Audio guide Mirador del Río. Lanzarote

We’re here in the Mirador del Río, one of the most representative Centres for Art, Culture and Tourism designed on the island of Lanzarote by the artist César Manrique. We’ll provide you on this guided tour with the essential information... leer más

We’re here in the Mirador del Río, one of the most representative Centres for Art, Culture and Tourism designed on the island of Lanzarote by the artist César Manrique.

We’ll provide you on this guided tour with the essential information you need to allow you to truly appreciate the architectural, natural and historical value of this outstanding creation, and at the same time we’ll help you discover the unconventional artistic details that are dotted around this transformed landscape.

The Mirador del Río scenic viewpoint stands right at the top of the cliffs of Risco de Famara, at 475 metres above sea level, at the most northerly point of the island and of the Canaries archipelago. From here, we can see one of the most spectacular panoramic views of Lanzarote.

The Mirador was created in 1973 to a design by the Lanzarote artist César Manrique. His many other creations on Lanzarote prior to this include the Jameos del Agua volcanic grotto, the Casa-museo Monumento al Campesino – the House Museum he built as a monument to farm workers – the Restaurant “El Diablo” right in the heart of the Timanfaya National Park, and his own house, in Tahíche, which since 1992 has been home to the Manrique Foundation.

We find ourselves, incidentally, in a construction which the designer conceived after reaching his creative maturity, where we can see that his design approach for Lanzarote is now well-established as a deep, life-long commitment to harmony between art and nature.

Constructing the building called for a supreme effort of technical planning as, with scarce resources, the land had to be excavated and then the internal structure had to be built. It was then covered over with a thick layer of volcanic rock to perfectly integrate the structure with the surrounding landscape. The rock used was brought over from the nearby Malpaís de La Corona and carefully selected for its texture and its colour.

The environment and the landscape of the site, as well as its intended use, meant that the work could be approached in an experimental way, as much for its functional aspects as for the aesthetic and construction solutions employed.

César Manrique personally directed the work and, in his usual way, made a number of on-site modifications to the original project, exploring alternative creative possibilities and ensuring that the solutions adopted were the most appropriate. The technical part of the work was carried out by the architect Eduardo Cáceres and the artist Jesús Soto.

The idea of building an observation point in such a prominent place appears to have come from an exchange of ideas between the noted architect Fernando Higueras and César Manrique himself. Fernando Higueras had carried out a series of large-scale projects in the 1960s to develop Lanzarote for tourism. One of them was “La Ciudad de las Gaviotas” – “The City of Seagulls”, whose basic idea was to excavate a residential complex out of the cliff side.

After negotiating a small labyrinth which serves as the entrance hall, we start our visit by passing through the access to the building. It is here that we find one of the first surprises which are so typical of any work by Manrique. While, outside, there is an abundance of rough and primitive volcanic material, the interior is characterised by its luminosity, enhanced by the monochrome white hue of its walls, the brown wood of the flooring, combined with the black of the volcanic rocks set out on the floor as decoration. The skylights give light from above in just the right places and the visitor’s senses are enveloped in this subterranean environment.

To both sides, there are alcoves built in to the walls of the tunnel which are decorated with traditional Lanzarote ceramics. There are constant references in Manrique’s work to tradition shown in the pieces used for ornamentation such as ceramics, and stone water filters, troughs and basins.

The Mirador: After crossing the entrance passageway, we reach an extensive area capped by two enormous cupolas meeting in the centre to form the roof of this room. On both sides are the ‘eyes’ of the Mirador: two panoramic windows looking... leer más

The Mirador:

After crossing the entrance passageway, we reach an extensive area capped by two enormous cupolas meeting in the centre to form the roof of this room. On both sides are the ‘eyes’ of the Mirador: two panoramic windows looking towards the north which flood the interior with natural light. To increase the sensation of depth, these plate glass windows are slightly curved.

What is especially striking here are the two massive sculptures suspended from the ceiling which act as buffers against the reverberation of sound. The sculptures are made from iron rods and other pieces of metal and echo the form of the ferns which decorate the halls of the Mirador. You can get a bite to eat here and sit down and relax for a while in the centre’s café.

Decor:

We now find a series of functional and decorative items, each of them designed exclusively for the Mirador by César Manrique. There’s the fireplace, which is constructed from great blocks of porous stone, the resting places which appear to have been carved as small caves out of the rock, and the bar in the café which follows the Mirador’s fluid lines. Scattered around the walls are lamps fashioned from sheet metal that has been waved and perforated to soften the artificial light.

There’s another sculpture here which is created from reclaimed objects: a water pump which, standing on a piece of carved stone, becomes art.

The general impression of the decor is harmonious. Nothing is too loud, with the choice of neutral colours dominated by white.

This exceptional position provides excellent aerial views of the group of islets to the north of Lanzarote, the Chinijo Archipelago, which was the true reason for creating this building.

The Chinijo Archipelago: On bright days when the sky is clear we have a splendid view of the Chinijo Archipelago (chinijo is a local term, which means “small”). The first thing we can make out is the island of La Graciosa. Behind that are... leer más

The Chinijo Archipelago:

On bright days when the sky is clear we have a splendid view of the Chinijo Archipelago (chinijo is a local term, which means “small”).

The first thing we can make out is the island of La Graciosa. Behind that are the Montaña Clara and the Roque del Oeste and, in the background, Alegranza. We can also see from the Mirador the base of the cliffs of Risco de Famara and, with its reddish colours, the oldest salt plains of Canarias, las Salinas del Río. The salt industry was hugely important for the island’s economy, apart from creating a habitat for valuable communities of animals and plants.

The Chinijo Archipelago is a designated protected natural space in several categories, given its importance as a place of natural interest. The waters of this group of islets encompass a marine life reserve which is the largest in the European Union. La Graciosa is the only inhabited island. It has a population of around 500 and fishing has traditionally been the main occupation. The island has two centres of population, Caleta del Sebo and Pedro Barba, and it is only the first of these which is inhabited throughout the year.

The Risco de Famara is an extensive cliff face which stretches a length of 22 kilometres from Punta Fariones, on the far north of the island, to el Morro del Hueso, near Teguise. Lanzarote’s highest point is found here, las Peñas del Chache, at an altitude of 671 metres. The route up to the cliff top runs almost parallel to the coast of La Graciosa, which is separated from Lanzarote by a narrow strip of sea known as El Río – The River.

The sheer landscape and the island conditions have produced unusual ways of communication between La Graciosa and Lanzarote. Zigzagging tracks and paths ascend the cliff face. The inhabitants of La Graciosa once used these paths to carry their produce from the sea, up the Risco, to the nearby villages of Máguez and Haría, when the women easily carried their heavy cargo balanced on their heads. The routes most used were the “Camino Viejo” – “The Old Road” and the “Camino de los Salineros” – “The Salt Workers’ Road”, which are both close to the Mirador.

The exterior terrace

We have reached the exterior via two small corridors situated on each side of the main hall. The arched doors are in solid wood with a panel of glass set in the centre.

The balcony is in natural harmony with the sheer landscape, appearing as a central monolith in this craggy area. It juts out on a projection which is built on to the cliff, enhancing the overwhelming sensation of abyss.

The perimeter handrail is made of iron and wood, giving the balcony the appearance of the prow of a ship. You could even say that the island has symbolically become a ship which is sailing northwards across the Atlantic.

The exterior of the building follows the same aesthetic approach as the façade. The volcanic rock which is overlaid like scales blends in, in harmony with the landscape.

In contrast with the level planes of the first floor, the building expands upwards via the spiral staircase which gives access to the upper rooms, acting as the central axis from which all the other rooms radiate. Staircases receive special... leer más

In contrast with the level planes of the first floor, the building expands upwards via the spiral staircase which gives access to the upper rooms, acting as the central axis from which all the other rooms radiate.

Staircases receive special attention in all of César Manrique’s architectural works, perhaps because of their sculptural properties.

The first floor

This room has a strange shape similar to a bubble, with a smaller room at its side. The organic architecture follows a principle of continuity; the walls and flooring blend in with the colour white, there is no separation between the walls and the floor. The white, organic curvilinear forms which you can see in every corner of the room are one of the main distinguishing features of this space.

Hanging from the ceiling and close to the imposing staircase is a small sculpture of twisted metal, painted a deep yellow colour which contrasts with the rest of the room. Natural light enters via two skylights and illuminates the whole area.

This area is set up as a shop, with a variety of souvenirs and typical crafts from the island displayed for sale on an original table which you will see in the centre of the room. We recommend that you purchase the official Guide to the Centres for Art, Culture and Tourism if you would like to learn more about other such extraordinary places.

If we carry on up to the top of the Mirador we arrive at another architectural milestone. The stairway is topped by a skylight which spreads the rays of light from outside through its panes. The structure of this skylight is similar to those found... leer más

If we carry on up to the top of the Mirador we arrive at another architectural milestone. The stairway is topped by a skylight which spreads the rays of light from outside through its panes. The structure of this skylight is similar to those found in the shepherds’ huts which were quite common on the island.

Once outside, we come to a series of staggered terraces which give continuity to the exterior building. The strategic location here, similar to that of a watchtower, gives us a privileged view of a large part of the island’s northern coast.

The area where the Mirador del Rio now stands has been used by the military since the 19th century, when a coastal defence battery was built during the Cuban War. This area of Risco de Famara is known locally as the River Battery.

Exterior:

The view outside the building takes in two impressive geological features: the imposing Risco de Famara and the Corona volcano, up to which extend the arms of the large semicircular terrace that gives access to the Mirador.

The site is enclosed by thick stone walls and extends vertically in overlapping terraces which are inspired by the traditional farming methods of the island. The façade intentionally obscures the impressive view of Risco de Famara, thus increasing the sense of anticipation and discovery.

On the outside terrace we are welcomed to the centre by a wrought iron sculpture which represents a fish and a bird, a metaphor for two natural elements which have a strong presence here.. .the sea and the air.

By way of Conclusion

We have visited the Mirador del Rio, a wonderful creation which is in harmony with its surroundings and is full of artistic references and nuances, where the connection between art and nature is a true reflection of its designer’s ideas and makes us reflect on the complex relationships and tensions which exist between man and nature.

The route we’ve followed to reach this point has been a direct one and so, to finish the tour, we must retrace our steps to find the exit. We suggest that you take the opportunity to have another look at everything you’ve already seen, and perhaps see it from a different perspective.

on which his artistic career has left a lasting mark. After completing his studies at The San Fernando Fine Arts Academy in Madrid (where he lived between 1945 and 1964), his paintings were regularly exhibited both in Spain and abroad. He took... leer más

on which his artistic career has left a lasting mark.

After completing his studies at The San Fernando Fine Arts Academy in Madrid (where he lived between 1945 and 1964), his paintings were regularly exhibited both in Spain and abroad. He took part in the 28th and the 30th Venice Biennale international art exhibition in 1955 and 1960 and in the Havana Biennial in 1955. He became more involved in non-figurative art at the beginning of the 1950s, when he began to explore the qualities of the materials he used, which then became the essence of his compositions. He became linked in this way (as did other Spanish artists such as Antoni Tápies, Lucio Muñoz, Manolo Millares…) to the informalist movement of that time.

Manrique travelled all over the world and in 1964 moved to New York. His direct experience of abstract American expressionism, pop art, new sculpture and kinetic art gave him the basis for his cultural vision on which he later based his creative career. On three occasions, in 1966, 1967 and 1969, he had solo exhibitions at the Catherine Viviano Gallery in New York.

He returned to Lanzarote permanently in 1966. The tourist boom was just starting on the island, and his work then on promoting a model of sustainable development to safeguard the island’s natural and cultural heritage was instrumental in Lanzarote’s declaration as a UNESCO Biosphere Reserve in 1993.

In conjunction with his commitment to the island, Manrique expanded his creative work to other art forms and devised a new aesthetic ideology which he named art-nature/nature-art. He implemented this ideology in his outstanding examples of public art in the transformation of sites such as the Jameos del Agua, his house in Tahíche, which is now the headquarters of the César Manrique foundation, the Mirador del Río, and the Cactus Garden, amongst others.

In addition to his works on Lanzarote, he also devised projects for other islands such as Costa Martiánez on Tenerife, the Mirador de El Palmarejo on La Gomera and the Mirador de La Peña on El Hierro. Outside The Canary Islands, he designed projects for the Mediterranean Maritime Park in Ceuta and in Madrid in the Madrid-2 shopping centre, La Vaguada, amongst others. These were mainly state projects, from miradores to gardens, renovating run-down areas and coastal projects, all of them maintaining respect for the environment whilst combining traditional local architecture with modern concepts.

He practiced a range of creative disciplines from painting and sculpture to urban planning and public art, with an underlying clear desire in all of his creations to integrate with the natural environment. A total combined purpose – total art, in his words – which can be seen as a clear statement in his designs for public spaces.

His passion for harmony shines through as not just a passion for beauty, but also for life.

The origins of the Centres for Art, Culture and Tourism date back to around 1966. After three years in New York, César Manrique (1919-1992), one of the pioneers of Spanish abstract painting, returns for good to Lanzarote, his native island, where... leer más

The origins of the Centres for Art, Culture and Tourism date back to around 1966. After three years in New York, César Manrique (1919-1992), one of the pioneers of Spanish abstract painting, returns for good to Lanzarote, his native island, where tourism was beginning to flourish.

Conscious of the unique originality of the island’s landscape, he starts an ambitious and creative project focused on preserving its environment.

A large part of the success of these centres is due to the creative personality of César Manrique and the evident hard work and enthusiasm of the team of people who knew how to take a chance on the island’s future.

One of César Manrique’s closest collaborators was Jesus Soto who, motivated by Manrique´s commitment, created a series of projects to complete the network of Centres for Art, Culture and Tourism, including La Cueva de Los Verdes, in 1964, and the Timanfaya Volcanoes Route in 1968.

There is no doubt that these tourism projects have played a key role in Lanzarote’s economic and social progress over the past 40 years, contributing to the island’s current status as an example across the world of sustainable development.

Cueva de Los Verdes. There are few experiences quite as interesting for travellers as the adventure and discovery they feel in entering a cave. Visiting the Cueva de Los Verdes is a true voyage of discovery into the bowels of the earth. It’s a visit which promises to be spectacular and unique.

The section of La Cueva de Los Verdes which is open to visitors is a complex of inter-connecting galleries extending over a distance of one kilometre. In some places, it has three levels and allows visitors to discover new places from different perspectives. The tunnel is fifty metres high in some spots, with a width close to fifteen metres.

The Jameos del Agua, like the Cueva de Los Verdes, is found in the volcanic tunnel which was formed when the Corona volcano erupted, but is in the section nearest the coast. It’s below sea level and was given this name because of a unique geological feature, an internal lake which is fed by sea water filtering through the rock. The restaurant offers both international and Canary Island cuisine.

The Cactus Garden is a magnificent example of the integration of architecture with the natural environment. César Manrique created this bold architectural complex while remaining true to his vision of a union between art and nature which is the foundation of all his creations.

The Cactus Garden is an extensive collection of succulent plants, more than seven thousand plants of more than a thousand different species, which have been collected from every corner of the planet.

The International Museum of Contemporary Art, the MIAC, can be found in the San José Castle, the former military fortress in the port of Arrecife. The museum was founded in 1975 to promote, unite and exhibit the most significant works of modern art.

The idea to create it came from César Manrique, who personally directed the remodelling and renovation of the castle ruins.

Its collection of modern sculpture and paintings is divided into three groups of abstract geometry, formal and figurative, as well as the permanent collection by the Lanzarote artist Pancho Lasso. There are wonderful views over the port of Arrecife from its restaurant.

The geographical centre of Lanzarote, at a main crossroads which gives access to all parts of the island, is home to one of César Manrique’s most symbolic creations, the “Casa-Museo del Campesino y Monumento a la Fecundidad” – the “House Museum” which he built as a monument to farm workers and fertility.

It consists of a series of buildings which, although inspired by Lanzarote’s traditional architecture, does not echo any particular design, but is a combination of the most characteristic elements of the island’s different geographical areas. It encompasses designs for chimneys, threshing floors, water deposits, patios, carpenters’ workshops, and mills, etc. The restaurant serves typical Lanzarote dishes such as fish, potatoes and “sancochos”, a type of stew.

The Timanfaya Montañas del Fuego – the Mountains of Fire – form part of an extensive area which was affected by volcanic eruption on Lanzarote between 1730-1736 and, later, in 1824. This lengthy eruption process, which was one of the most significant and spectacular in the Earth’s volcanic history, drastically changed the island’s landscape, leaving nearly a quarter of it buried under a thick layer of lava and ash. You might like to try some of the dishes which are on offer in the restaurant, which serves local produce cooked by the heat from the volcano as you look out onto the breathtaking views of the volcanic landscape.

We hope you’ve enjoyed your visit to the Mirador del Río and we invite you to visit Lanzarote’s other Tourism Centres. You can contact us via the web page www.centrosturisticos.com for any additional information, or through our Facebook page www.facebook.com/centrosdearteculturayturismodelanzarote