In the context of Lepenski Vir, discuss the Interior of the Architecture.
The interior of each house includes a fireplace (hearth) in the form of an elongated rectangle situated on the long axis of the floor plan. These fireplaces were built from massive rectangular stone blocks. The fireplaces are further extended with stone blocks to create a kind of small shrine in the back of the house. These shrines were always decorated with sculptures carved from massive round river stones and represent perhaps river gods or ancestors. Another significant feature of the houses is a shallow circular depression in the ground located precisely in middle of the floor. This may represent some type of altar.
The sculptures, fireplaces, altars, tables, arranged square stones, round depressions and intriguing triangles were all built  ("concreted") into the hardened porphyritic floors. In all the houses they are in almost the same basic layout, which resembles the human figure. Scientists still disagree on the purpose of the artifacts, except that the fireplaces were indeed used for the fire. Still, the actual function is not clear. Archaeologist Milutin Garašanin described them as a "cult pit" or eventually a "ritual fireplace". In 1968, architect Peđa Ristić expressed doubt that this was a simple fireplace. He asserted that the rectangular shape of the fireplace is impractical, with a poor capability of conducting the smoke away. However, when he was working on the reconstruction of the houses, Ristić concluded that probably every house had a spit, which explains the elongated shape of the fireplace pit. Radivoje Pešić also was skeptical about the purpose of the fireplace. He focused rather on the triangles, which he claimed represented the ancient archetype of a writing system. This is not supported by recent science, and they are still being considered as symbols, not proto-letters. Pešić also concluded, since the symbols spread from the fireplace in a sequence that can't be deciphered, that it was actually a sacrificial altar and called the entire complex of artifacts a "fire altar".Archaeologist Ljubinka Babović accepted Srejović's theory that the layout within the house represents the human figure, but she believed that the figure is actually an anthropomorphized representation of the Sun, with added hands. She asserted that every house was actually a small Sun shrine and that plan of the settlement represents the astronomical movement of the Sun. She referred to the round stones as "ash holes", because ash was discovered in the round depressions. Philologist Petar Milosavljević originally concluded that this ash hole, cornered by the rectangular stones, was the fireplace, following Pešić's idea, but later changed his opinion, accepting the general consensus that the rectangular depression in the center is the proper fireplace. Archaeologist Đorđe Janković wrote of the "unusual stone fireplaces for complex ritual purposes". Srejović also made the semantic distinction between the inner fireplace, ognjište, and the outer one, vatrište. Excavations on the locality Vlasac point to the gradual transformation from vatrište to ognjište, or bringing the fire inside the houses. Regardless of which of the depressions are the proper fireplace, it is evident that the human-like floor installation comprises several elements, which are connected by some, still undeciphered, functional relationships, as well as by visual and artistic ones.
Đorđe Janković porphyritic fireplace ritual writing system spit Petar Milosavljević Radivoje Pešić Peđa Ristić altar