The BBC's Stephen Evans reports on guerilla gardeners in Berlin:
Modern Berlin may be a prosperous place but its troubled past has left its mark on the city's character, including a tendency to the alternative. Among the counter-culture railing against society are arsonists, saboteurs, artists and even gardeners.
Petrus Akkordeon, as he calls himself, emerges from the S-Bahn station on to Potsdamer Platz and plants a small flower.
What could be simpler?
Up he comes from the underground into the soulless square, takes out his trowel and digs and gouges between the cracks of the paving stones and plants the shoots - a line of green in the grey of the granite.
Potsdamer Platz today is a long way from what it once was - the pulsating heart of Weimar Berlin, the city's hub of charm and cafe society.
It was where the tram routes met, where the literati met and, no doubt, the not-so-literati. It was the place of chatter and deals and morning-after-the-night-before coffee.
Today, it is, I think, a pretty soulless place.
It was devastated in the war and left desolate after it - split down the middle by the Berlin Wall. On the wasteland freed for development by the Wall's demolition has arisen the cold glass of the Sony Centre, with its windy canyons of offices.
A new sort of desolation, you might think. Until that is, Petrus arrives with his gardening tools.
Petrus Akkordeon, you see, is a guerrilla gardener. He told me he does it to make people happier.
"Everything is grey," he says. "No flowers. No trees. And if you plant one flower, the whole place changes."
"For several seconds, it's a nice place. People see these flowers and feel better for a moment. There's a man planting on Potsdamer Platz, he must be crazy," he says, describing himself, of course.
A fitting protest against the abomination that is the Potsdamer Platz, which combines the anonymous sleekness of a suburban American office park with the bone-chilling monumentality of Nazi architecture. Descending into the mammoth square cave of the U-bahn entrance, you feel utterly dwarfed and insignificant. The only less inviting place in Berlin is the new Hauptbahnhof, which, in addition to being utterly confusing and having elevators apparently powered by molasses, has all the charm and flair of Cincinnati's lamest mall.
Evans uses the guerilla gardeners to meditate on the conflict over how Berlin is changing:
Sometimes I call into a small wine shop near where I live. It is run by a man called Peter who has lived here in fast-gentrifying Prenzlauer Berg since he was 13, way before the Wall came down.
I like him a lot and we discuss excellent German wine and moan about how the area has been overrun by yummy mummies pushing baby buggies the size of BMWs, and about how Bob Dylan growl-alikes howl outside the chi-chi cafes to yuppies on their Macs and iPhones.
So much worse than the rather congenial East Berlin way, which is to just get a crate of beer and three or four kitchen chairs and put them on the cobbles outside and drink and talk on the street.
But the two ways squeeze each other. The new trendy bars and the little groups of the old East Berliners on the same stretch of cobbles, jostling for space in Berlin as the city remakes itself.
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