Wednesday 26 April 2017

ELEMENTS OF HOTEL DESIGN

ELEMENTS OF HOTEL DESIGN
All visual designs are reduced to elements or dimensions.  The elements of art are the basic structure and comprise of line, form, colour, texture, pattern, light and space, which apply to the furnishings and room planning. The effect of these elements is reflected by our instinct and intellect.  They make a visual impact and evoke emotional response.
Following are the different elements of art and design:
LINE:
Directions of line such as vertical, horizontal, diagonal or curved express various ideas and themes. Straight vertical lines convey strength and force, while the horizontal lines suggest response, secrecy and relaxation.  Curved lines introduce a softening effect while spiral lines show activity and interest.  Lines can be used to introduce variety and design.
FORM:
Form and line are closely related wherein the combination of curve, straight or diagonal lines help to produce the three dimensions and create form and shade.  Form represents solid and tangible substances. Horizontal and vertical lines combine to create a rectangular or square form.  Curved lines create circular form. Form can be created within enclosed space by arranging substances.
COLOUR:
The main characteristics of colours are hue, value and intensity. is the name of the specific colour; value which represents lightness or darkness; intensity the brightness or darkness of the colour.
TEXTURE:
The roughness or smoothness of a surface is referred to as texture.  Texture is found in wall finishes, carpets, furniture, paintings etc. The texture quality of any surface is controlled by touch.  It also makes a difference to the depth of colour, which results in brightness or darkness of a colour.  The coarser the texture, the lesser is the amount of light reflected and therefore the duller the colour.
PATTERN:
Colour is used frequently in connection with pattern.  This adds interest and variety to a decorated scheme.  Careful consideration is necessary before introducing pattern.  Too much of pattern disturbs the eye and creates restlessness in a room.  Pattern is introduced through floors, floor coverings, through walls, wall coverings, furniture, furnishings and fittings.
LIGHTS:
This is an art element which is both functional and decorative. It has a dispute, proportional and emotional effect.  Colour depends upon the light in which an object is viewed.  The quality of light is important for colour.  The utility of the room should be considered while planning lighting.  Natural and artificial lighting should be selected appropriately.  This may cause variation in the appearance of colours.
SPACE:
The importance of space as on art element is widely recognised.  Space organisation is a basic element in architecture and interior design.  Space creates beauty and is necessary for areas to be used effectively. Fluidity or flow in the room is important and the eye is encouraged to travel small spaces can be enlarged by using large glass windows.
PRINCIPLES OF DESIGN:
The elements of art are line, form, colour and texture.  This must be handled within conformity with certain principles and laws that govern their use if beauty is to result.  Every art field has certain guidelines that are to be followed and the same is applicable in planning of interiors.
1.    SCALE AND PROPORTION:
By habit, the human eye becomes accustomed to definite dimensions in daily life.  Some of these dimensions are fixed for convenience.  Proportion is the law of relationship, which demands that all space divisions should be pleasingly related to each other and to the whole. The Greeks developed a great deal of calculations about space distribution and a scale of space relationships. These skills are used even today.  The normal ratios are 2:3, 3:5 and 5:8.  These forms are equal divisions.  A square room is more difficult to arrange and uninteresting to live in.  Rooms should be preferably furnished with smaller furniture types and consistent patterns.  The furniture should be in proportion to the size and height of the room and its architectural features.
2.    BALANCE:
It is the principle of design, which produces a feeling of restfulness and contentment.  Balance deals with quantity or number in the arrangement, colour and distribution of pattern or plain surfaces.  Balance is the result of equalisation of attraction on either side of a central point.  Balance can be attributed to colours, texture, pattern and light.
There are two types of balance:
Formal Balance and Informal Balance
  Formal Balance:
Formal or symmetrical balance occurs when objects of equal size and weight are placed on each side and at equal distance from the centre.  When they are identical, the balance is symmetrical.
  Informal Balance:
Informal or asymmetrical balance results when objects are arranged in such a way that a large one nears the centre, smaller ones away from the centre.  Both types of balances are attractive.  Formal represents intellect while informal represents feelings.  This also has emotional significances.
3.    RHYTHM:
This is the principle of design that suggests connected movement in a pleasant manner.  It can be obtained through a repetition of light, forms, and colours or through a progression of rise or continuous line movement.  Rhythm is achieved through repetition, progression, transition, opposition and radiation.
4.    EMPHASIS:
It is the principle of design that centres interest on the most important thing in the arrangement in a room. Emphasis may be centred on a painting, fireplace, window treatment or furniture grouping.  All other parts must be subordinated to the interesting point.  It is better to understand emphasised rather than over emphasized.  Emphasis can be created at any point in the room.  Dramatic use of art components creates emphasis i.e. large and unusual forms, different surface patterns, more light elsewhere and unusual texture and contrasting colours.
5.    HARMONY AND UNITY:
It is an expression of an agreeable combination of all the parts that are produced. In other words, if all other elements of design have been combined as per the principles, it inevitably results in unity. Unity and harmony demand that size, shape, textures, colours and ideas are pleasingly related e.g. a copper lamp would look charming in an ethnic arrangement but not in a modern formal one.

Fastest Growing Trends in Hotel Interior Design
. Lobbies envisioned as dynamic multi-use spaces
On Freshome, we’ve seen many hotel projects focused on offering a striking first impression. The importance of entrance lobbies is growing, as social encounters become more and more dependent on this particular hotel area. With the new business traveling trend, hotel lobbies should provide a multi-use space for casual as well as formal talks, working on laptops, plugging in various devices. This means a simple sofa-coffee table arrangement won’t cut it. Creative space segmentation is necessary, providing both intimate and social zones, as well as furniture delivering comfort and functionality. More extravagant entrance features in today’s emerging hotel market include large green walls, indoor waterfalls, large chandeliers and multimedia stations.
Rethinking Guestroom Configurations
No longer is the classic bed-table-locker combo enough to make a hotel room feel inviting. In today’s world guests expect surprises and where else, but away from home. Probably why each interior in the modern hospitality industry is very different from the next. Creative offices for business travelers, interesting looking TV panels and an extra sofa next to the king-sized bed are just some of the key “ingredients” for a trendy hotel room. We’ve also seen color explosions and eclectic decor mixes, which can definitely appeal to guests wanting to experience unique accommodation
Spa-Like Bathroom Features
Bathrooms stopped being perceived as auxiliary rooms, spaces to be minimized, in order to expand living areas. The modern tourist expects more than he gets at home in his journeys. A resort bathroom with spa-like features is an open invite to relaxation and a sure-proof method of alluring guests through the promise of ephemeral luxury. Think en-suite bedrooms, waterfall showers, over-sized bathtubs, his&hers sinks, giant towels, beauty items and plenty of space.
Not Just a Restaurant, But a Destination in Itself
Few hotel restaurants still base their appeal strictly on “practicability”. Cooking is an art and so should be the “exhibition space”. We’ve seen more and more hotel restaurants turned into memorable spaces through design. Themes are highly recommended, pushing creativity to new heights and turning each venue into a destination in itself.
Blurring Indoor-Outdoor Boundaries
Sensory experiences go a long way. This “principle” was well integrated in the array of services offered by modern hotel owners, who struggle to keep the indoor outdoor transition as “ethereal” as possible. Not only are hotel rooms expanded through large decks and terraces, but nature is brought inside in every possible way. Wood paneling, stone decorations, lush greenery, indoor waterfalls- these are just some of the elements employed to release the tension of hotel guests
Green Features
Sustainability is a delicate issue for hotel owners, as they are doing their best to minimize short term costs. But being ahead of the game is important, which sometimes leads to innovative ideas. Over-sized windows for natural lighting, natural building materials, green walls and green roofs, recycling bins for guests, electronic water faucets, locally grown food for cooking and graywater recycling are just a few of the hotel trends for staying green.
Focus on Local Art
It is a real shame that modern architecture usually distances itself from local origins. Sometimes we look at a house on Freshome and its design tells us nothing of its location. Luckily, more and more hotel owners realize that adding local art in their design scheme will improve guests’ perception of the place and create a genuine experience. From small sculptures and photography to large-scale installations, integrating an art project into the image of the hotel could be an easy way to success
Technology Overload
Not everyone is looking for a hi-tech accommodation away from home. On the contrary, people tend to disconnect during holiday time. But more and more hotels focus on keeping guests “plugged in” at all costs. Certainly a good way to go when it comes to business tourism, a technology-friendly room encourages work-flow and in the long run, the guests’ fidelity. New hotels offer the possibility of adjusting lighting, air conditioning and even window blinds through smartphones, which often turns out to be a good business approach. Another trend is placing PC tablets at check-in for printing boarding passes, as well as for ensuring other self-helping processes requiring online connection
Less Pattern, More Color and Texture
When away, you usually have more time for exploring your senses. This is probably why hotel rooms are easily letting go of visually upsetting patterns and embracing texture instead. Giving guests something they can feel and even get lost in can result into a memorable experience, one they will probably want to repeat. Add a few bright colors to animate spaces and a soothing joyful atmosphere is created
Personalized Spaces
It is a fact that the memory of a hotel stays with guests a long, long time if the accommodation experience is unique. With this in mind, hotel owners personalize spaces as never before. Pop-up hotels, and modular hotels are new concepts slowly gaining interest in the industry. Themed guestrooms also have a strong impact, especially when visitors can only try one at a time.
A Home Away From Home
More than anything, hotel rooms should provide comfort, that feeling of a home away from home. No matter how luxurious, technology friendly and weird-themed the room, coziness is a major factor to consider. Wood additions, inspired decorating items, carpets, curtains, a fireplace, a TV set and the possibility to play your guest’s favorite music- all these adds up to a memorable stay.

What are the Key Elements some top Hotel Designers use?
A hotel is not just a place where people stop along the road to sleep until they are ready to head off again. If you run a hotel you are creating a place for people to settle in and establish a temporary home. Whether they are staying for just one night or becoming your guest for an extended period while they are on vacation or on a business trip, your guests want to feel welcomed and understood. They want to feel as though you are not just ushering them through a generic environment, but that you understand their needs and want them to enjoy their time spent with you. This illustrates the importance of hotel design.
Hotel design is about creating all of the areas and rooms within your hotel in a way that carefully develops cohesion and enjoyment without becoming cloying. A skilled Miami hotel designer will address the following areas as they apply to your specific hotel:
Guest Rooms
Of course, the main thing that a hotel guest will be considering is the guest room. This will be where he closes himself off from everything else, relaxes, and enjoys the amenities you have to offer. Hotel design in this area should focus on creating guest rooms that are conducive to rest and comfort. Depending on the style of hotel that you run these rooms can be quite simple or very elaborate. Regardless of the level of luxury within your rooms you should offer a pleasing color scheme, welcoming layout, and thoughtful design elements that will make your guests immediately feel at ease.
Luxury Suites
If your hotel offers special suites for things such as honeymooners or business guests the hotel design will want to speak to the special needs of these valued guests. Honeymooning couples will likely appreciate touches like softer bedding, a bigger bathtub, separate bedroom and living areas, and added amenities such as a space to enjoy special room service offerings or carefully chosen furniture that creates a cozy, romantic ambiance.
Common Areas
While some hotels seem to funnel guests from the front desk to their guest rooms, more distinct establishments offer areas in which guests can socialize and interact or just spend time outside of their guest room. The hotel design in these areas will be dedicated to creating a sense of warmth and welcome, encouraging socialization and unwinding. This also depends on the overall theme of your hotel. While some more modern hotels may lean toward white or bold colors and artwork meant to inspire conversation, cozier bed and breakfasts and old world hotels will likely feature darker colors, large furniture, and even a hospitality center featuring self-serve coffee or evening snacks.
Entertainment Spaces


Hotels are popular destinations for weddings, parties, conventions, and other events. If you want to take advantage of this market you should focus hotel design energy on the look and function of your entertainment spaces. Your designer will likely consider the color scheme, the flow of the rooms, and the features that can help to enhance the entertainment experiences for different clients so that each can enjoy your hotel within their own needs.

FLOWER ARRANGEMENT


                                                                             FLOWER ARRANGEMENT
Flower arrangement is a very old art. Making up of a good flower arrangement requires a lot of creativity and one can develop this art through study and experimentation with different plant materials.
Flower arrangement may be defined as the art of organizing and grouping together plant materials (flowers, foliage, twigs, etc.) to achieve harmony of form, colour, and texture, thereby adding cheer, life, and beauty to the surroundings.
FLOWER ARRANGEMENTS IN HOTELS
In hotels, flowers are used extensively. Various types of arrangements are chosen, as appropriate to the area and occasion. Medium-sized ‘round’ arrangements are often provided at the guest relations executives’ desk in the lobby and on coffee tables in the lounges. In most five star hotels, one can see huge, spectacular arrangements in the lobbies. Restaurants generally have bud vases on each table, with one or two flowers in them. Table arrangements for conferences must be low so that guests may see over them. At informal banquets, large arrangements may be seen. At wedding banquets, wall arrangements using gerberas are very popular nowadays. On special occasions and festivals, some hotels even make beautiful traditional flower carpets for the lobby.
BASIC INGREDIENTS
1.       Mechanics
2.       Equipment
3.       Containers
4.       Bases
5.       Accessories
6.       Plant material
7.       Support
  MECHANICS:
These are items used to keep flowers, foliage, and stems in place within the container. Mechanics must be fixed securely and should be hidden from view.
Examples – florists’ foam (oasis), pin holders (Japanese term – kenzan), chicken wire, prong, adhesive clay and tape, florist cone.
1.     Floral foam, also called oasis, is a cellular plastic material, available in two types – green foam and brown/grey foam.
2.     Pin-holders, also called kenzan or needle-point holders, is a series of sharply pointed pins are firmly held in a solid lead base, to hold thick and heavy stems securely by impaling them on the pins.
3.     Chicken wire, also called ‘wire mesh’ or ‘wire netting’, is a fine- gauge wire used to cover floral foam blocks in large displays.
4.     Prong is the simplest type of floral foam anchor. It is a small plastic disc with four vertical prongs. The base of the prong is attached to the container with adhesive clay and the floral foam is pressed down onto the prongs.
5.     Florist’s cone, also called a ‘flower tube’ or ‘flower funnel’. It acts like a miniature vase. It is used in large arrangements, where foliage or flowers need to be placed above their stem height.
EQUIPMENT:
This includes tools used to ensure t hat a satisfactory arrangement of plant material is created within the container.
Examples – bucket, scissors, knife, watering can, mister, wire cutter, cocktail sticks, turn, wire, floral tape, candle holder, cut flower preservatives, and secateurs.
1.     Mister is a hand- held spray bottle to produce a fine mist of water droplets to keep an arrangement look fresh in warm weather.
2.     Secateurs are used to cut through thick and woody stems.
3.     Cocktail sticks or a tooth pick is used to make holes in florists’ foam for a soft stem of flower.
4.     Cut-flower preservatives is a bactericide ,available in powder or liquid form, to prevent slime and smell from developing in the vase water, plus sugar to prolong the life of fresh flowers. A preservative can be made in-house by adding 3 teaspoons of sugar and 1 drop of bleach to half a litre of water.
CONTAINERS:
These are receptacles that hold the flower arrangement. They may or may not be hidden by the plant material. The container must be waterproof  and neutral colours such as soft grey, dull brown, off-white, or earth colours are most suitable because they are inconspicuous and do not detract attention from flowers displayed. Theme and simplicity should be kept in mind while choosing the design of the container.
Example – vases and jugs, basket, bowls and trays, wreath frame etc.
BASES:
An object that is placed underneath the container to protect the surface of the support and/or to add to the beauty of the display is called a base.
Example – table mat, tree section, wood base, stone base, and oriental base.


SUPPORT:
This refers to the structure on which the container stands.
Example – tables, sideboards, alcoves, and shelves.
PLANT MATERIALS:
These can be divided into 3 basic types-
a)      Flowers  ( dominant/ focal/ point material) –
This consists of bold flowers or clusters of small showy blooms. The dominant material provides a centre of interest.
Example – Gerbera, Chrysanthemum, lilies, Anthurium, Tulips, Poppies, Roses, Dahlias, and Daffodils.
b)      Fillers ( secondary material) –
This consists of smaller flowers and all sorts of leaves and foliage that are used to cover the mechanics and edges of the container and also provide added interest and colour to the display.
Example – Asters, Ivy, Button Chrysanthemum, Carnations, Gypsophila
(Baby’s breath), Limonium and Marguerites.
c)       Foliages ( line material ) –
This consists of tall stems, flowering spikes, or bold leaves that are used to create the basic framework or skeleton. This line material may be straight or curved and it sets the height and width of the finished arrangement.
Examples – Gladioli, birds of paradise, golden rods, larkspur, asparagus ferns, palms, tuberoses, and Peruvian lilies.
ACCESSORIES:
These are non-plant materials included in or placed alongside the arrangement. Their purpose in generally decorative but could be functional at times. Accessories are added to the design for extra interest or to ‘stretch’ the flowers when they are in short supply.
Example – miniature dolls, hats, ribbons, beads, painted wire, wooden fruit shapes, silk flowers and foliage, candles, driftwood, shells, idols, interesting pebbles etc.
CARE AND CONDITIONING OF FLOWERS
A flower or leaf cut from a plant has a short, though beautiful, life. It is possible to prolong this for a little while by a few methods. Flower arrangers use the term ‘conditioning’ to refer to the preparation of cut plant materials for a long life, the filling of stems with water, and prevention of wilting.
1)      A bucket of water at room temperature should be carried into the garden and the cut flowers should be immediately plunged into it. This helps retain their moisture for a longer period of time.
2)      Plant material should be cut at a slant, using sharp scissors or knife, either early in the morning or after sunset. At this time, they are crisp and filled with moisture.
3)      As a general rule, it is best to cut flowers before they reach maturity.
4)      Carry cut flowers in a heads-down position so that heavy-headed flowers will not snap off.
5)      Wrap the flowers in newspaper till the neck of the flowers. Plunge this bunch into a bucket of water for 3-4 hours or overnight to condition. This is called ‘hardening’. In case of foliage, submerge them in water for about 2 hours.
6)      Use a good pruning knife or scissors to make clean, slanting cuts, causing minimal damage or bruising to the little ducts in the stem which carry water.
7)      Make slanting cuts in stems rather than straight ones – preferably underwater, as this helps expose a larger surface area for water suction by the stems.
8)      When stems are woody, they may be cut crushed or split at the end, e.g. cherry, etc.
9)      To revive wilting flowers, snip off half an inch of the stem underwater and plunge in a deep container of water. Dead flowers should be cut off.
10)   Re-cut any stem that has been left out of water, doing this underwater if possible and removing about 2 inches of the stem.
11)   To reduce underwater decay, strip the stems of all foliage and thorns that fall below the waterline.
12)   Never place a fresh flower arrangement where it will be exposed to direct draughts from a fan or window. To prevent dehydration, keep cut flowers away from direct sunlight and large appliances as well.
13)   Do not put flowers near a bowl of citrus fruits as they emit ethylene gas when ripening, which causes wilting of flowers.
14)   Prolong the freshness of the arrangement by spraying with lukewarm water from a mister morning and night.
15)   Change the water everyday if the arrangement is meant to last a while. Never use chilled water, as cut stems fare best in warm water of about 45 degree Celsius.
16)   Listerine, ammonia, charcoal, salt, lemonade, sugar, camphor, aspirin added in small amounts to the water, or commercial cut-flower preservatives slows down bacterial growth, thus prolonging the life of flowers.
17)   Use clean containers to prevent premature fouling and bacterial growth. Do not use aluminium containers for flowers.
18)     Every 3 days, re-cut the stems, clean the vase, completely replace the water, and add more preservative.
PRINCIPLES OR DESIGN OF FLOWER ARRANGEMENT
1.       SCALE
Scale is easy to understand as we can all recognize when small flowers look wrong in a large container, etc. However size is relative – an object seen by itself is not big or small unless it is seen next to another object for comparison. If the difference is great then objects do not go well together.
In flower arrangement –
1.     Each piece of plant materials should be related to the others in size.
2.     The base should neither be too big or too small for the rest of the design.
3.     Any accessory used should be in scale with the remainder of the design and should not seem huge or dwarfed.
4.     The whole design should be in scale with its setting. E.g. on a dining table, the flower arrangement used should leave enough room for china and should not inhibit conversation.
2) PROPORTION
Good proportion refers to pleasing amount of things and again it a matter of relationships. The same amounts of material that appears too much for one container may seem correct for another. Scale concerns relative size and proportion concerns relative amounts. A number of arrangements can be made for a room and all may be in scale with their setting but the number of arrangements may be too many, so the proportion of arrangements to the room is not pleasing.
A guideline is that the plant material should be one and a half times the height or the width, whichever is the greatest, of the container. Equal amount of things lack interest and on the other hand too much of one thing is also not pleasing. Here the eye is the only judge.
3) BALANCE
Here, physical as well as visual balance needs to be considered.
Physical balance: this is vital for any arrangement. If it is too asymmetrical, then there is a danger that the whole arrangement will tip over. The mechanics must always be securely fixed and the container should always be heavy enough to support the plant material. The more one-sided the display, the heavier the container should be. Sand and gravel can be added to achieve this.
Visual balance:  this calls for the arrangement to look stable even if it is one-sided. To increase the visual weight of the lighter side, keep in mind that –
a)      Dark flowers look heavier than pale ones.
b)      Round flowers look heavier than trumpets and conical ones.
Top to bottom balance also needs to be considered. Large flowers placed centrally and close to the bottom of the arrangement give a feeling of good balance.
Symmetry and asymmetry:
This refers to the outline or the shape of the design. If design is symmetrical, then its shape is exactly the same on either side of the centre. If asymmetrical design, then shapes are dissimilar and balance depends on the eye being attracted to both sides of the design equally by the use of different colours, shapes and textures.
4) RHYTHM OR MOVEMENT:
This involves using techniques and materials that guide the eye from one part of the display to another. Rhythm can be in colour, size and_____________.
Rhythm in flower arrangements may be achieved by –
1.     Using curved stems
2.     Hiding all or part of any tall, straight stems.
3.     Placing flowers ‘in and out’ through the arrangement.
4.     Having flowers at various stages of development in the arrangement.
5.     Using foliage of various sizes and contrasting shapes.
6.     Having an irregular line of various- sized blooms.
Rhythm is best achieved by repetition and easy gradual change.
5) CONTRAST:
Contrast and variety add interest to life and opposite things emphasize each other. A flower arrangement can be dull without contrast. Contrast can be created in shape – by turning the flowers to different ways when all round flowers are used. Contrast can be achieved by introducing line plant material. Strong contrast in textures can be used for interest. Very strong contrasts should be avoided as too much contrast may upset the unity of the arrangement.
6) EMPHASIS/ DOMINANCE:
This involves having one or more areas in the arrangement to which the eye is drawn and on which it rests for a short time. This point is known as a ‘focal point’ or ‘centre of interest’. The usual methods to achieve emphasis are as follows-
1.     Include a small group of bold flowers (dominant material).
2.     Use an unusual container.
3.     Use striking foliage.
4.     Have sufficient plain background.
7) HARMONY/ UNITY:
In a pleasing flower arrangement, the plant material, container, base, accessory and setting should all be in harmony. Similarity in appearances between materials help s give repetition and a feeling of harmony, e.g., the curve of a piece of driftwood, etc. The resemblance in all cases need not be identical but a link in appearances is an echo giving a feel of relationship. The important fact here is that all plants look as if they belong to the arrangement and give a look of unity. 
STYLES OF FLOWER ARRANGEMENT
1.       All-round arrangements –
This arrangement is designed to be seen from all sides and is therefore chosen for a table or a room centerpiece.
2.       Facing arrangement/ flat-back arrangement –
It is designed to be seen only from the front and perhaps from the sides. It is therefore chosen for placement on a shelf or sideboard.
3.       Mass style-
Little or no space is enclosed within the boundary of the arrangement. This style is originated in Europe.
4.       Line style –
In this style, open spaces within the boundary of the arrangement  are the main feature. Most of the display is line material. The basic feature of a line design is limited use of plant material with support often provided by a pin holder.
5.       Triangular shape-
It is a popular shape for symmetrical arrangements. The first step is to establish lines of height and width, usually with flowers or foliage of finer form or paler colour. The next step is to establish a focal point of interest with large or darker-coloured flowers. Fill in with flowers of varied stem lengths, grouping colours.
·         Left triangle-     made in a shallow container with consecutive stem along the left side.
·         Right triangle -     like the left triangle arrangement, but the tallest stem on the right side of the container with consecutive stem.
6.       Vertical line-
A very tall arrangement placed in long and cylindrical flower vase using a very long stemmed flower like torch lilies.
7.       Line mass style -
In this style, some open space is present within the boundary of the arrangement.
·         Circular shape -     or round shape, is an arrangement in which flowers are arranged in circular designs.
·         Crescent shape -    it is asymmetrical and formal arrangement which requires more skill and experience.
·         Fan shape -    the fan or horizontal shape is a good line to follow when designing flowers for the centre of the table. It is a low arrangement, symmetrical and thus attractive from every angle.
·         Hogarth or ‘S’ shape -      this style was pioneered by an 18th century painter, William Hogarth. This is a very graceful and easier to make arrangement when curved branches and pliable stems are used. After establishing the S shape with these, flowers are filled in at the centre and just above and below the rim of the tall container.

8.       Miscellaneous style -
·         Parallel style/ European style
·         Landscape style
·         Foliage arrangement
·         Dried flower arrangement

STYLES OF FLOWER ARRANGEMENT ON THE BASIS OF EFFECT
1.       FORMAL ARRANGEMENT –this is symmetrical and precise.
2.       SEMI-FORMAL ARRANGEMENT – this is more or less symmetrical in outline, but not in the details of arrangement
3.       INFORMAL ARRANGEMENT – this is asymmetrical and ‘free’.
4.       MODERN OR ABSTRACT OR FREE-STYLE ARRANGEMENT – these have no fixed rules for correct proportions. These arrangements do not have a definite geometric outline; instead the emphasis is on line and space. The individual beauty of each piece of plant material is emphasized instead of the beauty of an outline shape or a mass.
COMMON FLOWERS AND FOLIAGE
Flowers –
1.       Roses
2.       Arum lilies
3.       Gladioli
4.       Dahlias
5.       Chrysanthemums
6.       Gerberas
7.       Tulips
8.       Asters
9.       Carnations
10.   Freesias
11.   Tuberoses
12.   Lotuses
13.   Anthurium
14.   Birds of paradise
15.   Marigold
16.   Orchids
17.   Petunias
18.   Hibiscus
19.   Poppies
20.   Camellia
21.   Peonies
22.   Hydrangea
23.   Snowdrops
24.   Gypsophila ( baby’s breath)
25.   Bottle brush
26.   Hollyhocks
27.   Geraniums
28.   Daisies
29.   Spider lilies
30.   Water lilies
               Foliage
               1. True ferns
              2. Asparagus ferns
              3. Palm leaves
             4. Umbrella Palms
             5. Goldenrods
             6. Copper beech
             7. Pine
            8. Bamboos
            9. Ivy

          10. Boxwood

Stores Responsibilities

Stores Responsibilities
nterestingly, Stores is a function that is visible in probably any physical house. Be it a hotel, a hospital, a shop or industrial set up Stores is found every where.

Its presence every where adequately underlines the responsibility of Stores. Depending upon where it is located a Stores has to burden from minor to major responsibilities.

The most common yet major responsibilities that are carried by any Stores are:
  1. Receipt is the process of checking and accepting, from all sources (vendors, production units, repair units etc.), all materials and parts which are used in the organisation. These include supplies for manufacturing or operating processes, plant maintenance, offices and capital installations.
  2. Identification is the process of systematically defining and describing all items of materials in stock. It includes the preparation of a Stores Code or Vocabulary, the adoption of materials specifications and the introduction of a degree of standardisation. In certain cases, part of this work may be done by the design, planning or standards departments or sometimes the purchase department.
  3. Inspection involves the examination of incoming consignments for quality. Very often there is a separate Quality Control or inspection department, which undertakes this work for most, materials. Otherwise goods are inspected by Stores to ensure that the inspection procedures laid down are carried out before materials are accepted into stock.
  4. Storage and preservation involves items to be binged and kept in storage bins and impounds; as usually indicated in the yard. The location is usually indicated in the transaction card. The storage period may vary between one day and one year or more, depending upon recoupment procedures/safety stock required, etc. storage is the physical act of storing the materials. The general rule is: "A place for everything in its place". Presentation involves the maintenance, of materials to retain their quality. Quite often, temperature, humidity, dust and other factors cause deterioration of materials.
  5. Materials handling involves movement and handling. This can be manual or mechanical (e.g. by use of forklifts) heavy items, dangerous or inflammable goods, and delicate merchandise have all to be handled differently.
  6. Packaging : Materials dispatched to customers from the finished goods store or from one store to another at different location require to be packed. Materials required packing according to their nature and this may vary from heavy wooden crates to ordinary paper cartons.


  1. Issue and Despatch is the process of receiving demands, selecting the items required and handling them over to users, or despatching them to customers.
  2. Stock Records are the documents which record, form day to day, full particulars of individual receipts, issues and balances of materials in stock.
  3. Stores accounting is the process of recording details of stock movements and balances in terms of financial value. It is sometimes undertaken by accounts department, but there is much to be said for it being handled by stores. In practice, it is often found that such an arrangement saves a good deal of work and duplication. It has the added advantage of making Stores personnel responsible for providing their own financial information, which they require for the purpose of inventory control
  4. Inventory control is the operation of continuously arranging receipts and issues in such a way so as to ensure that stock balances in quantity and/or value are adequate to support the current rate of consumption at all times with due regard to economy. It involves the related process of provisioning, which is the means whereby instructions are given for the placing of orders to correspond with future estimated requirements. In some industrials concerns, the production control department may have a large share in provisioning, at least as far as production materials are concerned. Nevertheless this should always ultimately be the function of Stores.
  5. Stock-taking is the process of physical verification of the quantity and condition of goods in store
A Stores manager ,therefore, is responsible for carrying out the following functions

  1. Receive incoming goods
  2. Supervise unloading of material Count, tally
  3. Check for damage/shortage and prepare report
  4. Fill Goods Inward / Day Book/ Daily Collection Register
  5. Complete Vendors Consignment Note (Challan)
  6. Arrange for inspection and complete the inspection
  7. Prepare Goods Receipt Note (GRN)
  8. Prepare Goods Rejection Memo (in case of goods rejected)
  9. Send goods to stores
  10. Send other documents to respective departments
  11. Ensure all storage facilities are in proper working order e.g. check for loose racks, damaged pallets etc.
  12. Ensure goods housekeeping (i.e. check for spillage of oils, dirty walls, obstructions).
  13. Ensure all materials handling equipment are in goods condition
  14. Check and count goods before issue
  15. Make entries Bin/Kardex (stock) cards promptly
  16. Ensure Receipts and Issues are correctly documented
  17. Ensure that rules and regulations relating to physical custody and preservation of stores are followed
  18. Ensure correct accounting of store