It’s said that Mies van der Rohe always carried a small Paul Klee painting in his suitcase. Whenever he stayed in a hotel, he hung it in place of the paintings that decorated his room, transforming the space—albeit only temporarily and partially—into a room of his own. Even the godfather of modern architecture seemingly needed a personal belonging to feel at home in a hotel room, a space that epitomizes the nomadic existence that modernity initiated and that his later colleagues would experience at length. Charming as it may be, the story points to the irresolvable question of being