harmony:

It is the combination of primary or intermediate colours on either side of the colour wheel; compliment yellow with red violet and blue violet, blue with red orange and yellow orange, red with blue green and yellow green etc.  A true split complimentary scheme is a harmony of similar colours with a note of contrasting colours. The amount of different values and intensities should be adjusted to prevent a shocking effect.

D.   Triad Harmony:

This is a combination of any three colours that form on equilateral triangle on the colour wheel.  It requires careful treatment and can provide the richest and most interesting harmony.  But if not carefully planned, it can have a very irritating effect e.g. red yellow blue orange, violet & green and red violet blue green and yellow orange.

ACCENTED NEUTRAL HARMONY:

It is a harmony in which the largest area of the room will be neutralised with a smaller area in a brighter colour.

FUNCTIONAL CONSIDERATION IN COLOUR HARMONY

The function of the place should be manifested through the colour harmony.  The maintenance availability and cost must be considered.  Light colours are soiled easily and may prove to be more expensive in terms of time and money.  In private areas, it is important to create a personalised colour atmosphere.  In a room shared by many groups, preference should prevail, e.g. restaurants, lobby and other public places. Sub divide a room into the following areas of colour distribution - dominant area (walls, floor and ceilings) medium area (draperies, upholstery, furniture and bed spreads), small furniture (cushions, pillows and table cloths), accent areas (accessories, paintings, lamp shades etc.)
According to the law of chromatic distribution, the largest area should be covered with a neutralised colour.  As the area reduces in size, chromatic intensity may be proportionally increased.

Any two hues may be used if they are at the proper degree of neutralisation.  They should preferably contrast in their values, e.g. like walls and dark floor where the draperies and upholstery are of an intermediate value.

Contrast creates interest; neutral colours are formal while brighter values are more informal.  A neutralised colour appears more neutral in small areas than in larger areas.


EMOTIONAL IMPACT OF COLOUR:

How Colour Affects Mood


Relying strictly on the colour wheel to make decorating decisions leaves an important factor out of the equation: the moods that colours can create. The colours you live with really do influence your emotions. Some palates lighten and brighten your mood while others pacify or purify. We respond to colour with our hearts, not just our heads, so it's important to choose wisely. Understand that colours behave in three basic ways -- active, passive, and neutral -- and you can easily match every room's colours to your personal desires and taste and to the room's purpose.
Active Colours

On the warm side of the colour wheel, active colours include yellow, orange, and red. These advancing, extroverted hues stand out to greet and sometimes dominate. They inspire conversation and an upbeat attitude. Red, the most intense, pumps the adrenaline like no other hue. Small doses of the fire-engine hue wake up an entry or turn up the heat on a hearthside den. Golden or lemony yellows -- good for home offices and kitchens -- unleash creative juices.

Passive Colours
The cool colours -- blue, green, and purple -- will pacify, staying quietly in the background to calm and restore depleted spirits. They're ideal for bedrooms or private retreats, but if yours is a cold climate, you may want to work in some sunny accents for warmth and contrast.

Neutral Colours
Neutralizers are the "uncolors": browns, beiges, greys, whites, and taupe. They neither activate nor pacify but combine and cooperate, bridging together different rooms and colours. They're good transitions on woodwork, trim, hallways, and functional spaces like kitchens and baths, but even living rooms can benefit. Darker neutrals tone down other colours; crisp white intensifies them.


Colour Language
Curious about how colour influences mood? Here are a few examples:
Pink: soothes, acquiesces; promotes affability and affection.
Yellow: expands, cheers; increases energy. It is warm but not over bearing.  Cream and light tans are suitable background colours.
White: purifies, energizes, unifies; in combination, enlivens all other colours.
Black: disciplines, authorizes, strengthens; encourages independence.
Orange: cheers, commands; stimulates appetites, conversation, and charity. Beige and tan are favoured as background colours.

Red: empowers, stimulates, dramatizes, competes; symbolizes passion. It is the strongest of colours and is associated with danger.  When reduced to a tint of pink it losses its intensity and becomes milder and delicate.  As a shade, red may give a warm brown.

Green: balances, normalizes, refreshes; encourages emotional growth. It is associated with nature, health and well-being.   It provides dignity and solidity.
Purple: comforts, spiritualises; creates mystery and draws out intuition.
Blue: relaxes, refreshes, cools; produces tranquil feelings and peaceful moods. It is associated with simplicity, purity, truth and meditation.  It stimulates intellectual activity but in the extreme, it could lead to depression. 
Violet: It is the colour of tension and ambiguity. It represents sensitivity, subtlety and has lavender in playful and magical.  Deep violet should be used with caution.

A combination of colours from the three families i.e. warm, cool and neutral in a correct balance will provide attractive and comfortable interiors.  Colours may also have an advancing or receding effect.   Warm colours tend to appear closer than their actual distance while cool colours tend to have a receding effect. Spaces can be made to seem larger or smaller through choice of colours and shape.  A long narrow space can be made to seem less long and less narrow through the use of warm colours on either ends and cool colours on the sides. A low ceiling will seem less oppressive in light colours where as a high ceiling will appear lower in dark tones.

FUNCTIONAL VALUE OF COLOURS

Colours selection is influenced by climate, orientation activity and preference. In hotels, entrances, lobbies and front desk areas invite the use of strong colours to make a positive first impression.  Lobbies and lounges can have warm colours to support comfort but cooler tones in warm climate.  All the schemes should be generally agreeable to the guest.  Corridors leading to guest room should be given a lively colour treatment.  In bedrooms, intense colour must be avoided on ceilings and large wall areas.  Restaurants may fail by using insensitivity to colour since appetite is influenced by light and colour.  Black, grey, blue and violet should be avoided.



             



PRINCIPLES OF LIGHTING DESIGN (3RD YEAR) A.O.


Principles of Lighting Design


 
Light is an essential element of every interior scheme and should be given special attention in the initial plan of each room.  Sufficient and conveniently planned outlets should be an integral part of architectural planning.  Planning of artificial light presents a major problem, as it requires both aesthetic and practical considerations.  The average room lighting equipments and fixtures must be consistent with the style of the décor and must consistently contribute to the character and atmosphere of the room.

TYPES OF LIGHTING

Ø  Natural
Day light provides natural light and varies according to the position of the sun and time of the day.  Light is necessary for colour visibility. Textures are also influenced by light absorbed or reflected by them.

Ø  Artificial
These are of two types:



Incandescent Lighting:
In this type of lighting tungsten filament is sealed in a glass bulb and heated to a point at which it glows.  The glass bulbs are usually made of standard lined glass/heat resistant borosilicate glass, which permits higher voltage used for outdoor lighting.  Same bulbs are finished with an acid solution from inside which etches the glass and gives a frosted effect.

Fluorescent Lighting:
This consists of sealed glass tubes, which contains mercury and halogen glass. It has electrodes at each end and on the inside, the tube is coated with a florescent material containing phosphorous. When a current is passed, the mercury vapour emits ultra violet light which is converted into visible light by the phosphorous on the inside surface of the tube.

The lifespan of the incandescent lamp would be 750-2000 hrs and of a fluorescent light 1800-20000 hrs. Fluorescent lamps are suited for lower ceiling application and general lighting.  They provide diffused light.



CONSIDERATION IN LIGHTING SELECTION

1.    Function:
The function of lighting must be evaluated in terms of quantity and quality of vision. The primary goal is visual clarity and to safeguard guest.


2.    Safety:
Safety is important in light consideration since improper lighting could prove hazardous to persons working in a particular area.  Staircases require adequate lightings to prevent accidents. Proper wiring insulations and earthing should also be considered for safety.

3.    Beauty:
A close relationship exists between the type of lighting and appearance of colour.  Wrong colour choices reduce the effectiveness of well-planned schemes.  The designer should use brightness/ contrast to create visual interest. Interior lighting should be an integral part of the total designing of the area.


METHODS OF LIGHTING

1     ARCHITECTURAL LIGHTING: It supplies functional lighting and is good for contemporary rooms.


a.    Valence Lighting:
A historical fluorescent tube is placed behind a valence board, carting up light which reflects and then down, shining on the drapery by providing both direct and indirect light.

b.     Cornice Lighting:
A cornice is insulated in ceiling and directs the light downward.  It can provide a dramatic effect on drapery, wall covering and pictures.

c.    Covered Lighting:
Covered lighting consists of placing a series of continuous fluorescent tubes in a group or placed at one or more walls of a room.

d.    Soffit Lighting:
This is a method of direct lighting in which the illumination from the light source is built into the underside of soffits or beams used in staircases, reception, lounges etc.

e.    Luminous Lighting:
This is recessed lighting to light up a particular area e.g. kitchens, utility areas, bathrooms etc.

2     NON ARCHITECTURAL LIGHTING


This consists of the light reflected from walls and ceilings. Portable lamps may also be used for general overall light or localised light.



3     OTHER LIGHTING


Table lightings, point source, accent diffused and ambient lighting.




LIGHTING SYSTEMS:

Types of lightings may be classified by the manner in which the light rays are directed on the object to be illuminated.

1     Direct Lighting:
It is a type of light that is produced by most table and floor lamps.  The light is directed downwards and the ceiling receives reflected light. This light produces sharp shadows and some times a glare.  Direct lighting is usually combined with other types of lighting according to the requirements e.g. spot lightings.

2     Indirect Lighting:

In this type of lighting, the light is directed to the ceiling or walls from which it is reflected into the rooms.  The immediate light source is secluded from view. Overall, room illumination with indirect lighting will diffuse or shadow less with low, less, light source brightness.  When used above, indirect lighting is flat and uninteresting without shadows. It is suitable for general lighting of the covered valence and cornice fitting.  Other lighting systems are semi direct and semi indirect lighting.



LIGHT FITTINGS
1.    Dimmers:
These are combined with on and off switches and control the level of lights on & off at one certain time or at different times in different rooms.  Several dimmers can be attached to a single control.

2.    Anti Burglar:
These lights function on a time switch which turn the lights on and off at a certain time or at different times in different rooms.

3.    Door Switch:
This light is set in the doorframe and gets turned on when the door is opened.

4.    Photo Cell Control:
Light sensitive units can replace switches at the entrance where a photocell card needs to be installed to activate the lights.

5.    Full Fittings or Pendant Lights:
These are fitted over dining tables, billiards table and for spot lighting.  The control switch may be a finger tap switch provided at the table.



LIGHTING FOR DIFFERENT AREAS IN HOTELS

1.    Entrance Halls:
Entrance halls should look interesting and the lighting should be in keeping with the atmosphere of the place. During the day, an entrance can appear dull and dim if one comes from outside. The light in the hall should be bright enough at the reception desk, on display boards etc.  Care should be taken to avoid glare but the light should be sufficient for the guest to be able to read clearly.

2.    Lounge Area:
In the lounge area, a chandelier or a general light fitting may be fixed to provide overall light. Cornice lighting may be fixed to reflect on the ceiling, coved lighting may be provided by using wall brackets and other fittings.  When there is a false ceiling, the light may come in through the gaps in the ceiling or through glass panels fitted in the ceiling.  Lamp fittings here are concealed and only the light is reflected. The atmosphere of the lounge should be comfortable and restful.  Localised lights may be used if necessary and portable fittings may be provided.  In case of an area attached to a cafeteria, higher degree of illumination may be necessary for quick service.

3.    Restaurants:
In restaurants, subdued lighting is generally perfected specially at heights. General lighting is normally used for banquets. Fluorescent lightings may also be used.  The effect of lighting on the colour of food should be considered. 

4.    Corridors:
Subdued lighting may be required in corridors but gloom should be avoided and the guest should be able to see the room number clearly.  Placement of light should not be very far from each other.  Cornice or ceiling lights are quite appropriate.

5.    Stairs:
Stairs should be well lit to prevent accidents.  The lights can be set along the wall or just below the handrail.  In case of overhead light, fittings should be placed at the end of each flight of stairs.

6.    Bedroom:
Bedrooms do not generally require general lighting but adequate lighting should be provided in different parts of the room.  The light should not be too bright.  A general wall light, a table lamp, bedside lights are the standard light.  Lights should be controlled at the door as well as the headboard of the bed to prevent accidents or to have the guest enter into a darkened room.  Bedside lights may be mounted on to the wall or fixed as table lamps.  They should be placed sufficiently high to enable the guest to read a book.  Dressing table light should provide sufficient light to illuminate the face and not the mirror. Pelmet lights can be fixed which illuminates the curtain and giving a soft glow around the window area.  The wardrobe built in cupboards should have one light inside to enable guests to see the contents clearly.  This light may be fixed to the ceiling of the wardrobe.

7.    Bathroom:
In a bathroom, safety is of prime importance.  The fittings must be safe with vapour and water proof fittings. All electrical fittings and equipment should have dual switches which can be controlled from outside.  Plastic or glass is preferred to metal.  An emergency light that operates independently of the main supply should be provided which comes on during power failure.  This light should be placed in staircases corridors and exit entrances.



IMPACT OF LIGHTING ON MOOD AND ATMOSPHERE

The selection of lighting systems, light intensity, its colour and the accessories used influence the mood and atmosphere of the room.  Lighting in the bedroom should be warm and relaxing. Yet, it should be bright enough to observe the articles in the room.  Light of low wattage and medium wattage is suitable.  Using dimmer switches can change the atmosphere and mood.  A series of down lighters and wall washers will be suitable to light up the room and prevent glare to the occupants.  Subsidiary lighting by the telephone, mirror, coats rack may be necessary.  In a restaurant, a relaxing mood can be created by using pelmet lights and pendent lamps above the table.  The light should be dim around the people, but with medium wattage over the food.

Passageways should be visible. Candlelights may also be used to create a romantic ambience. Bright pools of light alternating with shadows provide a warm welcome. Lights in office area must provide general light as well as spot lighting on the table.  Reading lights should be situated behind the user at the top left hand side.