Each atrium's iconography needs its own immersive theme, to which the entire iconography of the room would be employed. This is in response to the planes of development a child naturally moves through, and what presentations are most age-appropriate.
Christ the Good Shepherd, by Anton Daineko, Moscow
While in the Atrium, children occupy themselves principally with the work in front of them. They do not spend significant time standing or sitting still looking up at the wall, much less standing close to one wall looking deeply into a particular scene. This is a key difference between how iconography works in a temple and how it will work in an atrium. The plan would not be to present various saints and liturgical feasts on the walls of the atria – as would be done in a liturgical environment – but rather to use every panel in the room to reiterate the central theme of that room, so that it becomes an immersive environment. Here is how the themed environment idea would play out:
The theme of Level One is ‘The Good Shepherd’. So, in Level 1 there would be icons of sheep eating grass and drinking water, sleeping and playing, walking, and looking to and being cared for by the Good Shepherd. Depictions of sheep and the Good Shepherd date back to the earliest centuries of Christian adornment of catacombs and temples.
Christ the Good Shepherd by Seraphim O’Keefe
Sheep excerpt from Nativity Icon by Jim Blackstone