Regarding this artwork, how does the Architecture's Interior incorporate the Central installation?
Central installation A pebble stone, placed in the geometrical center of the house and part of the floor installation representing the "head" of the perceived figure, is also variously explained. As it has a dent in it, it was suggested that it served as a primitive lamp, the so-called "Magdalene lamp", a rushlight with a wick made of moss. The dent was conceivably made so that grease or tallow could be placed in it. Ristić opposed the theory saying that no evidence of fat or burning have been discovered in any of the stones. He called the stones upretnik ("resistance  stone") and believed their function was to serve as the foundation for the sticks or pillars, which held the covering construction of the house. During his reconstruction of the house, he used it for exactly that purpose. Another idea is that it was used as a pouring vessel (for honey, etc.) which was used during rituals. One proposed theory that it was used a grindstone was rejected as this was still in the pre-harvesting period. However, it may have been used for grinding wild seeds or aromatic herbs. The stones have curious engravings in the lower section. As the stones were "cemented" into the floor, the engravings couldn't be observed by the living from above ground, so it is suggested that they were meant for the dead, which were sometimes buried under the floor of the house. Babović described the floors as a "border between day and night".The central piece of the central section, the "body", was a hearth which has been the subject of scientific controversy. It was definitely used for fire, as evidence of burning and ash is found. It was elongated, in the proportion of 1:3 or 1:4, and surrounded by stones. In the older periods, thin stones were used, later thicker ones and in the end, quite rough and irregular stones, even though the geometry remained refined. It is suggested that the size of the fireplace is actually used as an etalon, a measurement module for the proportions of the house. Ristić said that the length of the fireplace is equal to the length of the spit, calculating that this length is the radius of the circumscribed circle which is the base of the house. Based on the measurements in 51 houses, it was established that the average fire cavity is 78 cm (31 in) long and 24 cm (9.4 in) wide, which gives the ratio 1:3.25. Average width is another reason why some archaeologists believe that this wasn't a proper fireplace, it being too narrow and impractical. The depth of the hole varies from 15 to 25 cm (5.9 to 9.8 in), but at least one quarter of those have sloping bottoms. In these cases, the section closer to the entrance of the house is 10 to 15 cm (3.9 to 5.9 in) lower. The overall size of the fireplaces varies, depending on the size of the house, but it appears to be more balanced than the sizes of the houses. The smallest fireplace is 13 to 26 cm (5.1 to 10.2 in), while the largest are in House 54 (32 to 111 cm (13 to 44 in)) and House 37 31.5 to 105 cm (12.4 to 41.3 in).Around the fireplace the larger stones were placed, sometimes in two levels. They are variously called "stone tables", "sacrificial plates", "market stalls" or "hands". The stones were already embedded when the red plaster was poured. In the later period of the Lepenski Vir I phase, there are a smaller number of stones around the hole, or they disappear altogether. In their place triangles appear which encircle the fireplace in an ellipsoid arrangement. They have been called simply triangles but also "triangular forms", "fireplace triangles" or "forks". Apart from Pešić's generally unsupported interpretation that they are a form of proto-writing, the triangles have been variously described as the "little houses for the dead", support for the spit's skewers, openings for the pouring of drinks and food for the dead buried under the floor, support for the construction of some larger stove-like object above the fireplace, symbols of light or fire, or simply vents for the heat from the fire. In all cases but one, the tips of the triangle are oriented towards the fireplace. The exception occurs in the locality of Kula. The prototype of the triangles appears to be the mandible of a female human, traversed with a small stone plate, which is pressed into the floor in House 40.The "legs" of the installation extend almost to the outside of the house. The round depression, which also can't be definitively explained (fireplace, ash hollow, etc.) is in this section, and is equally accessible from both the inside and outside as it is situated at the entrance to the house. In the literature, it is also referred to as "(slanted) stone doorsteps" or simply "entrance". Babović noticed that there are several variants of it, which prompted her to classify the houses (or shrines, as she called them) into 4 categories. The categories are:
"free step"; when slanted stones were placed like two spread legs;
"tied step"; when slanted stones are placed in the same way as in "free step", but additional stones were placed on the open side to make the connection between the slanted stones, creating a shallow triangular or trapezoidal depression;
"movement in the stationary status"; no slanted stones, but the entrance was paved with the stone slabs, forming an almost fortification-like obstacle at the entrance; there is no depression and the installation appears to be a sitting platform;
"latent quiescence"; absence of any stone construction at the entrance; some researchers suggest that this is actually not a separate type but rather an indication that this part of the house may not have been covered, so that the elements eroded the stone over time. An additional influence may be that the outer hearth was right outside so the heating and cooling affected the stones.In the Neolithic, or Starčevo phase of Lepenski Vir, the Lepenians began building dome-shaped furnaces in the houses. They were built on the floor and made from compacted earth, with the horseshoe-shaped foundations made of crushed stone. The calotte, or the dome of the furnace was made of baked earth. The hut which was built on the most elevated section of the settlement's terrain and was positioned almost in the center of it, had the largest furnace, 1.5 m × 1.4 m × 0.5 m (4 ft 11 in × 4 ft 7 in × 1 ft 8 in). Some researchers believe that due to its size and position, it was probably built for communal use, but they have also pointed out that its proportions equal those of the "prototype house", House 49. It also has been suggested that the furnace from Lepenski Vir was a prototype for building of other furnaces, due to the archetypical uniformity of bread ovens in the wider Balkan area, as well as the canonical repetition of the same shape from the Neolithic to the modern age.
trapezoidal circumscribed circle etalon right market stall fireplace ritual rushlight spit tallow moss skewer grindstone Neolithic