Kiva-shaped houses on a low hill near Sanliurfa and Haran in eastern Turkey, are a halfway house to civilisation, between caves and cities, but with the full cultural repertoire………. Carvings in House B feature two snakes, two foxes, a quadruped, and an unidentified figure. B is small, with an outer diameter of about eleven metres. The floor is terrazzo. Most of the pillars were probably moved, and the house remodelled, like all the round houses so far excavated. The sequence of archetypes in House B is (noting archetypal features):
1 Builder/Sacker or Taurus; SW pillar. Headless. Propped on slabs. Lizard or snakes? Back edge; snakes (like adjacent 15). (Tag B14)
3 Queen or Aries; WSW pillar south edge (the north edge expresses type 4. Two-headed is more typical of 6). Flush on the wall. Central hole. (Tag B15)
4 King or Pisces; WSW pillar north face edge (the south edge expresses type 3). Flush on the wall. Central hole. (Tag B15)
5 Priest or Aquarius; West pillar. Propped on slabs (like 1). Rear outer edge; snakes. (Tag B16)
6 Exile or Capricornus; NNW pillar
7 Child or Sagittarius; North pillar. The pillar is slightly rotated, or the map is inaccurate. (Tag B34)
8 Healer or Scorpius; NNE pillar
10 Teacher or Libra; ENE pillar south edge. Flush on the wall
11 Womb or Virgo; East bench (87% womb)
11p Galactic Pole; SE pillar. (Tag B8)
13 Heart or Leo; ESE bench (85% heart).(Tag B8-B7)
14 Mixer or Cancer; SSE pillar. (Tag B7)
15 Maker or Gemini; South pillar. Rear edge; lizard over snakes (more typical of adjacent 15g Gate. As at 1). (Tag B6).
The ecliptic pole or axial centre is probably unmarked (55%).
The celestial pole could be on the central east pillar, at the jumping fox jaw (limb-joint), or on the pillar corner (limb-joint).
The celestial south pole could be on the central west pillar, at the jumping fox shoulder, over the small graffito of a boar or rodent. These markers may place summer in Virgo, thus spring and the time-frame in Age Gemini.
The general theme in House B is type 1 Builder /Sacker or Taurus, consisting of decans Auriga and Orion, typical of rain, thunder, churns, towers, and ruins; adjacent to the galactic gate, typical of churn groups and snakes (see the formal churn group emblematic tradition in Indian art, in Mindprint p234, 236, 239; and in Egyptian ‘lung and windpipe’ churns between Horus and Seth with papyrus ropes).
The stoneprint analysis score in House B is ….
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If these houses or pillars were conscious astronomical mapping, then certain other features should be prominent:
 celestial alignments, north-south and/or east-west?
 solstice alignments, between 25 to 35 degrees ENE/WSW or ESE/WNW?
 long sight-lines to horizon markers?
 levelled terrain?
 artworks with consistent geometry and motifs?
 buildings of consistent geometry?
There is no evidence of any of these, except perhaps the holed stone in House D, pillar 5, on a potential celestial north, slightly west of modern north.
However the D5 hole is set low, and part of Gobekli hill is in the way of a potential north transit sightline. Considering extensive evidence for the consistent presence of all five layers of stoneprint, as in all the buildings in this book; and as in all artworks (see 200 examples in Mindprint [since expanded to 600 examples], and two Gobekli Tepe artworks below), subconscious expression is more likely to explain all cosmic features, except for very basic calendric observations.
Complexity alone is not evidence for conscious science, rather for inspired art. There is no reason to assume that the work is proto-science (see Stonehenge, and Magdalenburg, in the Prehistoric Europe chapter, where some astronomical functions co-exist with the standard subconscious expression)……………….
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