A comfortable building that belongs to nobody, the hotel is read as a phase in transit, with your things still in a bag and nothing settled yet.
A hotel is a home that belongs to nobody, comfortable and entirely temporary, and the tradition reads it more or less at face value. The inherited meaning is a phase in transit: you are living somewhere for now, your things are still in a bag, and the arrangement was never meant to hold. Whether the dream is pleasant or unsettling tends to follow how you feel about that impermanence.
The commonest form by a distance is the endless corridor, the wrong floor, the key that opens nothing. It is read as effort without arrival and belongs to the same family as being late or searching, all of them pictures of a goal that keeps stepping backwards. The detail worth keeping is how you responded, since patient hunting reads quite differently from rising panic.
Lobbies are read as thresholds, places where you are neither out nor properly in, which makes them a natural stage for decisions not yet taken. A building full of strangers is read as a social situation with no fixed roles, and readers usually find the crowd matters less than whether anybody spoke to you. Discovering somebody already in your room is read as territory, the sense that a space described as yours is nothing of the kind.
Old sources read a grand hotel as ambition and a shabby one as reduced circumstances, a pairing that says more about the class assumptions of the writers than about sleep. Your own reaction is the better guide. Feeling at ease in a plain room and uneasy in a marble lobby is a perfectly ordinary combination, and it tells you something.
Context finishes the job. For somebody who travels constantly for work a hotel room sits closer to an office than to an adventure, and the whole image shifts to match. For somebody who has stayed in one twice, it may still carry the shine of a holiday.


