study Schiattarella always tries to escape from two extremes: the uncontrollable creativity that focuses on the gestures or striking sign of functionalism and naive that wants to make, without too much compromise, an abstract plan into an architectural project. The result is an activity in which forms and functions and interact at the same time, compete to create immersive environments and have added value of aesthetics, where beauty and 'that is to be taken literally to mean "perceptive."
Gyeonggi The Children's Museum of the functional requirements and the successful acquisition by children that respects their desire to look around freely without any constraints between the different fields of knowledge and at the same time, responds to the need to structure the concepts into themes in order to avoid exposure chaotic, formless and non-systematic. According Schiattarella knowledge necessary to organize the data as objects placed within a certain amount of boxes characterized by different colors (each color corresponds to a theme) to attract the curiosity of children that can open or close without following a fixed order.
Translated into spatial terms and, therefore, the system architecture of the boxes becomes a dozen environments, magic boxes, arranged in no particular order and each with its own color and a double skin: external and opaque una interna traslucida su cui lanciare immagini per mezzo di proiettori disposti nell’intercapedine tra le due. Fatto il primo passo, che va dalla funzione alla forma, ne segue uno che si muove in senso inverso. Solo così, infatti, quella che sarebbe una semplice “strategia dell’elenco” può tramutarsi in una coinvolgente organizzazione dello spazio. Viene in soccorso un’altra idea metaforica: il Pachincko, un gioco molto diffuso in oriente in cui alcune palline precipitano dall’alto per seguire un percorso di piani inclinati lungo il quale sono disposti dei buchi che le accolgono.
Torniamo all’architettura: se cerchiamo di appendere le magic boxes lungo un muro che le sostiene e pensiamo di collegare attraverso piani inclinati le porte che ad esse conducono, non e' difficile pensare al Children’s Museum come a un grande Pachincko in cui , come palline, i bambini di una scolaresca si dispongono sulla quota più alta e poi, di corsa lungo le rampe, giocosamente, si recano negli ambienti che più li attirano. Risultato: una configurazione spaziale eccitante che trasforma il gioco delle scatole in percorsi, in esperienze cromatiche, in un labirinto o, se vogliamo, in un hypertesto. Insomma: in una architettura che, come dicevamo all’inizio, e' ugualmente distante dalla creatività incontrollata e dal piatto funzionalismo.
The aim of the museum is to put the child in a position to elaborate in a personal way what we learned and to stimulate its ability to critique, to help him find an identity within their culture and their world. The focus is on learning of their children and strategies to facilitate the educational process. A children's museum should provide the tools to create a space that is conducive to learning through discovery, play, exploration, interaction with people, objects and structures, and that makes children feel at home them. The visitor passes in a fluid collection from the experience of an area characterized by compression surprising that large expansions of spaces with vertical slips into the architecture: shafts of light, patios, natural areas ..
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