The types of relationships between buildings, settlements, and terraces are numerous, and sometimes they can represent a pattern that occurs in a particular region. Because the aim of civil and other initiatives is to protect terraced landscapes from the prejudice of marginality and ignorance, extended studies may be expected in this vast field of case studies. The creative phases are 3) marking passages between key locations that are oriented towards natural space, or earthly phenomena, or have guides such as mountain peaks or constellations, or, on a smaller scale, markings carved In a trunk along the way; such markings are of vital significance: the path must remain known If people want to exploit the area safely, and 4) the creation of the first spatial agglomeration. The question Is what kind of relationship exists between the analytical and creative phases when leveled platforms are built: are they part of the analytical phase or the creative phase? THE FIRST SETTLEMENT AND THE TERRACED LANDSCAPE The descriptions In the Introductory part can be presented using the example of Lepenski VIr, which Is one of the best-known Mesolithic and Early Neolithic sites not only in Europe but in the world2 and one of the best examples of the so-called Mesolithic-Neolithic transition in Europe.3 The Danube Gorges, an area embracing a 130 km tion of Danube Valley along the Serbian-Romanian border, were probably continuously populated at least between 10,000 and 5500 cal BC.4 There is an assumption that intensified fishing led to the prolonged stay of human groups in the area and consequently to the formation of the first (semi)sedentary settlements.5 The riverside terraces were certainly favorable for fishing and hunting wildfowl because they were close to large whirlpools and small river tributaries.6 The settlement sits in a narrow terraced belt between the river and the forest. ...a phenomenon can occur only in a society that lives practically permanently in one location.18 The excavators and researchers of Lepenski Vir19 speculated that the form of the house was related to the body position (sitting with crossed legs) of Burial 69 at Lepenski Vir.20 Authors such as Radovanovic21 and Boric22 have published interpretations that emphasize the significance of body position and orientation in relation to the landscape.