Describe the characteristics of the Reconstructions in this artwork's Architecture.
The remains of the settlements in Lepenski Vir abide by the universal rules of architecture, so the architectural remains should be perceived and evaluated by those rules. However, the reconstruction of Lepenski Vir "resembles a gigantic, complex jigsaw puzzle, without an exemplar picture".Science still has no definitive answer as to what the houses looked like above ground and numerous ideas have been proposed by architects, urbanists, historians and anthropologists. Vojislav Dević suggested a long, intertwined arch-like wattle ("fish skeleton") while Živojin Andrejić opted for transversal arches. Diagonally crisscrossed arches, with one wide at the entrance to prevent a bottleneck, were proposed by Pavlović. Srejović originally distanced himself from any of the proposed reconstructions, considering all of them flawed in some way. In his 1969 book he did print the reconstruction of Đorđe Mitrović, however his text differed greatly from the illustration. The concept was judged by some as clumsy, primitive, technically impossible and, simply, wrong. Even so, the drawings became internationally known. Srejović again distanced himself saying that such roof construction was too primitive for the perfectly shaped base, adding that we should allow for additional, still unknown elements which may have enabled a completely different construction. In 1973 he also rejected Ristić's reconstruction, claiming that none of the proposed solutions so far seemed definitive and that every idea had some incorrect details. He asserted that any final solution would not do justice to the imagination of the creators,  and that it would take generations to resolve the problem. Later, in 1980, Ristić received his PhD from the University of Graz on the subject "Reconstructions of the prehistoric architecture in Lepenski Vir".Borislav Jovanović, who explored the Padina location, attempted a reconstruction employing a basic "three-stick hut" arrangement. The "official", Mitrović's version, after many changes and adaptations became technically possible by the time of the opening of the visitor center in Lepenski Vir, in 2011. The main problem was the relation of the inclinations of the roof surface and the purlin. Marija Jovin and Siniša Temerinski, from the Institute for the protection of the monuments, created a model based on the pronounced inclination of the purlin, removal of the central pillar and a change in the direction of the roof carrier. In this way, the concept of a slender, elongated construction was achieved, which allowed efficient conduction of smoke to the outside. It was based on an older version of the simple tripod by Velizar Ivić and a more complex variant of Petar Đorđević, who worked on the excavation on the Padina location. Bojana Mihajlović and Andrej Starović from the National Museum in Belgrade created a holographic animation of the house based on the "shallow" purlin and with animal hides on the roof instead of pieces of wood. In complete contrast was the holographic version of the house by Borić. In the later period of explorations on the Vlasac locality, Borić constructed his version of a house on location, but it contains vertical walls which appeared much later in architecture. Some other proposed reconstructions were deemed even less possible as they included the orthogonal base or upper floor, based on the assumption that stony, garland-like reinforcements are actually remains of the former stone walls. Almost all proposed reconstructions, regardless of differences, belong to the pyramidal or tent-like type (even though they are shaped like frustums).
National Museum in Belgrade Belgrade orthogonal jigsaw puzzle wattle architectural frustums University of Graz purlin