recursal/Fanatic-Fandom huggingface dataset:
Carn's kingdom

The Carn region is located to the Northeast of the Kingdom of Cristia in the center of a set of mountains.

Nobody really knows what the origin of the castle of Carn is, since, before Carn the conqueror claimed it as his own, the ruins of an old castle could already be found, which was repaired.

The Carn region ceased to be the home of dragons, as they had lived in peace since the beginning of the first era, and had to migrate to survive.

Being the home of a conqueror, it was the center of the most important battles, and since it was in a valley, surrounded by mountains, the warriors of Carn, together with their leader, could overcome their enemies with several traps.

The castle had several monks, wizards, and fierce warriors, but in time, one of the monks would reveal himself upon discovering that the previous owners of the Carn region were dragons, banished by Carn himself.

This monk tried to convince the conqueror to make a truce with the dragons by telling him that they could be useful in battle, but deep down, he just wanted to give back his home.

Carn flatly refused, prompting the monk to flee the scene.

A couple of decades passed for the Carn region, which with the passage of time had gained notoriety, but time and battles also affected the foundations of the castle, a castle that did not withstand a last battle, collapsing a part of the roof on the warriors of Carn, allowing the enemies to seize the conqueror.

After being defeated and purged, the unknown army left that place forever, without conquering it, they did not want it either, they only needed to prove that they were better than Carn, so their doors were closed over the years.

The castle gates were opened a couple of years later, the monk who had escaped had taken over the castle, and had been tracking the migration of the dragons to find them and make a deal with them, return what had been taken from them, The council of the dragons, made up of elder dragons, powerful, peaceful and immortal dragons at the same time able to communicate with other species, agreed upon hearing the terrible fate of Carn and returning to what the elder dragons called home from the first era, but This time it was not like before, since subspecies had been born, such as the Wyverns, which are winged creatures with two legs and are the weakest subspecies of the draconian race, the Drakes, which are smaller dragons very powerful at a distance but weak in melee, the ampythere, very fast and ferocious winged snakes and the lindworm, also known as the only subspecies of dragons with elemental abilities.

Last words of Carn the conqueror:

- You will never reign in this region, we are the only creatures found in this region that you should not fear, there are worse things ...
Alteas

A countess who liked to be alone, asked that they build her a castle, which would be nicknamed Alteas, the name of the countess, so that she could spend the rest of her life there, without having to leave.

Years passed and Countess Alteas grew increasingly impatient, until one day, her faithful bodyguard, a blood mage turned duelist and first-class fencer, gave her the news that the castle was ready.

In a desperate attempt to keep her from leaving, her mother pleaded with her, but Alteas did not listen and left.

The bodyguard named Symtalion swore to the countess's mother that she would never allow anything to happen to her daughter.

Since Alteas had not explicitly asked him to come with her, Symtalion would not let his face be seen by her castle, but would take care of her from afar.

Alteas' servants began to tell the countess legends about blood mages and why they are cursed. At first she didn't want to listen, but she treated it like stories, until one day she went crazy, to the point of throwing all the servants out of the mansion and sewing her lips together to never speak to anyone again.

Seeing such atrocity, Symtalion entered the castle in person and seeing what Alteas had become, he burst into tears, and tried to hug her, but the countess evaded him and waved her to follow him. . They ended up in a cell and Alteas could not stop looking at some shackles, Symtalion understood what he had to do, put them on so that she would trust him again, but when she put them on she closed the cell door and an unknown entity cast a curse on Symtalion so that he could not leave the cell and so that the cell door could not be opened.

At the end of the ritual, the entity and Alteas went to the lower part of the castle where another ritual would begin, the countess wanted to be one with the castle, the entity waved her arms and disappeared while Alteas slowly turned into a tree, all visible from Symtalion's cell.

Over the years, Kunda and Karin, some fans of the legends, found out that the castle of Alteas was abandoned, so they went there, and since they had land, they sold it to build a city around the castle, at the same time. which they nicknamed as the castle, proclaiming themselves sovereigns of Alteas.

Karin gave birth to Asthama. From the beginning, Kunda taught swordsmanship to his daughter, who at the age of seven was already an exceptional duelist, but what she really loved to do was go visit the mysterious man in the cell on the upper floor of the castle, who not only taught her many movements to use in duels, but also told her the adventures he had lived with his beloved, Countess Alteas.

When Karin passed away, Kunda gave the relief to Asthama, making her queen at the age of nineteen, and remodeled the city to be known as the city of duel, since not only the best duelists of the kingdom of Cristia were trained., but other sovereigns also came in search of wisdom.
Dturr

Four barbarians who traveled aimlessly, cursed with hatred for the places they had come for help, and hated for the places they would pass through.

Desperate, they reach an immense valley, in which both the kingdom of Carn and the Sanctuary of needles could be seen.

Not being a bad place to camp, they decide to spend the night, they come to the conclusion that no one would want them around because of their curse obtained in No Man's Land by betraying Ankou and not giving them a lost soul that was wandering around.

With a little money that they had left, they managed to reach a banshee that was not far away, and they offered their souls to her in exchange for her finding workers to build a city.

As the years go by and see the success of the banshee, they meet with her to decide the next move, the city they have now is enviable and there are people wanting to spend the rest of their lives there.

The next move is to build four more cities, one for each of them, and rule from the first city they created.

They founded Dturr shortly after building the first city.

Many nomads, and creatures seeking refuge or simply travelers who must cross the valley, stayed in Dturr for good as there are no taxes and only one rule.

Since Dturr is home to many creatures, it is also a battlefront, as many go looking for trouble, but these five cities are one big family, all united.

In Dturr there are many legends, such as that of the immortal monk who has lived with dragons in Carn since the fall of Carn, or the famous legend of Cristia, mistress of the kingdom in which they are found since the end of the first era.

The holy rule of Dturr:

- If you want to live in Dturr, you will have to build your own roof, it will have to be self-sufficient, and give them your own rules
Suhrkamp publishing house

>   *"Well, we are also anti-cyclical"*
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The **publishing house of Suhrkamp Verlag AG** was completed in 2020. It is bordered by Torstraße (north), as well as Rosa-Luxemburg-Straße (west), Linienstraße and Zolastraße. It is located where the Poelzig-Block 2 once stood before it was destroyed in the Second World War, later the Kiosk and the Number One situated her but had to be demolished for the house.

### Planning and development

In 2011, the Suhrkamp managing director Jonathan Landgrebe met the Hamburg lawyer Birgit Steenholdt-Schütt, whose IBAU AG managed the property. They quickly agreed on the place to become the location for the eventual headquarter of one of the most renowned german publishing houses as well as on architect Roger Bundschuh, who had already been responsible for the L40. No public announcement was made.

The originally intended address was at Linienstraße 34. However, since the construction work on the front on Torstraße was finished, the District Office in Mitte assigned the address Torstraße 44.

In 2019 the Emil-Haus was nibbled on by the Suhrkamp publishing house through an uncanny encounter of the third kind. Since then, the two have been connected by a strange connection that is neither creative nor handsome, but simply there to establish a connection. That in turn is now Torstrasse 42.

### Interior decoration

Books are not the subject of joint work here, but also an essential part of the interior design to promote the imagination. As room dividers, they ensure that the impression of an open-plan office is not created, even if this is exactly the case. Small retreats and communication islands invite you to dream, if you have the time. A “narrative staircase” leads over the floors and is flanked on one side by bookshelves, but of course this is only to be understood as a joke.

### other institutions

The restaurant REMI has been on the ground floor since its completion in 2020 and could not have chosen a better time for its opening. In the bicycle shop VanMoof you can take a test ride on futuristic e-bikes. The interesting dress code of the employees, or rather, the “staff”, deserves a special notification. Next to that the McLaughlin Galerie is located. According to its owner of the same name its big windows are supposed to make passers-by curious. It is de facto a dependance of the Lechner Museum in Ingolstadt. Lechner was the adoptive father of McLaughlin.

An originally planned kiosk cannot be found. A public forecourt in the shape of a triangle is reminiscent of the previous planting of the old drinking park.

## References

1. ↑ 1.0 1.1  Jonathan Landgrebe im Interview mit dem Tagesspiegel
2. ↑ https://www.tagesspiegel.de/kultur/linienstrasse-oder-torstrasse-suhrkamp-in-berlin-ohne-verbindliche-adresse/25146800.html
Gorth the executioner

There is not much known about "*Gorth the executioner*", but it is said that he was the executioner of the world, a colosal giant that was created before any entity and even before any era.

In charge of reseting the world if it happened to be polluted or corrupt.

At this point in time it is completely impossible to know if the world has already been reseted or not.

To reset the world, he only needs to nail his huge sword in the ground and because it is an elemental sword, magic will do the rest.

It is said that Ankou(King of death) was the second entity ever created, and he created an entire army himself to rule over the world. At that time it only existed Gorth, an empty landmark and him.

With the power of death, he tryied to end Gorth's existence, but he was too powerful to die, so that the curse only petrified him.

Gorth is still waiting for someone to break the curse.

After Gorth's fall, a new era starded. Ankou claimed everything, and named it as, "*Kingdom of nothing*"

Last words of Gorth while the curse was paralizing his body

— One day, someone will free me, and that day, the weight of my power will end up this nonsense.
Kingdom of nothing

Before the first era, Ankou ruled over everything.

He created different creatures to become stronger, due to being the king of dead he needs to harvest souls in order to achive the amount of power that he desires.

So he created the *humans*, a specie that doesn't require much energy to be created, because of that, humans have a small soul, but the nature of the human beings, alows them to be created in mass, so having a small soul wouldn't mind.

Ankou also created a giant specie, winged quadrupeds who he himself named *Dragons,* this specie could only be destroyed by Ankou to harvest their enormous souls.

He also created other types of human species, such as elfs, trolls, vampires...

Once his creations were finished they were autosuficient, that means he would only need an excuse to harvest those souls. Ankou created some cursings that he would call *Illnesses.*
Scheunenfeld

The **Scheunenfeld** formed the topographical starting point for the **Scheunenviertel**. After its demolition, the Platz was created at that very spot. Today the term is also used for the streets up to Rosenthaler Straße and Hackescher Markt, but historically correct the term only applies to the rows of houses east of Almstadtstraße.

### Origins

In 1672, Friedrich Wilhelm (the great elector) issued a fire ordinance that stated that all combustible material was to be stored beyond the then city walls. As early as 1683, one of the first streets on the Scheunenfeld was built on what was then the Dragoon bulwark, later known as Dragoon Street.

Friedrich Wilhelm I issued an order in 1737 that all Jews who did not own a house should move to the Scheunenviertel. They were also only allowed to cross the customs wall (also excise wall) that now goes around today's Torstraße through the Schönhauser Tor and the Prenzlauer Tor.

In 1757 further streets are topographically recognizable: the long Scheunengasse (today's Kleine Alexanderstraße) and the Verlohrne Straße (today's Almstadtstraße).

Later, the following alleys developed on the field:

* 1. Scheunengasse (Bartelstraße)
* 2. Scheunengasse (Kleine Alexanderstraße)
* 3. Scheunengasse (Weydingerstraße)
* 4. Scheunengasse (Koblanckstraße)
* 5. Scheunengasse (Amalienstraße)
* 6. Scheunengasse (Füsilierstraße)

The northern border was Linienstraße, in the south the Hirtenstraße.

#### further development

In the first half of the 19th century, mainly three-storey houses were built in the rather narrow streets.  After the founding of the Reich in 1871, the population in Berlin and also in the Scheunenviertel skyrocketed. Above all, factory workers north of the former customs wall moved to the area. There were also people of the Jewish faith who saw no prospects in the Russian Tsarist Empire or in Austria-Hungary.

The condition of the houses that were in need of renovation, but also their population, who, being so unpresentable for the newly crowned capital of the Reich, loitered around in front of the door, ensured that the Scheunenviertel was the scourge of Berlin at the beginning of the 20th century and the sounds became louder and louder to erase the eyesore from the map.

## References

1. ↑ >D. Weigert: Vom Scheunenfeld zum Scheunenviertel. in: Verein Stiftung Scheunenviertel (Hrsg.): Das Scheunenviertel. Spuren eines verlorenen Berlins. Haude & Spener, Berlin 1994.
2. ↑ T. Raschke: From suburban quarters to dark Berlin. in: Association Foundation Scheunenviertel (ed.): The Scheunenviertel. Traces of a lost Berlin. Haude & Spener, Berlin 1994.
Sophie Rois

**Sophie Rois** (born June 1, 1961 in Linz, Upper Austria) is a human being who plays a lot of theater and occasionally appears in front of a camera and makes films from it. During the artistic management of  Frank I., she was a member of the ensemble at the Volksbühne from 1993 to 2017. There she often played in productions by the boss himself as well as by René Pollesch, who was to be appointed boss himself several years later. When the *Empire of Dercon* was proclaimed, she voluntarily left the court and gave up all her noble titles that were connected to it.

In the film  *3*  she played a character who visits the Volksbühne at the Platz and watches an idea of ​​herself. At the moment when Sophie Rois saw this scene for the first time, so to speak, Sophie Rois is watching herself go to the theater to see Sophie Rois there, the lights on all the event venues on the square should be briefly lit and then caused a short circuit. However, it was so short that none of the technical managers found it so worthy of mention that they wanted to share it with others. Most of them also missed the fact that the gate to his other sphere was opened in the process.

## References

1. ↑  Sophie Rois leaves Dercons Volksbühne in: Tagesspiegel from December 8th, 2017
Roger Bundschuh

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> „We are making a projection offer here. It is important that an individual projection takes place, so that the individual observer, the individual user feels personally addressed by the building and that ideally it asks him a question about his role in urban life.“
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**Roger Bundschuh** *(unofficially: King of the Platz)* is a human being who significantly shaped the Platz and its effect in the 20th century. He was responsible for the **L40** as well as the Suhrkamp publishing house and the interior design of the Galerie Nagel Draxler.

## Life and work

#### before ∇

At the age of 12 it was already clear to Bundschuh that he wanted to become an architect.<ref name="jagen"></ref>He studied at the University of Stuttgart. He taught at the UdK Berlin, the TU Berlin and the Staedelschule in Frankfurt am Main.

#### ∇

According to his own statement, his steadily growing fields of activity on the Platz took place without *decisive personal involvement* and with *a lot of luck and a little coincidence*. In any case, things have been going well for him since his first Appear in ∇ like Geschnitten Brot. Together with Cosima von Bonin he was commissioned in 2006 by the **Kunstverein am Rosa-Luxemburg-Platz e.V.** to replicate a shop space on the square in the form of a snack container. This ultimately resulted in the L40 on behalf of Immobiliengesellschaft Albion mbH Berlin, which was completed in 2010.

He also dealt with the Poelzig-Bauten of which one stood on the ground of the **Alter Trinkerpark**. This property belonged to **IBAU AG**. This also commissioned Bundschuh with the construction of the Suhrkamp publishing house.

For the Galerie Nagel Draxler he designed the interiors in Poelzig-Block 14, he carried out the same activity for Andre Schlechtriem in New York in 2008, before 2017 with his gallery also on the square became resident.

The architecture office named after him is also located in the Rote Platte and thus provides an optimal view of the two works of art a few meters further north.

## Links

* Official website
* "L40" - a range of various types of housing in: Berliner Morgenpost from 09.03.2013

## References

1. ↑ 1.0 1.1 Interview with Bundschuh at Jagenburg.net
2. ↑ https://www.hs-anhalt.de/hochschule-anhalt/service/habenverzeichnis/roger-bundschuh.html
Carl Hegemann

**Carl-Georg Hegemann** (born March 6, 1949 in Paderborn) is a human being who mainly works as a dramaturge at the theater. His time in ∇ began with the reign of  Frank I. at the Volksbühne and also ended with it after the  *Empire of Dercon*  was proclaimed.

He often collaborated with Christoph Schlingensief. At the same time he worked at a conservatory in Leipzig, which advertised teaching dramaturgy.

In his position as *Dramaturge Boss,* he was responsible for most publications of the theater. Among other things, he provided the afterword for *Tagebuch einer Hospitantin (Diary of a hospitant)* , the classic of  AnniKa von Trier about dealing with the temptations of success in ∇.
Wiese

* 2020
* 1996
* 1930

The **Wiese** is a green area on the Platz. It is framed to the north by the Volksbühne, to the left by Rosa-Luxemburg-Straße and to the right by Weydingerstraße.

It was created in 1914 after the theater had been completed. There were several trees on top of it. It was also enclosed by a 30 cm high fence. It was eliminated in 1934. The political government of the time loved the disguise, and most of its supporters suffered from poor circulation. In order to prevent their feet from falling asleep all the time, the area was used as a parade ground instead.

The stage only experienced its revival after the Second World War and has enjoyed great popularity ever since. The Räuberrad has stood on it since 1994 with a short interruption in 2017. Officially, no events are allowed to take place on it, but this does not bother anyone not to sit on it from time to time. It is also quite popular with four-legged friends (e.g. the widespread *Canis lupus familiaris*).
Paul Anlauf

**Paul Anlauf** (\* April 9, 1882, † August 9, 1931) was a human being and head of the police station in Hankestraße (today Rosa-Luxemburg-Straße) who was responsible for the Platz was responsible, and father of two daughters. Anlauf was not considered very charming in his area and was blamed by the residents for the somewhat `tough approach of the police. This explains his (rather not meant to be dear) nickname Schweinebacke *(“pig face or pig cheek”).*

On August 9, 1931, Anlauf, like the police captain Franz Lenck, was killed by two members of the party self-protection of the KPD, Erich Mielke and Erich Ziemer, in front of the Babylon  shot. Anlauf was 49 years old at the time. 60 years later Mielke was sentenced to six years in prison for this act.

In 1934 the Memorial to the Police Officers and Sergeants Who Fallen and Wounded at Work was inaugurated in his honor. Today a plaque commemorates the two police officers.

His daughter Dora Zimmermann remembers the crime in *Berlin Ecke Volksbühne*.
Max Reinhardt

>  *"There are evenings when it is not the theater but the audience that fails."*
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 **Max Reinhardt** (originally  *Maximilian Goldmann* ; born on September 9th 1873 in Baden (Lower Austria); died on October 31, 1943 in New York) was a person who did quite a bit of theater and was the Boss of Volksbühne from 1915 to 1918. After that he also ruled the *Großes Schauspielhaus*designed by Hans Poelzig.

## Life and work

#### Before ∇

In 1894 Reinhardt came to Berlin after training as an actor and apprentice in Austria. There he acted at the DT and gradually built several theater stages. It went so much like Geschnitten Brot that all the stages that were franchised by Max Reinardt was soon referred to as an “empire”.

####  *'∇'*

After his  predecessor had turned out to be a true Emil and not only did the number of members decrease, but also the numbers turned dark red thanks to the building of the Volksbühne, the *Neue Volksbühne eV* forced to act as soon as possible in order not to appear as a complete fool with crowning him the winner of the sophomore season of *Who's the Boss here?*.  Reinhardt was not only pretty hip at the time, he also ran the bourgeois DT, so he was in direct competition with the workers' theater Volksbühne. Thanks to a fairly fair deal, he agreed to get the house at the Platz out of trouble for two years and lease the theater. And he was not that unsuccessful in doing so. In any case, the membership increased again.  Nonetheless, it was actually quite an  *Emilan*  move on his part, because most of his productions were actually just copies of his own productions for DT, only for a few People.  Since there was no television at that time, let alone YouTube, where the similarities could have been exposed quickly, nobody except the critics noticed. Maxim Vallentin later used a similar ruse.

#### After ∇

He directed quite a few theaters and even founded a theater school. In fact, everything he did turned to gold. Since he was still called that, it was another reason why there were quite a few envious people at some point, who then not infrequently voted for the Nazis. When one of them became head boss in 1933, Reinhardt took the first opportunity to escape. Then he followed some former companions, such as Ernst Lubitsch, to the USA and was also successful there, albeit with initial difficulties and to a different extent.

## Links

* Max Reinhardt for beginners - Adulation on YouTube

## References

1. ↑  Kiehn, Ute. Theater in the "Third Reich": Volksbühne Berlin. Wissenschaftlicher Verlag, Berlin, 2001.
2. ↑  Davies, Cecil William. Theater for the People: The Story of the Volksbühne. United Kingdom, Manchester University Press, 1977.
3. ↑  Volksbühne. Zur Wiedereröffnung. Berlin, 1954.
Nazi-Bauten

The *Nazi-Bauten* (The Nazi-Houses) are an ensemble of residential buildings in Torstraße and Linienstraße. They were built in the course of the second season of Abriss des Scheunenviertels from 1934 to 1935. As a *Passion Project* of the Oberhorst (not to be confused with Lord Voldemort), they were the first inner-city example of the *Aktion Gesundung* (*Command recovery*) and thus serve as a model for how the Nazis imagined beautiful living for their loyal followers.

#### Grauer Frachter

The *Grauer Frachter* (Gray Freighter) is located on Torstraße at house numbers 10–34. It thus forms the five-storey flagship of the ensemble, the outermost entrance to the house on the left has a converted attic apartment. There is a magazine (shop apartment) in each of the inner entrances to the basement. The other apartments are equipped with two rooms (chamber, cabin) or one room (cabin) as well as a galley and a locus. There is a cellar cabin for each rental unit on the lower deck.

#### Pappschachteln

Behind the freighter there are three *Pappschachteln* (cardboard boxes) on Linienstraße, which were named after the gravel color they received in the 1990s. The most striking thing about them are certainly their outer corners, which are actually not angular but round and whose round arches look as if *Konrad, the thumbsucker* (a buddy of german national hero *Shockheaded Peter*) of is standing under them. These should ensure that the acoustics of the street are eaten up and you have the feeling that you are in a small town. A Day nursery used to be located at Linienstraße 16. Across the street at Linienstraße 230a was a kindergarten for elderly infants. Usually the Pappschachteln are only perceived as farmers of the Volksbühne.

variations of grey (2021)only real with its round archesduring their construction (1935)
#### Green areas

For a long time the Spielplatz was part of the Kindergarten at Linienstraße 230a. Another playground was located in the garden behind the Grauer Frachter, which was exclusively for tenants of the Nazi-Bauten. However, with the construction of the Passives Haus it was considerably reduced in size. The development of the remaining green space has been in the planning stage since 2017.

## Links

* The Nazi-Houses at Landesdenkmalamt Berlin
Roter Stiefel

The **Roter Stiefel** (Red Boot) is a building at the northeast end of the Platz. It closes the gap both ideologically and aesthetically between the Nazi-Bauten and the Poelzig-Bauten and is located with its three corners on Torstraße, Linienstraße and Weydingerstraße. The explanation for the name only emerges when you become a bird and look at the building from above. Unlike Italy, it is not an elegant knee-high boot with a heel, but a very mundane, stinky boot, as must have been worn by robbers in the past.

There are numerous offices in it, especially those of the editorial team of the *Junge Welt*, which also knows something about *Stinkstiefel* (a very common synonym for Germans a.k.a. people that like to argue about something). It falls into the same category as the other late *gap fillers* such as the  Schönhauser Tor and also the Suhrkamp publishing house: It just doesn't work without a glass front.

## Links

* Roter Stiefel at the Senate Department for Urban Development and Housing
August Heider

**August Heider** (\* 1864 or 1865 in Neu Buckow, † after 1925) was a human being and couiller with multiple convictions who murdered Hermann Blechert in 1908. He was baptized as a Protestant.

At the murder trial, he was described as slim and of medium height and gave the impression of a harmless person who did not appear like to be 43 years old. His face was narrow and pale, his hair was parted neatly, a small, blond mustache was slightly curved upwards.

## life

#### before ∇

Ten years before the act he was sentenced to prison in Osnabrück for a similar act.  Furthermore, since the age of 16 he was repeatedly sentenced to several prison terms for fraud and theft.

In 1805 he came to Berlin and in 1900 married the daughter of a shoe retailer, whose business he initially took over.

#### ∇

In 1908, however, he had lived alone in his current apartment at Lietzmannstraße 2 for a few weeks. At the time of the crime, his wife had been in the hospital for several months.

A few weeks before the crime, he met 18-year-old penniless Miss Eckhardt in the Bouillonkeller.  Under the pretext of offering her a bed for the night, the two went to Heider's apartment in the nearby Lietzmannstraße. There Heider quickly became intrusive, whereupon Eckhardt resisted and finally could escape. Because of her head injuries she was sent to the St. Hedwig Hospital also in Scheunenviertel. Due to the similarities of the two cases, Heider could be convicted of the murder of Hermann Blechert by Eckhardt's testimony on April 13, 1908. The trial began in June 1908. On the 6th of that month, he was sentenced to ten years in prison.

#### after ∇

Although the murder of the Fehse siblings in Breslau in 1925 showed considerable parallels, Heider was not investigated. At that time he had been at large for eight years.

## References

1. ↑ Das Urteil im Mordprozess Heider. in: Berliner Volkszeitung from June 7th, 1908
2. ↑ J. Eik: Schaurige Geschichten aus Berlin. Die dunklen Geheimnisse der Stadt. Jaron Verlag, Berlin 2013
3. ↑ Der Knabenmörder Heider vor dem Schwurgericht. In: Berliner Volkszeitung from May 6th, 1908
4. ↑ 4.0 4.1 R. Stückow: Mörderische Metropole Berlin. Authentische Fälle., Militzke Verlag, Leipzig 2015
Rosa-Luxemburg-Straße

## coordinates

Coming from the south, **Rosa-Luxemburg-Straße** leads to the Platz and moves it around its left cathetus.

After the Victoria-Theater was demolished, the property on Münzstraße was sold. Private entrepreneurs parceled out the property and created a 22m wide escape line that extended to Hirtenstraße. The company was supported by the municipality with 400,000 marks. The new road was opened to traffic on September 20, 1892.

Notable buildings on the street:

* No. 30: Poelzig-Block 14
* No. 33: Poelzig-Block 13
* No. 39-41

## References

1. ↑ Bericht über die Gemeinde-Verwaltung der Stadt Berlin Ausgabe1889/1895,1
Poelzig-Block 14

10178 Berlin

The **Poelzig-Block 14** is a part of the Poelzig-Bauten, it has house numbers to Weydingerstraße, to Rosa-Luxemburg-Straße, to Hirtenstraße as well as to Kleine Alexanderstraße. It is the only building in the ensemble that is oriented on four sides and has a self-contained inner courtyard.

It stretches across four different streets. It houses, among other things:

* Babylon (since 1929)
* Galerie Nagel Draxler

They are called by the other Poelzig-Bauten from time to time *the spoiled one* and is not exactly popular among their remaining siblings.

The police murders of 1931 occurred in front of them.

199719272021
Linienstraße

**Linienstraße** is a two-kilometer long street that frames the inner part of the Platz to the north. Its original course corresponds to the former Berlin customs wall.

The following buildings are located on it:

* No. 23: Passives Haus
* No. 31: Emil-Haus
* No. 40: L40
* No. 227: Volksbühne
* Pappschachteln, southern parts of the Nazi-Bauten
	+ No. 16-21
	+ No. 225 - 226A
	+ No. 228-23

## Links

The Linienstraße in Berlin-Mitte: From Kies-Weg to Kiez-Weg
René Pollesch

**René Pollesch** (born October 29, 1962 in Dorheim / Friedberg, Hessen) is a human being who does a lot of theater and in 2021/22 took over his reign as *Volksbühnen - Boss*.

#### before ∇

He learned his theatrical craft on Hessian homeground in a small town, whose alumni were to gain fame and honor beyond national borders in the decades that followed. Even if they all found different forms of theater in certain respects, what they all had in common was that they all knew a lot. And in the following years that became in a certain sense the trademark for all those who wanted to learn their theatrical craft there. It is not certain today whether that was the Pollesch effect or just a zeitgeist. Anyways, in the middle of the 1990s, things went like Geschnitten Brot for *Pollesch* so much that even *Pollesch* became a trademark itself, probably comparable to the *Lubitsch-Touch.*

#### ∇

His success ensured that, from 2001, he headed the Prater, an outside exclave of the Volksbühne empire outside of the Platz. There he did a lot of theater with, among others, Sophie Rois and Fabian Hinrichs.

Like almost everyone from the court of  Frank I. he abdicated in time for the proclamation of the " Empire of Dercon" and went into exile.

After a major debacle that rolled out since the  *Intendantenwechsel of 2017*  where not one but more reigns at Volksbühne where cut short, the German theater aristocracy shuddered. Was there a curse on the title of Volksbühnen Boss? After some drag, he was the only willing person who surrendered to their fate and was appointed Volksbühnen boss in 2020. He took up his reign as René I in September 2021.

## Links

* René Pollesch in the Volksbühne archive of the Akademie der Künste
Republic of Blecher

The ***Republic of Blecher*** is a ∇-Republic on the site of the former Scheunenfeld. In the center is the former Rosa-Luxemburg-Platz, limited to the north by the former Torstrasse, to the west by the former Bonzenpark and the Alte Schönhauser Straße, to the south through Hirtenstraße and to the east through parts of Karl-Liebknecht-Strasse. Name patron was Hermann Blecher, the officially first recognized victim of the ∇-Effect. Next to it, the official symbol of the republic is the Granitstein.

#### Population and Population

Citizens of full age form *the neighborhood* and sign the ∇ Social Contract. A living cell is available for each person. In 2026, all buildings that were not originally intended for this purpose were converted into residential cells.

Persons in breach of contract live in the designated restricted areas and electronically secured detention cells.

Since the end of the *Before*, a resident population of the Berliner Stadtfuchs has experienced considerable growth. According to estimates, the number of animals living in the area, which are said to be staying primarily in the restricted area of ​​Ground ∇, has increased tenfold.

#### Sights

* Ground ∇ (memorial at the former Volksbühne)
* Associated Guardian's House
* Memorial to Hermann Blecher between Spielplatz and Linienstraße 230a
* central distillery in PiPaPo-Haus
* Detention cell of Sabine Kula in Poelzig-Block 14
* All former public buildings that were converted into residential cells in 2026 as a memorial to the *Before*

#### Media (selection)

* ∇-Podcast
* ∇-Tour - a form of open-air fest offered every six months

#### Holidays and memorial days

* March 5th - Birthday of Hermann Blecher
* April 7th - anniversary of the death of Hermann Blecher
* May 02 - Birthday Dharma Ewe
* June 28 - July 2 - commemorative holidays for Jean-Jacques Rousseau
* June 29 - Memorial Day of the Great Fire of 2026

## Left

* interactive map of the Republic of Blecher on Google Maps
Women's Congress

> *"What we want? Well all of it! A huge catalog. "*
>
>

The **Women's Congress in Volksbühne** took place on December 3, 1989 as one of “the largest women's meetings in the history of Berlin” . Over 1200 women, mainly but not only working in culture and arts, responded to the call, „Wer sich nicht wehrt, kommt an den Herd!“ (*"If you don't defend yourself, you'll end up in the kitchen!"*). While the congress' organizers had previously been afraid that the Volksbühne would be too big, soon every seat was occupied, so that some women had to sit on the stage. Most of them fueled the fear that women would be the first and worst to suffer the consequences of the fall of the Berlin Wall. That is why they wanted to create their own advocacy group for women that was independent of the previous structures that were heavily used by the state. They demanded political participation, childcare options, quotas in important areas of society and the right to abortion. "We no longer want to be the humble and hardworking, underpaid and stupidly sold helpers and employees who are given a meager thank you every March 8th," says Ina Merkel's manifesto .

From the congress emerged the Independent Women's Association (UFV) in February 1990. But even if the demands of the feminist movement have hardly changed since then, the UFV soon became insignificant after its rapid rise: in 1990 it entered the People's Chamber elections on a joint list with the GDR Green Party. In doing so, however, the women were ripped off by the Greens, so that in the end they were left without a mandate. In the years to come, the UFV lost more and more of its influence. Today hardly anyone knows that this meeting took place at all. .

## References

1. ↑  Lisa Coch in Die Zeit, February 16, 1990," Archive of the Robert Havemann Society
2. ↑ A. Gröschner: Kolumne Geschichtsmaschinistin
3. ↑ Archiv of Robert-Havemann-Gesellschaft
4. ↑ I. Merkel: Ohne Frauen ist kein Staat zumachen
5. ↑ Archive of the Robert-Havemann-Gesellschaft
Pipapo-Haus

The **Pipapo-Haus** is a building on the Platz on the southern corner of Linienstraße / Rosa-Luxemburg-Straße. At the same place there used to be the Poelzig-Block 12 with a wine wholesaler on the ground floor. According to legend, the parcel is made for selling liquors and other spirits. It is therefore also logical that the Pipapo has now fought for the  *last true Späti*  in the ∇.
∪

**∪** *(pronounced union)* is an element describing the union between people. It often only becomes conscious when factors such as culture, economic wealth or a secure existence in human society have been lost, e.g. due to natural disasters, wars or pandemics. Only then does man reflect on what connects him to the rest of humanity: being human alone and exclusively.

#### Cultural Significance

The Operation ∇ classifies **∪** as a utopia that can only be created temporarily by signing a social contract at regular intervals. The festive events strive for a **∪** moment in which each participant can move freely and yet, as if of their own accord, place themselves in relation to the rest of the community. This is evoked by the creation of a temporary *fourth wall*, which ensures that all participants gather in a semicircle for a short moment to watch one or more people doing an activity that they themselves are doing the same or a similar activity motivated. Unlike in the theater, however, the rule of the observed person is only of short duration and serves solely as a motivation to actualize oneself and one's own power to act within the community.

#### Counter draft to ∇

In 1899, based on **∪**, the architects Seeling & Knüpfer drew up a plan for the redesign of the Scheunenfeld after its demolition. This was favored in a petition submitted to the city council by landowners "in the so-called Scheunenviertel and the adjacent districts", who identified themselves as possible sponsors for the realization. Ultimately, however, this design was left behind. The decision fell on the August Orth-based design, which ultimately resulted in the creation of the Platz.

## References

1. ↑ "Deutsche Bauzeitung; the Bauzeitung combined with architecture and work form, issue 1899", commission publisher Ernst Toche, Stuttgart 1900.
Horst

**Horst** is a male given name. Its origin and original meaning have not been clearly clarified. In any case, it became quite popular in German-speaking parts of the world in the first half of the 20th century - so popular that even the Platz, the Weydingerstraße and a house were called that for a while. Like many groundbreaking ideas from that time, the name is no longer popular today. It is used as an attribute for some people who acted in the ∇. A selection:

* Horst Wessel, the "Proto-Horst" a.k.a. Voll-Horst
* Bernhard zu Solms-Laubach
* Eugen Klöpfer
* Anselm Lenz
Emil

***Emil*** is a male given name. It corresponds to the Latin family name *Aemilius*. The Greek adjective *aimylos* or *aimylios* means "engaging", "winning", "cunning".

The name became popular in Europe through the educational novel *Émile ou De l'éducation* by Jean-Jacques Rousseau, which was published in 1762.

The following people, organizations and buildings in the ∇ bear this name:

* Emil Bobst
* Emil Haase
* the Emil House
* Emil Lessing, first boss of the Volksbühne
* Emil Liese, foster father of Hans Poelzig
* David Emilius Heinrich Koblank, namesake of the former Koblankstraße
* Marie Louise Emilie Pegert
* Johann Emil Schaudt, architect
* Otto Alfred Emil Schrobsdorff, Entrepreneur and architect
* Emil Heinicke AG
* Émile Zola, namesake of Zolastraße
* Emil Ferdinand Zeitler
∇-Tour

The ***∇ Tour*** is a form of fest-event. According to ∇-Social Contract, every member of the neighborhood has the opportunity to attend an open-air festival every six months.

The tour explores the neighborhood in the Republic of Blecher in the historical setting from the *Before*. During the tour, the participants see holograms of houses that have been destroyed or converted into living cells. For this, the street scenery from the year 2021 was taken as the starting point. Tours are designed and led by members of the neighborhood ("Tour Guides"). The tours take place in German or English and last an average of one hour. During the tours, a safety distance of 1.5 meters must be maintained between all participants. The tour guides are also equipped with mouth and nose protection as well as gloves and disinfectant spray.

### Tour guides (selection)

* Clemens Schmidt
* Kovačević
* MairaZolia
* SiddihDS

## Links

* ticket reservation for upcoming tour dates
Nerbakor's diccionary

Nerbakor is a language spoken by the inhabitants of the nether world, an underground kingdom connected by hundreds of thousands of tunnels, my job as a monk of the kingdom of Carn is to find patterns, in order to create a dictionary robust enough to learn about them.

Not much is known about the Nerbakoros, the little that is known is that they are a very primitive kingdom, they are barely developed and their language is based on saying the word and pointing, although some of them are dedicated to recording events by writing it.

The first news about them was thanks to the fact that one of them came to the surface, to communicate with the rest of the populations, and has agreed to help me make this dictionary.

At first it was very difficult for us to communicate, but over time we have realized that the optimal way is to use sign language.

He/ Her: (Singular), not much is known about the origin of this word, it is pronounced Kôpt.

They / Them: (Plural), in the Nerbakor language, this word would be pronounced Kôptï.

(Plural) This symbol is not always a word, but rather means plural. To make a plural word, the symbols of the singular word are written and this is added to the end of the word. It is pronounced ï.

It can also be used by itself to indicate that there is more than one thing, although it is usually used more in spoken language, not so much in writing, an example to use this symbol in written language is the way they have to record the events that happen related to the food, since they do not have numbers, when there is more than one problem in the harvest, they put a sign with only and exclusively this symbol, which can be considered to be a form of warning to know that something is wrong with that harvest.

It is believed that the Nerbakoros created this symbol because it has more than one line, and they attributed it to the plural.

High Command / King / Governor / Leader: (Singular), this word is pronounced farmagare.

These symbols are thought to have been chosen for a specific reason, the middle symbol stands out from the other two, or seen from another perspective, stands out from the rest.
C.F. Schmidt

>
>  *“But whoever has got to know this class of people for years will no longer find it (sadly) in which the greater part does not want it better and is well in these circumstances.”*
>
>

 **C.F. Schmidt**  (*possibly Christian Friedrich Schmidt,* † after 1824) was a Horst who owned a property at Prenzlauer Straße 3 - 4 in the early 20th century. A large house and several stables belonged to this estate. He rented these out to the homeless on a daily basis. In January 1820, neighbors discovered 78 neglected people in the stables Legislation that made homelessness a punishable offense and as yet unformulated requirements for temporary sleeping quarters, as later applied in the Frauenasyl, allowed this business model.

As soon as it became known, a help committee was founded in the neighborhood to collect donations for the 17 families in order to. preserve them to be transfered to the poor house or orphanages. Some of the neighbors hired them for jobs, took in the children and ultimately took care of the largest fundraising campaign in Berlin to that date.
C.F. Schmidt was prohibited from renting out his stables. He then sued and was ultimately able to have his rent losses of fifteen thalers and eight groschen paid on May 20, 1820. Despite the ban, he continued to rent his stables to the needy until at least 1824.

### Meaning in ∇

The spiritual wing of Operation ∇ sees in C.F. Schmidt the prototype of the *greedy and malicious owner* who enriches himself through the lack of possession of others. Some also speak of a  Curse that punished the Schmidt-Offsprings through his actions and would provide an explanation for the murder of Dorothea Schmidt.

## References

1. ↑  Schmidts diatribe against his tenants in M.-S. Drive: Pitaval Scheunenviertel. Verlag Neues Leben GmbH, Berlin 1995
2. ↑ 2.0 2.1 2.2 M.-S. Drive: Pitaval Scheunenviertel. Verlag Neues Leben GmbH, Berlin 1995
Jean-Jacques Rousseau

>   *"So I am now alone in the world."*
>
>

  *'Jean-Jacques Rousseau'*  (\* June 28, 1712 in Geneva; † July 2, 1778 in Ermenonville near Paris ) was a person who walked a lot and thought about things. With *The Social Contract, or Principles of Political Right* (1762) he provided the base for the Operation ∇. He also wrote the standard works *Emile, or On Education*, *Reveries of the Solitary Walker* (1776–1778) and the essay *Letter to M. D'Alembert on Spectacles*, in which he speaks out against the theater .

## Links

* Comment: What Stephen Colbert and Rousseau tell us about Corona to teach
* The true egoist: Commentary on Rousseau by Slavoj Žižek in DIE ZEIT No. 26/2012
Rote Platte

The **Rote Platte** is a residential building on the Platz and forms the tip of the confluence from Almstadtstraße to Rosa-Luxemburg-Straße. It is located on the property of the former Poelzig-Block 12. It is the only real *Platte* (a very *popular* sort of building in the GDR) that directly adjoins the Platz, but a few more follow it if you move in the direction of Almstadtstraße and away from Linienstraße from the ∇. In the late 1980s a third season of Abriss des Scheunenviertels was scheduled to start in 1989, in which the aim was to make new friends for the Rote Platte. However, this plan was thwarted by a last-minute twist and production of the season was discontinued.

At the moment, the secret King of the Platz is receiving audiences in his architecture office on the ground level. The rest of the magazines on level 1 are also ideal for planning and looking out of the window for the  *Jounesse dorée*, who also works creatively here in various offices and agencies. It is believed that their stay in the prefabricated GDR-building affects their taste for glasses and kitchen furniture. To this end, many studies were carried out by the Tumblr and Pinterest institutes, especially in the early 2010s.

The green area in front of the building was enlivened from 2020 to 2021 by a *people's counter* where people of different species could meet outside and put their arms on.

## References

1. ↑ Article in Berliner Zeitung from 06/22/2020