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By interrogating a contemporary case of technology-enabled participatory house-design, the overall goal has been to problematize, not only the inhabitants’ inclusion in design, by their desires recording and embodiment, but also, the concept of the “house” itself, implemented as such.

As such, this paper responded to the discussion around the contemporary concept of “House & Home”, at (2012) Architectural Theory Conference in Istanbul. Building connections from Sanz back through the history of Spanish humanism, this text aims to present a unique interpretation of the early Spanish guitar, an instrument inseparable from the liberation and secularization of the Western European intellect.Īn house is a critical analysis of R&Sie’s “an architecture of humors” (2010)- a user-included house design experiment that focuses on a machine-enabled recording and embodiment of inhabitants’ conflictual intentions. After much contemplation, I settled into a methodological approach: to locate traces of humanism in the 1674 method book of Aragonese guitarist Gaspar Sanz, Instrvccion de Mvsica sobre la Gvitarra Española (Musical Instruction for the Spanish Guitar). I chose to focus on these connections, but faced the problem of limiting and reflecting intelligently upon this exciting yet seemingly infinite subject.

As curiosity led me into subfields of early Spanish music, the guitar music in particular began to exhibit historically pertinent connections to renaissance humanism. My appreciation for the topic of this thesis manifested initially as an interest in the music of sixteenth-century Spain, particularly the culture in which didactic works were published for the vihuela, the Spanish version of the Western European lute.

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