Under the cover of the day already having grown dark, an in a German way decorated small scale hotel was chosen and as stepping in, the man broad in the beam looking like the owner of the hotel welcomed enthusiastically with a Korean word ‘Bab-meokeosseoyo?(meaning; Did you have dinner already?)’, which greatly startled me especially in a regard that there was absolutely no foreign accent in it. His greeting as well as all those ornaments such as glittery ones enfolded onto the corkscrew staircase and ones on the back wall at reception followed up even more on making us ‘travellists’ feel more relief as being home. In retrospect, on the one hand, everything in Germany including the both appearances of internal and external sides of the hotel and its served breakfast buffet on the next day seemed to be somehow splendid(fancy-decorated) across-the-board, but also simple and homely on the other hand.
On Following day, by a little aid of the metros called U-Bahnen(meaning; underground rapid transits), the very historical district ‘Kaiserswerth’, the northern tip of Duesseldorf, suddenly came up after a spell of delightful rural scenes. As a lifelong townie of Seoul, where, particularly, only the majority of artificial verdancy to be found are, all those appearances and disappearances (between nature and art), so-called ‘ALTERATION OF SCENES’, - on the way to Kaiserswerth, of course - were just not only unfamiliar but also interesting. About unfamiliarity and interest speaking, the sparsely nestled traditional houses with their small farmsteads beyond the windows of the U-Bahn coming into sight and before everything else, all the glances full of curiosity at me inside the metro went for it, too.