Urbanities,
Vol. 3
·
No 2
·
November 2013
© 2013
Urbanities
31
their original, in Lanzarote this is not possible: we can see the reiterated reproduction of an
architectural model through the years, but we do not have a term of comparison with what
would have been if Manrique hadn’t imposed his aesthetic criteria. In Lanzarote what is
cannot be other than it is.
The alienating feeling that can be perceived in some areas of the Island – as in Marina
Rubicón – should probably not be reported as a case of ‘staged authenticity’, but rather as the
result of too much success and engagement. Manrique himself often used the expression
‘
morir de éxito
’ when talking about Lanzarote, which can be translated as ‘dying from
success’.
9
This aspect implies the consideration of the difference between what Manrique
wanted to achieve and the effective consequences of having pursued this goal.
Therefore, it is easy to understand why the image of the Island is strongly linked to
that of Manrique, and this bond cannot easily be loosened. There are three basic reasons: (1)
Manrique provided an aesthetic definition for Lanzarote, (2) which turned into legislation that
widely influences the lives of its inhabitants, but most importantly (3) Manrique constituted
(and still constitutes) a media icon.
9
Idoya Cabrera Delgado, personal communication.
