27:T516,“In winter it might change people’s lives. They look at this painting and they remember that summers in Finland are always very nice.” A piece of art with the power to change lives. A comment every artist longs to hear. It came from a man looking admiringly at the outside wall of his tower block at Ruiskukkatie 3 in the suburb of Rajakylä in Oulu, where a giant painting was gradually emerging in September 2022. The mural, part of the cultural programme of Oulu2026, attracted a lot of attention from residents. It depicts a forest of birch trees at the height of the summer. It’s flooded with bright sunlight. In the centre there’s a barefooted woman, repeated five times as she’s turning around to choose between two paths in the woods.Rajakylä won the vote in 2022, and the mural artist selected was Eloise Gillow. The jury emphasised Gillow’s insightful social commentary and ability to build a connection between art and communities. Eloise Gillow met with local residents to come up with ideas for the mural at Rajakylä Library and Talvikkipuisto Community Center. She utilized these encounters in the planning of her artwork, ‘Käännekohta’ (Turning Point). [Read the full interview at oulu2026.eu/en](https://oulu2026.eu/en/art-in-the-city-the-oulu2026-mural/) 28:T516,“In winter it might change people’s lives. They look at this painting and they remember that summers in Finland are always very nice.” A piece of art with the power to change lives. A comment every artist longs to hear. It came from a man looking admiringly at the outside wall of his tower block at Ruiskukkatie 3 in the suburb of Rajakylä in Oulu, where a giant painting was gradually emerging in September 2022. The mural, part of the cultural programme of Oulu2026, attracted a lot of attention from residents. It depicts a forest of birch trees at the height of the summer. It’s flooded with bright sunlight. In the centre there’s a barefooted woman, repeated five times as she’s turning around to choose between two paths in the woods.Rajakylä won the vote in 2022, and the mural artist selected was Eloise Gillow. The jury emphasised Gillow’s insightful social commentary and ability to build a connection between art and communities. Eloise Gillow met with local residents to come up with ideas for the mural at Rajakylä Library and Talvikkipuisto Community Center. She utilized these encounters in the planning of her artwork, ‘Käännekohta’ (Turning Point). [Read the full interview at oulu2026.eu/en](https://oulu2026.eu/en/art-in-the-city-the-oulu2026-mural/) 29:T672,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Pakkahuoneenkatu 12 A. The work is located in an urban environment, at an altitude of approximately 4-6 meters. The path leading to the work is paved and slightly up/downhill. Turning with a wheelchair or stroller may be difficult due to the slope. The nearest parking lot can be found by continuing straight ahead on Pakkahuoneenkatu to the restaurants (e.g. Olimpos Bar). The nearest benches are located at Rotuaari. **Accessibility through the senses:** The work can be experienced by sight.2a:T672,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Pakkahuoneenkatu 12 A. The work is located in an urban environment, at an altitude of approximately 4-6 meters. The path leading to the work is paved and slightly up/downhill. Turning with a wheelchair or stroller may be difficult due to the slope. The nearest parking lot can be found by continuing straight ahead on Pakkahuoneenkatu to the restaurants (e.g. Olimpos Bar). The nearest benches are located at Rotuaari. **Accessibility through the senses:** The work can be experienced by sight.2b:T5ea,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions.The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Rotuaari square. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt. There are thresholds when crossing roads. The nearest parking lots are located along Kirkkokatu. The nearest benches are on Rotuaari square. **Accessibility through the senses:** The work can be experienced by sight.2c:T5ea,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions.The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Rotuaari square. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt. There are thresholds when crossing roads. The nearest parking lots are located along Kirkkokatu. The nearest benches are on Rotuaari square. **Accessibility through the senses:** The work can be experienced by sight.2d:T67b,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Dressmann, Kauppurienkatu 13. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is paved and slightly downhill. The nearest parking spaces are the city center parking garages, such as Kivisydän. There are parking spaces that require tickets around the city center, for example when continuing on Kirkkokatu. The nearest benches are directly next to the work. **Accessibility through the senses:** The work can be experienced by sight. 2e:T67b,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Dressmann, Kauppurienkatu 13. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is paved and slightly downhill. The nearest parking spaces are the city center parking garages, such as Kivisydän. There are parking spaces that require tickets around the city center, for example when continuing on Kirkkokatu. The nearest benches are directly next to the work. **Accessibility through the senses:** The work can be experienced by sight. 2f:T5f0,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Kino grilli, Albertinkatu 10. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt and pavement. The nearest parking lots are located around Mannerheiminpuisto. There are benches next to the grill and in the park. **Accessibility through the senses:** The work can be experienced by sight. 30:T5f0,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Kino grilli, Albertinkatu 10. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt and pavement. The nearest parking lots are located around Mannerheiminpuisto. There are benches next to the grill and in the park. **Accessibility through the senses:** The work can be experienced by sight. 31:T5a2,What is the difference between a human and a bird? When the wind blows, a human instinctively turns their back to it, a bird its beak. Antti Tolvi is building a sound installation in Pikisaari that asks us a simple question: Which way do we turn when the wind really blows? Do we find the answer by facing things, or by turning our backs on them? Tolvi’s work consists of bass organ pipes arranged in the shape of the letter V. The quiet and gentle soundscape of the piece is generated by the force of the wind. In calm weather all the pipes resonate, while in windy conditions the soundscape changes. The meditative work makes an immaterial force of nature perceptible and invites us to pause and sense the environment in a holistic way. Sculpture's soundscape is heard from April to October. Tolvi (b.1977) is a sound artist, composer, and performer based in Turku. **Accessibility for people with reduced mobility:** The work is located on Korkeasaarenpolku, Pikisaari. The route leading to the work is asphalt and a dirt road. The nearest parking lot is located next to the Korkiasaari tennis court, approximately 300 meters from the work. There are also parking lots on Pikisaarentie, which are approximately 500-800 meters from the work. The nearest benches are near the work, next to Korkeasaarenpolku. **Accessibility through the senses:** A sound art work that can be experienced by hearing and seeing. The work can be touched.32:T5a2,What is the difference between a human and a bird? When the wind blows, a human instinctively turns their back to it, a bird its beak. Antti Tolvi is building a sound installation in Pikisaari that asks us a simple question: Which way do we turn when the wind really blows? Do we find the answer by facing things, or by turning our backs on them? Tolvi’s work consists of bass organ pipes arranged in the shape of the letter V. The quiet and gentle soundscape of the piece is generated by the force of the wind. In calm weather all the pipes resonate, while in windy conditions the soundscape changes. The meditative work makes an immaterial force of nature perceptible and invites us to pause and sense the environment in a holistic way. Sculpture's soundscape is heard from April to October. Tolvi (b.1977) is a sound artist, composer, and performer based in Turku. **Accessibility for people with reduced mobility:** The work is located on Korkeasaarenpolku, Pikisaari. The route leading to the work is asphalt and a dirt road. The nearest parking lot is located next to the Korkiasaari tennis court, approximately 300 meters from the work. There are also parking lots on Pikisaarentie, which are approximately 500-800 meters from the work. The nearest benches are near the work, next to Korkeasaarenpolku. **Accessibility through the senses:** A sound art work that can be experienced by hearing and seeing. The work can be touched.33:T447,A large-scale work made of wood and plywood rests on the ground, gradually merging with its surroundings over time. Its flowing forms rise from the earth and take root in the environment, as vegetation entwines with the structures. The piece addresses change and invites reflection on itself and ourselves, as well as on space, place, and environment. It creates a space and a site in which one can linger. The mound-like work can also be experienced by entering inside it. Talonen is an artist living in Turku. She specializes in site-specific works in which architectural structures and organic forms come together. **Accessibility for people with reduced mobility:** The work is in Mustasalmenpuisto. The route leading to the work is an asphalt road. The work is on grass, but it can be seen from the asphalt road. There are no parking spaces near the work site, the nearest parking spaces are located in Nallikari, about a kilometer from the work. The nearest benches are located further along the path. **Accessibility through the senses:** The work can be experienced by sight and touch.34:T447,A large-scale work made of wood and plywood rests on the ground, gradually merging with its surroundings over time. Its flowing forms rise from the earth and take root in the environment, as vegetation entwines with the structures. The piece addresses change and invites reflection on itself and ourselves, as well as on space, place, and environment. It creates a space and a site in which one can linger. The mound-like work can also be experienced by entering inside it. Talonen is an artist living in Turku. She specializes in site-specific works in which architectural structures and organic forms come together. **Accessibility for people with reduced mobility:** The work is in Mustasalmenpuisto. The route leading to the work is an asphalt road. The work is on grass, but it can be seen from the asphalt road. There are no parking spaces near the work site, the nearest parking spaces are located in Nallikari, about a kilometer from the work. The nearest benches are located further along the path. **Accessibility through the senses:** The work can be experienced by sight and touch.35:T551,In Mustasalmi, as elsewhere in Finland, there are no such epiphytes that typically flourish in rainforests. Along the Mustansalmi trail Hentunen created imaginary, small, and peculiar plant sculptures for the viewers to discover. The small epiphyte sculptures hide within the vegetation along Mustasalmi. With climate change, our environment is constantly changing. It changes partly slowly and in a controlled way, as it always has, and in places dramatically, as a result of human activity. With this work, Hentunen addresses the loss of species, and the appearance of new ones. The series of sculptures highlights how little of the world’s species we know and how incomplete our knowledge of nature is, while reminding us of the threat to biodiversity. Hentunen (b.1967) is an artist living in Tyrnävä. **Accessibility for people with reduced mobility:** The multi-part work is located on the shores of Mustasalmi. Some of the works can only be seen by water from Mustasalmi. The works that can be seen by land are reached via a dirt and forest road. The nearest parking lots are located in the end of Vellamontie, approximately 200 meters from the works. The nearest benches are at the Mustasalmi campfire site. **Accessibility through the senses:** The work can be experienced by sight. It may be difficult to spot the works from the surroundings. 36:T551,In Mustasalmi, as elsewhere in Finland, there are no such epiphytes that typically flourish in rainforests. Along the Mustansalmi trail Hentunen created imaginary, small, and peculiar plant sculptures for the viewers to discover. The small epiphyte sculptures hide within the vegetation along Mustasalmi. With climate change, our environment is constantly changing. It changes partly slowly and in a controlled way, as it always has, and in places dramatically, as a result of human activity. With this work, Hentunen addresses the loss of species, and the appearance of new ones. The series of sculptures highlights how little of the world’s species we know and how incomplete our knowledge of nature is, while reminding us of the threat to biodiversity. Hentunen (b.1967) is an artist living in Tyrnävä. **Accessibility for people with reduced mobility:** The multi-part work is located on the shores of Mustasalmi. Some of the works can only be seen by water from Mustasalmi. The works that can be seen by land are reached via a dirt and forest road. The nearest parking lots are located in the end of Vellamontie, approximately 200 meters from the works. The nearest benches are at the Mustasalmi campfire site. **Accessibility through the senses:** The work can be experienced by sight. It may be difficult to spot the works from the surroundings. 37:T550,In Mustasalmi, as elsewhere in Finland, there are no such epiphytes that typically flourish in rainforests. Along the Mustansalmi trail Hentunen created imaginary, small, and peculiar plant sculptures for the viewers to discover. The small epiphyte sculptures hide within the vegetation along Mustasalmi. With climate change, our environment is constantly changing. It changes partly slowly and in a controlled way, as it always has, and in places dramatically, as a result of human activity. With this work, Hentunen addresses the loss of species, and the appearance of new ones. The series of sculptures highlights how little of the world’s species we know and how incomplete our knowledge of nature is, while reminding us of the threat to biodiversity. Hentunen (b.1967) is an artist living in Tyrnävä. **Accessibility for people with reduced mobility:** The multi-part work is located on the shores of Mustasalmi. Some of the works can only be seen by water from Mustasalmi. The works that can be seen by land are reached via a dirt and forest road. The nearest parking lots are located in the end of Vellamontie, approximately 200 meters from the works. The nearest benches are at the Mustasalmi campfire site. **Accessibility through the senses:** The work can be experienced by sight. It may be difficult to spot the works from the surroundings.38:T550,In Mustasalmi, as elsewhere in Finland, there are no such epiphytes that typically flourish in rainforests. Along the Mustansalmi trail Hentunen created imaginary, small, and peculiar plant sculptures for the viewers to discover. The small epiphyte sculptures hide within the vegetation along Mustasalmi. With climate change, our environment is constantly changing. It changes partly slowly and in a controlled way, as it always has, and in places dramatically, as a result of human activity. With this work, Hentunen addresses the loss of species, and the appearance of new ones. The series of sculptures highlights how little of the world’s species we know and how incomplete our knowledge of nature is, while reminding us of the threat to biodiversity. Hentunen (b.1967) is an artist living in Tyrnävä. **Accessibility for people with reduced mobility:** The multi-part work is located on the shores of Mustasalmi. Some of the works can only be seen by water from Mustasalmi. The works that can be seen by land are reached via a dirt and forest road. The nearest parking lots are located in the end of Vellamontie, approximately 200 meters from the works. The nearest benches are at the Mustasalmi campfire site. **Accessibility through the senses:** The work can be experienced by sight. It may be difficult to spot the works from the surroundings.39:T5c1,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Nallikari Osfysio Wellness, Nallikarinranta 10. The work is at a height of approximately 4-6 meters. The path leading to the work is asphalt. The nearest parking spaces are the Nallikari parking lots. Benches are located next to the work site. **Accessibility through the senses:** The work can be experienced by sight.3a:T5c1,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Nallikari Osfysio Wellness, Nallikarinranta 10. The work is at a height of approximately 4-6 meters. The path leading to the work is asphalt. The nearest parking spaces are the Nallikari parking lots. Benches are located next to the work site. **Accessibility through the senses:** The work can be experienced by sight.3b:T4f0,Anna Tahkola is creating a participatory sculpture and installation in the beachfront of Toppilansaari. The sculptural forms resemble hourglasses. The work is made of concrete, ceramics, steel, and sand. Viewers can take part in the piece by dropping sand into the hourglass. The work explores the passage of time. The sand in the sculpture, as in an hourglass, gives time a material form. Time passes, sand flows, spreads, and accumulates around the sculpture, depicting time gone by. Placed on a sandy beach, the hourglass sculpture transforms the entire beach into an image of the earth’s time. Tahkola is an artist originally from Kempele who lives and works in Turku. **Accessibility for people with reduced mobility:** The work is on the shore of Toppilansalmi. The path leading to the work is sand. The path is downhill. It is not possible to turn around with a wheelchair or stroller near the work due to the difficult terrain, but the work can also be viewed from further away. The nearest parking lot is located when continuing along Pitkämöljäntie, approximately 260 meters from the work. The nearest benches are located next to the work, at the campfire site. **Accessibility through the senses:** The work can be experienced by sight and touch.3c:T4f0,Anna Tahkola is creating a participatory sculpture and installation in the beachfront of Toppilansaari. The sculptural forms resemble hourglasses. The work is made of concrete, ceramics, steel, and sand. Viewers can take part in the piece by dropping sand into the hourglass. The work explores the passage of time. The sand in the sculpture, as in an hourglass, gives time a material form. Time passes, sand flows, spreads, and accumulates around the sculpture, depicting time gone by. Placed on a sandy beach, the hourglass sculpture transforms the entire beach into an image of the earth’s time. Tahkola is an artist originally from Kempele who lives and works in Turku. **Accessibility for people with reduced mobility:** The work is on the shore of Toppilansalmi. The path leading to the work is sand. The path is downhill. It is not possible to turn around with a wheelchair or stroller near the work due to the difficult terrain, but the work can also be viewed from further away. The nearest parking lot is located when continuing along Pitkämöljäntie, approximately 260 meters from the work. The nearest benches are located next to the work, at the campfire site. **Accessibility through the senses:** The work can be experienced by sight and touch.3d:T62c,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Attendo Fregantti. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt, and there is a threshold when crossing the road. The nearest parking lot is located at the intersection of Isopurjeentie and Pitkämöljäntie. The nearest bench is at the Toppilansaarentie E bus stop. **Accessibility through the senses:** The work can be experienced by sight.3e:T62c,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Attendo Fregantti. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt, and there is a threshold when crossing the road. The nearest parking lot is located at the intersection of Isopurjeentie and Pitkämöljäntie. The nearest bench is at the Toppilansaarentie E bus stop. **Accessibility through the senses:** The work can be experienced by sight.3f:T5a1,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Bright sushi, Satamatie 35. The work is located in an urban environment, at a height of approximately 4-6 meters. The path leading to the work is asphalt. The nearest parking lot is located on Höyrymyllyntie. **Accessibility through the senses:** The work can be experienced by sight.40:T5a1,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Bright sushi, Satamatie 35. The work is located in an urban environment, at a height of approximately 4-6 meters. The path leading to the work is asphalt. The nearest parking lot is located on Höyrymyllyntie. **Accessibility through the senses:** The work can be experienced by sight.41:T61a,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is K-Supermarket Toppila. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt and pavement. The nearest parking lot is the K-Supermarket parking lot. The nearest bench is at the store's second entrance. There is also a bench at the Lämpövoimala E bus stop. **Accessibility through the senses:** The work can be experienced by sight.42:T61a,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is K-Supermarket Toppila. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt and pavement. The nearest parking lot is the K-Supermarket parking lot. The nearest bench is at the store's second entrance. There is also a bench at the Lämpövoimala E bus stop. **Accessibility through the senses:** The work can be experienced by sight.43:T60a,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Aalto Siilo in Toppila. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt and pavement. The nearest parking lot is located next to Meri-Toppilan keskusleikkipuisto. The nearest benches are located in the Meri-Toppilan keskusleikkipuisto. **Accessibility through the senses:** The work can be experienced by sight.44:T60a,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Aalto Siilo in Toppila. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt and pavement. The nearest parking lot is located next to Meri-Toppilan keskusleikkipuisto. The nearest benches are located in the Meri-Toppilan keskusleikkipuisto. **Accessibility through the senses:** The work can be experienced by sight.45:T601,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions.The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is PSOAS Paalikatu 14. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt and pavement. The nearest parking lot is located next to Meri-Toppilan keskusleikkipuisto. The nearest benches are located in Meri-Toppilan keskusleikkipuisto. **Accessibility through the senses:** The work can be experienced by sight.46:T601,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions.The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is PSOAS Paalikatu 14. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt and pavement. The nearest parking lot is located next to Meri-Toppilan keskusleikkipuisto. The nearest benches are located in Meri-Toppilan keskusleikkipuisto. **Accessibility through the senses:** The work can be experienced by sight.47:T651,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Oulun Kiipeilykeskus. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt and pavement. The nearest parking lot is for customers of the climbing centre, but there are also parking spaces next to Reenis and Meri-Toppilan keskusleikkipuisto. The nearest bench is located on a path next to the Reenis parking lot. **Accessibility through the senses:** The work can be experienced by sight.48:T651,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Oulun Kiipeilykeskus. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt and pavement. The nearest parking lot is for customers of the climbing centre, but there are also parking spaces next to Reenis and Meri-Toppilan keskusleikkipuisto. The nearest bench is located on a path next to the Reenis parking lot. **Accessibility through the senses:** The work can be experienced by sight.49:T5e6,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Varikko Panimo. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt and pavement. The nearest parking spaces are next to the building, on the left side. The nearest bench is located along Tukkisarenkuja. **Accessibility through the senses:** The work can be experienced by sight.4a:T5e6,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Varikko Panimo. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt and pavement. The nearest parking spaces are next to the building, on the left side. The nearest bench is located along Tukkisarenkuja. **Accessibility through the senses:** The work can be experienced by sight.4b:T602,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Tukkisaaren venevaja. The work is located at a height of approximately 4-6 meters. The route leading to the work is a dirt road. Parking may be possible on Tukkisaarenkuja, but the second closest parking lot is next to Varikko Panimo. The closest benches are located by the road before crossing the bridge. **Accessibility through the senses:** The work can be experienced by sight.4c:T602,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Tukkisaaren venevaja. The work is located at a height of approximately 4-6 meters. The route leading to the work is a dirt road. Parking may be possible on Tukkisaarenkuja, but the second closest parking lot is next to Varikko Panimo. The closest benches are located by the road before crossing the bridge. **Accessibility through the senses:** The work can be experienced by sight.4d:T629,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The work is located in front of Raatti stadion. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt and pavement. There is an up/downhill slope when going around the stadion. The nearest parking spaces are located in front of Raatin uimahalli. The nearest bench is located at the Raatti E bus stop. **Accessibility through the senses:** The work can be experienced by sight.4e:T629,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The work is located in front of Raatti stadion. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt and pavement. There is an up/downhill slope when going around the stadion. The nearest parking spaces are located in front of Raatin uimahalli. The nearest bench is located at the Raatti E bus stop. **Accessibility through the senses:** The work can be experienced by sight.4f:T648,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Shelby Outdoor Tuira, Merikoskenkatu 1. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt and pavement. There are small thresholds when crossing roads. The nearest parking spaces are located along Merikoskenkatu on both sides of the road. The nearest bench is located in a park next to the building. **Accessibility through the senses:** The work can be experienced by sight.50:T648,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Shelby Outdoor Tuira, Merikoskenkatu 1. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt and pavement. There are small thresholds when crossing roads. The nearest parking spaces are located along Merikoskenkatu on both sides of the road. The nearest bench is located in a park next to the building. **Accessibility through the senses:** The work can be experienced by sight.51:T625,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions.The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Tuira Pharmacy. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt. There are thresholds when crossing roads. The nearest parking lots are located along Merikoskenkatu on both sides of the road. The nearest benches are the benches of the bus stops on Merikoskenkatu. **Accessibility through the senses:** The work can be experienced by sight.52:T625,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions.The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Tuira Pharmacy. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt. There are thresholds when crossing roads. The nearest parking lots are located along Merikoskenkatu on both sides of the road. The nearest benches are the benches of the bus stops on Merikoskenkatu. **Accessibility through the senses:** The work can be experienced by sight.53:T62d,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions.The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Tuira SP-Elektroniikka. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt. There are thresholds when crossing roads. The nearest parking lots are located along Merikoskenkatu on both sides of the road. The nearest benches are the benches of the bus stops on Merikoskenkatu. **Accessibility through the senses:** The work can be experienced by sight.54:T62d,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions.The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Tuira SP-Elektroniikka. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt. There are thresholds when crossing roads. The nearest parking lots are located along Merikoskenkatu on both sides of the road. The nearest benches are the benches of the bus stops on Merikoskenkatu. **Accessibility through the senses:** The work can be experienced by sight.55:T5e8,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Tuiran yhteisötila. The work is located in an urban environment, at a height of approximately 4-6 meters. The path leading to the work is asphalt. The nearest parking lot is located in front of Tuira S-Market. The nearest benches are located in the park in front of the building. **Accessibility through the senses:** The work can be experienced by sight.56:T5e8,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Tuiran yhteisötila. The work is located in an urban environment, at a height of approximately 4-6 meters. The path leading to the work is asphalt. The nearest parking lot is located in front of Tuira S-Market. The nearest benches are located in the park in front of the building. **Accessibility through the senses:** The work can be experienced by sight.57:T603,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Tuira D-asema. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is an asphalt road. The nearest parking options are the Tuira S- and K-Market’s parking lots. The nearest bench is located at the Myllytie P bus stop in front of the building. **Accessibility through the senses:** The work can be experienced by sight. 58:T603,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Tuira D-asema. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is an asphalt road. The nearest parking options are the Tuira S- and K-Market’s parking lots. The nearest bench is located at the Myllytie P bus stop in front of the building. **Accessibility through the senses:** The work can be experienced by sight. 59:T64a,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is elokuvateatteri Star, Kalliotie 6. The work is located in an urban environment, at a height of approximately 4-6 meters. The path leading to the work is asphalt and pavement. There are thresholds in the theater area. The nearest parking lot is for cinema customers, but the nearby K-Market also has a parking lot. The nearest bench is located in the playground across the road. **Accessibility through the senses:** The work can be experienced by sight. 5a:T64a,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is elokuvateatteri Star, Kalliotie 6. The work is located in an urban environment, at a height of approximately 4-6 meters. The path leading to the work is asphalt and pavement. There are thresholds in the theater area. The nearest parking lot is for cinema customers, but the nearby K-Market also has a parking lot. The nearest bench is located in the playground across the road. **Accessibility through the senses:** The work can be experienced by sight. 5b:T45d,A carnivalesque lamp post invites the passerby to pause and reach toward the imaginary realm in the midst of everyday life. The work combines urban aesthetics of city culture and nature in abstract forms reminiscent of plants. Into the everyday environment, the work blends unusual, fantastical, and colorful elements. The piece is integrated into the environment by using an existing element in the landscape as its base and combining it with painterly and sculptural dimensions - expanding painting into public outdoor space. Hinkula is an artist living in Oulu, who often makes use of the built environment in her works. **Accessibility for people with reduced mobility:** The work is on the path leading to the Pyykkösenpuiston leikkipaikka. The work can be seen from a distance. The route leading to the work is asphalt, and has a slight up/downhill slope. The nearest parking options are located next to the playground in the Koskitie parking lot and in front of Cafe Rantsu, Koskitie 58. The nearest bench is directly next to the work. **Accessibility by the senses:** The work can be experienced by sight. 5c:T45d,A carnivalesque lamp post invites the passerby to pause and reach toward the imaginary realm in the midst of everyday life. The work combines urban aesthetics of city culture and nature in abstract forms reminiscent of plants. Into the everyday environment, the work blends unusual, fantastical, and colorful elements. The piece is integrated into the environment by using an existing element in the landscape as its base and combining it with painterly and sculptural dimensions - expanding painting into public outdoor space. Hinkula is an artist living in Oulu, who often makes use of the built environment in her works. **Accessibility for people with reduced mobility:** The work is on the path leading to the Pyykkösenpuiston leikkipaikka. The work can be seen from a distance. The route leading to the work is asphalt, and has a slight up/downhill slope. The nearest parking options are located next to the playground in the Koskitie parking lot and in front of Cafe Rantsu, Koskitie 58. The nearest bench is directly next to the work. **Accessibility by the senses:** The work can be experienced by sight. 5d:T624,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is the Ainolanpuisto kesäteatteri. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt, dirt road and pavement. There are also bridges and sections of slight up and downhill. The nearest parking lot is at the Oulu Art Museum. There are benches nearby, along the road. **Accessibility through the senses:** The work can be experienced by sight.5e:T624,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is the Ainolanpuisto kesäteatteri. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is asphalt, dirt road and pavement. There are also bridges and sections of slight up and downhill. The nearest parking lot is at the Oulu Art Museum. There are benches nearby, along the road. **Accessibility through the senses:** The work can be experienced by sight.5f:T5c9,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is the Oulu Art Museum. The work is located in an urban environment, at a height of approximately 4-6 meters. The path leading to the work is paved. The nearest parking lot is the Oulu Art Museum parking lot. The nearest benches are next to the museum. **Accessibility through the senses:** The work can be experienced by sight.60:T5c9,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is the Oulu Art Museum. The work is located in an urban environment, at a height of approximately 4-6 meters. The path leading to the work is paved. The nearest parking lot is the Oulu Art Museum parking lot. The nearest benches are next to the museum. **Accessibility through the senses:** The work can be experienced by sight.61:T617,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Ainolanpuisto Alakööki. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is a dirt road and grass. There are also bridges and slight up and downhills. The nearest parking lot is the Oulu Art Museum parking lot. The nearest benches are next to the work site. **Accessibility through the senses:** The work can be experienced by sight. 62:T617,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Ainolanpuisto Alakööki. The work is located in an urban environment, at a height of approximately 4-6 meters. The route leading to the work is a dirt road and grass. There are also bridges and slight up and downhills. The nearest parking lot is the Oulu Art Museum parking lot. The nearest benches are next to the work site. **Accessibility through the senses:** The work can be experienced by sight. 63:T5d9,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is PSOAS Mannenkatu 2. The work is located in an urban environment, at a height of approximately 4-6 meters. The path leading to the work is asphalt and pavement. The nearest parking lot is at the Art Museum. There are benches on the path leading to Myllytullin koulu. **Accessibility through the senses:** The work can be experienced by sight.64:T5d9,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is PSOAS Mannenkatu 2. The work is located in an urban environment, at a height of approximately 4-6 meters. The path leading to the work is asphalt and pavement. The nearest parking lot is at the Art Museum. There are benches on the path leading to Myllytullin koulu. **Accessibility through the senses:** The work can be experienced by sight.65:T5d2,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Kuvernööri bus stop, Linnankatu 7. The work is located in an urban environment, at a height of approximately 4-6 meters. The path leading to the work is paved. The nearest parking lot is located next to the church. The nearest benches are at the work site. **Accessibility through the senses:** The work can be experienced by sight.66:T5d2,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Kuvernööri bus stop, Linnankatu 7. The work is located in an urban environment, at a height of approximately 4-6 meters. The path leading to the work is paved. The nearest parking lot is located next to the church. The nearest benches are at the work site. **Accessibility through the senses:** The work can be experienced by sight.67:T5f3,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Oulun kuvataiteen talo, Hallituskatu 7. The work is located in an urban environment, approximately 4-6 meters high. The path leading to the work is paved. The nearest parking lot is in front of Radisson Blu in Torinranta. The nearest benches are located at and near the City Hall bus stops. **Accessibility through the senses:** The work can be experienced by sight. 68:T5f3,Cement Eclipses is a series of 30 sculptures spread across all districts of the ARToulu art area. The sculptures depict a wide range of different people and figures who inhabit the city. Among them are both children and adults, people in various life situations and professions. The work empathises and critically examines collective social behavior. The sculptures portray the city’s inhabitants engaged in routine, everyday activities. The sympathetic figures are easy to identify with, and also easy to laugh at. These human figures are resilient survivors in our fractured society. The work highlights the social layers of the environment and casts a respectful gaze on diversity of the city’s population. Cement Eclipses is an ongoing, itinerant installation begun in 2006 by Spanish artist Isaac Cordal (b.1974). The artist, active in the field of street art, has shown his sculptures in cities around the world. The miniature figures and their surprising locations in the urban environment surprise passersby and open an imaginative dimension within the city. **Accessibility for people with reduced mobility:** The location of the work is Oulun kuvataiteen talo, Hallituskatu 7. The work is located in an urban environment, approximately 4-6 meters high. The path leading to the work is paved. The nearest parking lot is in front of Radisson Blu in Torinranta. The nearest benches are located at and near the City Hall bus stops. **Accessibility through the senses:** The work can be experienced by sight. 69:T802,Located in Vaala, *Cycles* is a narrative, interactive environmental artwork that explores time, landscape, and the relationship between humans and nature across different eras. The piece has been built inside a water tank removed from the tower of the Vaala Veturitalli, situated in the yard of the Veturitalli. Over the years, an ecosystem has formed inside the tank, containing, for example, small tree seedlings and ferns growing from decomposed leaf litter and branches that have fallen to the bottom. In the completed artwork, the miniature landscape can be observed through viewing holes cut into the walls of the tank, each fitted with filters of different colors. There are four viewing points, named according to the cardinal directions, the seasons, and the times of day. Each viewing point includes a portion of a four-part story, which can be read as text on the tank wall or listened to as read by the artist. In the dark, the interior of the tank can be illuminated through the colored filters with your own light source, such as a smartphone light or flashlight. The colors related to the seasons were selected from material created in a workshop held with local participants. The text includes excerpts from stories shared during the workshop. The artist behind the work, Mari Kämäräinen, is a visual and performance artist from Vaala, originally from the village of Pelso, and specializes in narrative, site-specific works. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [here](https://rokuageopark.fi/en/)! 6a:T802,Located in Vaala, *Cycles* is a narrative, interactive environmental artwork that explores time, landscape, and the relationship between humans and nature across different eras. The piece has been built inside a water tank removed from the tower of the Vaala Veturitalli, situated in the yard of the Veturitalli. Over the years, an ecosystem has formed inside the tank, containing, for example, small tree seedlings and ferns growing from decomposed leaf litter and branches that have fallen to the bottom. In the completed artwork, the miniature landscape can be observed through viewing holes cut into the walls of the tank, each fitted with filters of different colors. There are four viewing points, named according to the cardinal directions, the seasons, and the times of day. Each viewing point includes a portion of a four-part story, which can be read as text on the tank wall or listened to as read by the artist. In the dark, the interior of the tank can be illuminated through the colored filters with your own light source, such as a smartphone light or flashlight. The colors related to the seasons were selected from material created in a workshop held with local participants. The text includes excerpts from stories shared during the workshop. The artist behind the work, Mari Kämäräinen, is a visual and performance artist from Vaala, originally from the village of Pelso, and specializes in narrative, site-specific works. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [here](https://rokuageopark.fi/en/)! 6b:T599,*The Seer *is an environmental artwork located in the Peurapyyntikylä of Manamansalo. *The Seer *draws its inspiration from the hidden forces of nature, which are also described in the creation stories of Manamansalo. A stone rises from the ground like an eye, observing the world and the actions of people. The artwork uses gneiss, the oldest rock in Europe, which has witnessed the world for an immense span of time. *The Seer *also alludes to the Finnish word "knower" —nature knows best what is good for it. The artwork blends seamlessly into the surrounding nature: it appears as if it has always been there. Nature continues to shape it and further disguises it within its environment. The piece was created by the artist Antti Ylönen, who feels deep respect for nature and its phenomena. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [here!](https://rokuageopark.fi/en/see-and-experience/) 6c:T599,*The Seer *is an environmental artwork located in the Peurapyyntikylä of Manamansalo. *The Seer *draws its inspiration from the hidden forces of nature, which are also described in the creation stories of Manamansalo. A stone rises from the ground like an eye, observing the world and the actions of people. The artwork uses gneiss, the oldest rock in Europe, which has witnessed the world for an immense span of time. *The Seer *also alludes to the Finnish word "knower" —nature knows best what is good for it. The artwork blends seamlessly into the surrounding nature: it appears as if it has always been there. Nature continues to shape it and further disguises it within its environment. The piece was created by the artist Antti Ylönen, who feels deep respect for nature and its phenomena. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [here!](https://rokuageopark.fi/en/see-and-experience/) 6d:T74a,Matti Lepistö (1948–2020) was an outsider artist from Pattijoki, known for his concrete sculptures that are imaginatively rich in their topics. Lepistö displayed his sculptures at his home yard in Mansikkakari, Pattijoki, where he had over 250 large concrete sculptures on the lawn field. Thirty-four of the sculptures have been moved to the city center of Raahe, to new Matti's Cosmos Sculpture Park at Rantakatu 43 but most of the sculptures are still in the original sculpture park in Pattijoki. **HISTORY** The city of Raahe purchased Matti Lepistö Sculpture Park along with its property in 2025, after which the sculptures were inventoried and catalogued. The catalogued sculptures are openly available at the cultural heritage search engine, Finna. Lepistö was a textbook example of an outsider artist – a doer, who creates art within their own living environment and whose art reflects their own culture and experiences. Outsider art is also characterized by being self-taught and that the techniques are unique to their makers. This was also the case with Lepistö; by profession, Lepistö was a machinist. Lepistö’s passion for sculpting ignited during an adult education course in the 1980s, and this led to a lifelong career creating individual art. Lepistö left his work as a machinist in the 1990s and, in his own words, became a full-time "starving artist." He developed his own sculpting technique for his sculptures. He made an iron skeleton inside the sculptures, on top of which he placed polystyrene foam and chicken wire as filling. He mixed the concrete with a gut feeling so that it was easy to shape. He earned his living by selling and exhibiting his sculptures and by drawing and painting portraits. In addition to sculpting, Lepistö also drew, painted, did glasswork, and wrote. He was also an enthusiastic photographer.6e:T8e2,In 2025, the City of Raahe acquired the extraordinary sculpture park of self-taught artist Matti Lepistö as part of its cultural heritage collection. Located in Pattijoki on Mansikkakarintie, the original park features hundreds of unique sculptures that showcase Lepistö’s boundless imagination and distinctive artistic vision. Now, visitors can experience a captivating introduction to this remarkable world at Matti’s Cosmos, a new sculpture park opened in June 2026 near the Raahe Main Library. Designed as a “taste” of Lepistö’s extensive body of work, the park presents a carefully curated selection of sculptures that highlight both the richness of his themes and the playful creativity that delights visitors of all ages – especially children, thanks to the nearby playground. **History** Matti Lepistö (1948–2020) was an outsider artist from Pattijoki, known for his concrete sculptures that are imaginatively rich in their topics. Lepistö displayed his sculptures at his home yard in Mansikkakari, Pattijoki, where he had over 250 large concrete sculptures on the lawn field. Most of the sculptures are still presented in the original park. Lepistö was a textbook example of an outsider artist – a doer, who creates art within their own living environment and whose art reflects their own culture and experiences. Outsider art is also characterized by being self-taught and that the techniques are unique to their makers. This was also the case with Lepistö; by profession, Lepistö was a machinist. Lepistö’s passion for sculpting ignited during an adult education course in the 1980s, and this led to a lifelong career creating individual art. Lepistö left his work as a machinist in the 1990s and, in his own words, became a full-time "starving artist." He developed his own sculpting technique for his sculptures. He made an iron skeleton inside the sculptures, on top of which he placed polystyrene foam and chicken wire as filling. He mixed the concrete with a gut feeling so that it was easy to shape. He earned his living by selling and exhibiting his sculptures and by drawing and painting portraits. In addition to sculpting, Lepistö also drew, painted, did glasswork, and wrote. He was also an enthusiastic photographer.6f:T8e2,In 2025, the City of Raahe acquired the extraordinary sculpture park of self-taught artist Matti Lepistö as part of its cultural heritage collection. Located in Pattijoki on Mansikkakarintie, the original park features hundreds of unique sculptures that showcase Lepistö’s boundless imagination and distinctive artistic vision. Now, visitors can experience a captivating introduction to this remarkable world at Matti’s Cosmos, a new sculpture park opened in June 2026 near the Raahe Main Library. Designed as a “taste” of Lepistö’s extensive body of work, the park presents a carefully curated selection of sculptures that highlight both the richness of his themes and the playful creativity that delights visitors of all ages – especially children, thanks to the nearby playground. **History** Matti Lepistö (1948–2020) was an outsider artist from Pattijoki, known for his concrete sculptures that are imaginatively rich in their topics. Lepistö displayed his sculptures at his home yard in Mansikkakari, Pattijoki, where he had over 250 large concrete sculptures on the lawn field. Most of the sculptures are still presented in the original park. Lepistö was a textbook example of an outsider artist – a doer, who creates art within their own living environment and whose art reflects their own culture and experiences. Outsider art is also characterized by being self-taught and that the techniques are unique to their makers. This was also the case with Lepistö; by profession, Lepistö was a machinist. Lepistö’s passion for sculpting ignited during an adult education course in the 1980s, and this led to a lifelong career creating individual art. Lepistö left his work as a machinist in the 1990s and, in his own words, became a full-time "starving artist." He developed his own sculpting technique for his sculptures. He made an iron skeleton inside the sculptures, on top of which he placed polystyrene foam and chicken wire as filling. He mixed the concrete with a gut feeling so that it was easy to shape. He earned his living by selling and exhibiting his sculptures and by drawing and painting portraits. In addition to sculpting, Lepistö also drew, painted, did glasswork, and wrote. He was also an enthusiastic photographer.70:T69f,Matti Lepistö (1948–2020) was an outsider artist from Pattijoki, known for his concrete sculptures that are imaginatively rich in their topics. Lepistö displayed his sculptures at his home yard in Mansikkakari, Pattijoki, where he had over 250 large concrete sculptures on the lawn field. Thirty-four of the sculptures have been moved to the center of Raahe, to new **Matti’s Cosmos Sculpture Park** at Rantakatu 43 but most of the sculptures are still in the original sculpture park in Pattijoki. The city of Raahe purchased Matti Lepistö's sculpture park along with its property in 2025, after which the sculptures were inventoried and catalogued. The catalogued sculptures are openly available at the cultural heritage search engine, Finna. Lepistö was a textbook example of an outsider artist – a doer, who creates art within their own living environment and whose art reflects their own culture and experiences. Outsider art is also characterized by being self-taught and that the techniques are unique to their makers. This was also the case with Lepistö; by profession, Lepistö was a machinist. His passion for sculpting ignited during an adult education course in the 1980s, and this led to a lifelong career creating individual art. Lepistö left his work as a machinist in the 1990s and, in his own words, became a full-time "starving artist." He developed his own sculpting technique for his sculptures. He made an iron skeleton inside the sculptures, on top of which he placed polystyrene foam and chicken wire as filling. He mixed the concrete with a gut feeling so that it was easy to shape. He used white concrete and protected his sculptures with sauna varnish.71:T69f,Matti Lepistö (1948–2020) was an outsider artist from Pattijoki, known for his concrete sculptures that are imaginatively rich in their topics. Lepistö displayed his sculptures at his home yard in Mansikkakari, Pattijoki, where he had over 250 large concrete sculptures on the lawn field. Thirty-four of the sculptures have been moved to the center of Raahe, to new **Matti’s Cosmos Sculpture Park** at Rantakatu 43 but most of the sculptures are still in the original sculpture park in Pattijoki. The city of Raahe purchased Matti Lepistö's sculpture park along with its property in 2025, after which the sculptures were inventoried and catalogued. The catalogued sculptures are openly available at the cultural heritage search engine, Finna. Lepistö was a textbook example of an outsider artist – a doer, who creates art within their own living environment and whose art reflects their own culture and experiences. Outsider art is also characterized by being self-taught and that the techniques are unique to their makers. This was also the case with Lepistö; by profession, Lepistö was a machinist. His passion for sculpting ignited during an adult education course in the 1980s, and this led to a lifelong career creating individual art. Lepistö left his work as a machinist in the 1990s and, in his own words, became a full-time "starving artist." He developed his own sculpting technique for his sculptures. He made an iron skeleton inside the sculptures, on top of which he placed polystyrene foam and chicken wire as filling. He mixed the concrete with a gut feeling so that it was easy to shape. He used white concrete and protected his sculptures with sauna varnish.72:T74a,Matti Lepistö (1948–2020) was an outsider artist from Pattijoki, known for his concrete sculptures that are imaginatively rich in their topics. Lepistö displayed his sculptures at his home yard in Mansikkakari, Pattijoki, where he had over 250 large concrete sculptures on the lawn field. Thirty-four of the sculptures have been moved to the city center of Raahe, to new Matti's Cosmos Sculpture Park at Rantakatu 43 but most of the sculptures are still in the original sculpture park in Pattijoki. **HISTORY** The city of Raahe purchased Matti Lepistö Sculpture Park along with its property in 2025, after which the sculptures were inventoried and catalogued. The catalogued sculptures are openly available at the cultural heritage search engine, Finna. Lepistö was a textbook example of an outsider artist – a doer, who creates art within their own living environment and whose art reflects their own culture and experiences. Outsider art is also characterized by being self-taught and that the techniques are unique to their makers. This was also the case with Lepistö; by profession, Lepistö was a machinist. Lepistö’s passion for sculpting ignited during an adult education course in the 1980s, and this led to a lifelong career creating individual art. Lepistö left his work as a machinist in the 1990s and, in his own words, became a full-time "starving artist." He developed his own sculpting technique for his sculptures. He made an iron skeleton inside the sculptures, on top of which he placed polystyrene foam and chicken wire as filling. He mixed the concrete with a gut feeling so that it was easy to shape. He earned his living by selling and exhibiting his sculptures and by drawing and painting portraits. In addition to sculpting, Lepistö also drew, painted, did glasswork, and wrote. He was also an enthusiastic photographer.73:T750,**K.J. Ståhlberg's Childhood Home Museum** presents the childhood home of the Republic of Finland's first president **Kaarlo Juho Ståhlberg** (1865 - 1952). Kaarlo Juho spent most of his youth in the rural landscape of late 1800s Haapajärvi. The Old Ronkaala Rectory had humble living conditions, but Ståhlberg would reminiscence of his childhood there fondly, deep into his old days. **The Old Ronkaala Rectory is over 200 years old**, as the rustic wooden house was built in 1784. The rectory has survived to present day thanks to a museum committee that was formed in 1966. The committee wanted to prevent the demolition of the historical building and restore it to its former glory. Nowadays the museum is beautiful example of the late 1700s rural Finnish architecture. The museum's collection consists of objects typical of the rural lifestyle of the late 1800s and early 1900s. The items have been collected through donations, purchases and loans from other museums, such as the Local History Museum of Haapajärvi. ++**K.J. Ståhlberg's Childhood Home Museum will open next time in the summer of 2026.**++ **The Kyösti and Kalervo Kallio Museum is a part of the Presidenttipolku cultural route.** The cultural route will launch in 2026 as a part of the Oulu European Capital of Culture year. Other historical museums part of the Presidenttipolku cultural route are The Kyösti and Kalervo Kallio Museum in Nivala and the birth place of Finland's longest reigning president Urho Kekkonen, a cabin called Lepikon torppa in Pielavesi. Step on to the route and experience unique historical sites showing the history of three great statesmen of Finland! _Need more information about the cultural route? Contact:_ _Cultural Project Worker Heidi Pökkylä_ _+358 40 3447270_ _heidi.pokkyla@nivala.fi_ _Photo credit: Soili Pentikäinen_ 74:T750,**K.J. Ståhlberg's Childhood Home Museum** presents the childhood home of the Republic of Finland's first president **Kaarlo Juho Ståhlberg** (1865 - 1952). Kaarlo Juho spent most of his youth in the rural landscape of late 1800s Haapajärvi. The Old Ronkaala Rectory had humble living conditions, but Ståhlberg would reminiscence of his childhood there fondly, deep into his old days. **The Old Ronkaala Rectory is over 200 years old**, as the rustic wooden house was built in 1784. The rectory has survived to present day thanks to a museum committee that was formed in 1966. The committee wanted to prevent the demolition of the historical building and restore it to its former glory. Nowadays the museum is beautiful example of the late 1700s rural Finnish architecture. The museum's collection consists of objects typical of the rural lifestyle of the late 1800s and early 1900s. The items have been collected through donations, purchases and loans from other museums, such as the Local History Museum of Haapajärvi. ++**K.J. Ståhlberg's Childhood Home Museum will open next time in the summer of 2026.**++ **The Kyösti and Kalervo Kallio Museum is a part of the Presidenttipolku cultural route.** The cultural route will launch in 2026 as a part of the Oulu European Capital of Culture year. Other historical museums part of the Presidenttipolku cultural route are The Kyösti and Kalervo Kallio Museum in Nivala and the birth place of Finland's longest reigning president Urho Kekkonen, a cabin called Lepikon torppa in Pielavesi. Step on to the route and experience unique historical sites showing the history of three great statesmen of Finland! _Need more information about the cultural route? Contact:_ _Cultural Project Worker Heidi Pökkylä_ _+358 40 3447270_ _heidi.pokkyla@nivala.fi_ _Photo credit: Soili Pentikäinen_ 75:T7dc,The Ronkaala rectory in front of you was built in the 18th century. It’s still located near its original location along the Kalajoki river where it was originally built to function as the rural Haapajärvi's municipality’s priest’s official residence. When the Ståhlberg family moved to Haapajärvi in 1869 this red ochre rectory was already nearly 100 years old. At that time the family had three children. To Alma, Kaarlo and Frederik Ståhlberg the move had been very exciting. The rectory had all kinds of interesting things to look at and new grounds to explore. The courtyard had all kinds of fun places to play where the siblings would frolic together. The rectory’s byre was an enjoyable place for the children to play after the cows had been let out to their summer pasture. There was clean hay in the attic where the kids liked to go jump and roll around in. This rummaging around proved to be incredibly fun. The byre was also a great place for hide and seek. Alma has later on recollected how she had hidden between the stalls of the byre. Kaarlo and Fredrik surely also had their own good hiding places. The children’s games weren’t limited to just the courtyard though. When the siblings grew and got bolder they began to explore around the nearby environment as well. Once when they were investigating nearby brooks and ditches, they found some frogspawn. This strange sight was something the children had never seen before. After pondering and studying it for a while, the children came to the conclusion that they must be looking at some clouds that had fallen from the sky! One of the boys scooped some into his hat as the kids rushed back home to show off their findings. We don’t know what their parents had thought of this discovery. Surely there was no lack of laughter as the kids had ran in head over heels to show clouds fallen from the sky. *Images: Tallgren, A. M., & Ståhlberg, K. (1940). Kaarlo Juho Ståhlberg: Commemorative Book 1940. Aamu Support Association.*76:T7dc,The Ronkaala rectory in front of you was built in the 18th century. It’s still located near its original location along the Kalajoki river where it was originally built to function as the rural Haapajärvi's municipality’s priest’s official residence. When the Ståhlberg family moved to Haapajärvi in 1869 this red ochre rectory was already nearly 100 years old. At that time the family had three children. To Alma, Kaarlo and Frederik Ståhlberg the move had been very exciting. The rectory had all kinds of interesting things to look at and new grounds to explore. The courtyard had all kinds of fun places to play where the siblings would frolic together. The rectory’s byre was an enjoyable place for the children to play after the cows had been let out to their summer pasture. There was clean hay in the attic where the kids liked to go jump and roll around in. This rummaging around proved to be incredibly fun. The byre was also a great place for hide and seek. Alma has later on recollected how she had hidden between the stalls of the byre. Kaarlo and Fredrik surely also had their own good hiding places. The children’s games weren’t limited to just the courtyard though. When the siblings grew and got bolder they began to explore around the nearby environment as well. Once when they were investigating nearby brooks and ditches, they found some frogspawn. This strange sight was something the children had never seen before. After pondering and studying it for a while, the children came to the conclusion that they must be looking at some clouds that had fallen from the sky! One of the boys scooped some into his hat as the kids rushed back home to show off their findings. We don’t know what their parents had thought of this discovery. Surely there was no lack of laughter as the kids had ran in head over heels to show clouds fallen from the sky. *Images: Tallgren, A. M., & Ståhlberg, K. (1940). Kaarlo Juho Ståhlberg: Commemorative Book 1940. Aamu Support Association.*77:T780,**Son till prästen i Ronkaala** Prästgården i Ronkaala som ligger framför dig byggdes på 1700-talet. Den ligger fortfarande nära sin ursprungliga plats vid Kalajoki, där den ursprungligen byggdes som tjänstebostad för prästen i Haapajärvi landsbygdssocken. När familjen Ståhlberg flyttade till Haapajärvi 1869 var denna röda prästgård redan nästan 200 år gammal. Familjen hade då tre barn. För Alma, Kaarlo och Fredrik Ståhlberg var flytten mycket spännande. I prästgården fanns det massor av intressanta saker att titta på och utforska. På gårdsplanen fanns roliga lekplatser där syskonen lekte tillsammans. Prästgårdens ladugård var en populär lekplats för barnen när prästgårdens kor hade släppts ut på sommarbetet. På ladugårdens vind fanns rent hö, dit barnen gärna gick för att rulla och hoppa. Detta tumlande var oerhört roligt. Ladugården var också en perfekt plats för kurragömma. Alma har senare berättat hur hon gömde sig mellan stängselstolparna i ladugården. Kaarlo och Fredrik hade säkert också sina egna bra gömställen. Barnens lekar begränsade sig inte bara till att leka på gården. När barnaskaran växte och blev modigare började de också upptäcka omgivningarna. En gång när de utforskade närliggande bäckar och gropar hittade de grodägg. Barnen hade aldrig sett något så märkligt förut. Efter att ha undersökt och funderat en stund kom barnen fram till slutsatsen att det måste vara moln som fallit ner från himlen! En av pojkarna stoppade ett ägg i sin hatt och barnen skyndade sig hem för att visa upp sin upptäckt. Vi vet inte vad föräldrarna tyckte om upptäckten. Det blev säkert mycket skratt när barnen sprang hem med huvudet före för att visa upp molnen som fallit ner från himlen. *Bilder: Tallgren, A. M., & Ståhlberg, K. (1940). Kaarlo Juho Ståhlberg: Jubileumsskrift 1940. Aamuns stödförening.*78:T8e5,**The move to Haapajärvi** In 1869 Haapajärvi was a small rural municipality in Imperial Russian occupied Finland. The people were recovering from great famine years, which had wreaked the entire country. During these years, the number of deaths due to hunger was very high, around 200 000. The Haapajärvi area had struggled due to the crop failures especially hard. The frost took crops many years in a row, and the Finnish senate couldn’t arrange for wheat to be delivered before the harbours froze. Not only were the common folk living in very modest conditions, so were the lords. That spring vicar **Johan Gabriel Ståhlberg** and his family settled to these conditions. It’s unlikely anyone on that cold spring would have thought that Haapajärvi’s new vicar’s then 4-year-old son **Carl Johan Ståhlberg** would at the beginning of the upcoming century become the first President of the recently independent republic of Finland. Ståhlberg’s family had about a hundred kilometers of travel ahead of them from Alavieska to Haapajärvi toward the father’s new place of employment. The journey was made with a hooded sleigh pulled by a horse where the children of the family, Alma, Kaarlo and Fredrik, were sitting. The weather was not favourable for a move. Roads were melted but in bad condition. There was an attempt to cut down the length of the journey by cutting through lakes and fields. On the shores of some of the lakes the horse would fall into the water through the fragile ice, causing the family to have to search for help from nearby houses. As an adult Alma had recollected how the children had felt sorry for the poor horse who had to huddle in the ice cold water waiting for help to arrive. The final kilometers to the rectory were once again cut through an iced over river. On the shore of the rectory the water had such large waves they nearly reached the sleigh. The children were so frightened of this the sleigh rider had advised them to close their eyes. They were nearly there. And surely enough, the family did arrive despite the misfortunes along the way. *Photo: Haapajärvi from the south shore looking west. Collection of the Hydrographic Office (now SYKE). Historical photo collection. Finnish Heritage Agency. *79:T848,**Flytten till Haapajärvi** År 1869 var Haapajärvi en liten landsbygdskommun i det kejserliga Rysslands Finland. Befolkningen återhämtade sig från de svåra hungersnöden som hade drabbat inte bara kommunen utan hela Finland. Under dessa år var antalet döda i svält stort, cirka 200 000. I Haapajärvi-området hade man drabbats särskilt hårt av missväxtåren. Frosten förstörde skörden flera år i rad, och Finlands senat lyckades inte organisera spannmålstransporter innan hamnarna frös igen. Det var inte bara vanligt folk som levde under anspråkslösa förhållanden, utan även områdets finare herrar. I dessa förhållanden bosatte sig under vårens tid den året kaplanen Johan Gabriel Ståhlberg med sin familj. Knappast någon tänkte under den kalla våren att Haapajärvens nye kaplans då fyraårige son, Carl Johan Ståhlberg, i början av nästa århundrade skulle bli den nyblivna Republiken Finlands första president. Familjen Ståhlberg hade en resa på cirka hundra kilometer framför sig från Alavieska till Haapajärvi, mot faderns nya arbetsplats. Resan gjordes i en hästdragen vagn, där familjens barn Alma, Kaarlo och Fredrik satt. Vädret var inte gynnsamt för flytten. Vägarna var upptinade men i dåligt skick. Man försökte förkorta resan genom att ta genvägar över sjöar och åkrar. Vid stranden av ett par sjöar bröt hästen igenom det tunna isen, varpå familjen var tvungen att söka hjälp hos närliggande hus. Alma har som vuxen minns hur barnen tyckte så synd om den stackars hästen, som tvingades sitta i det kalla vattnet tills hjälp anlände. De sista kilometrarna till prästgården tog man återigen en genväg över isen på floden. Vid prästgårdens strand hade vattnet börjat svalla så att det nästan nådde upp till släden. Slädföraren hade uppmanat barnen, som skrämts av detta , att blunda. Snart skulle de vara framme. Och familjen kom fram, trots några missöden längs vägen. *Bild: Haapajärvi från södra stranden mot väster. Samling från Hydrografiska byrån (nuvarande SYKE). Historisk bildsamling. Museiverket.*7a:T8e5,**The move to Haapajärvi** In 1869 Haapajärvi was a small rural municipality in Imperial Russian occupied Finland. The people were recovering from great famine years, which had wreaked the entire country. During these years, the number of deaths due to hunger was very high, around 200 000. The Haapajärvi area had struggled due to the crop failures especially hard. The frost took crops many years in a row, and the Finnish senate couldn’t arrange for wheat to be delivered before the harbours froze. Not only were the common folk living in very modest conditions, so were the lords. That spring vicar **Johan Gabriel Ståhlberg** and his family settled to these conditions. It’s unlikely anyone on that cold spring would have thought that Haapajärvi’s new vicar’s then 4-year-old son **Carl Johan Ståhlberg** would at the beginning of the upcoming century become the first President of the recently independent republic of Finland. Ståhlberg’s family had about a hundred kilometers of travel ahead of them from Alavieska to Haapajärvi toward the father’s new place of employment. The journey was made with a hooded sleigh pulled by a horse where the children of the family, Alma, Kaarlo and Fredrik, were sitting. The weather was not favourable for a move. Roads were melted but in bad condition. There was an attempt to cut down the length of the journey by cutting through lakes and fields. On the shores of some of the lakes the horse would fall into the water through the fragile ice, causing the family to have to search for help from nearby houses. As an adult Alma had recollected how the children had felt sorry for the poor horse who had to huddle in the ice cold water waiting for help to arrive. The final kilometers to the rectory were once again cut through an iced over river. On the shore of the rectory the water had such large waves they nearly reached the sleigh. The children were so frightened of this the sleigh rider had advised them to close their eyes. They were nearly there. And surely enough, the family did arrive despite the misfortunes along the way. *Photo: Haapajärvi from the south shore looking west. Collection of the Hydrographic Office (now SYKE). Historical photo collection. Finnish Heritage Agency. *7b:Tcbf,**Retrieving the graduation cap** *“Dear mama and others! Guess where I am right now. No more and no less than the crown barracks in Kuopio!”* This is how the 19-year-old Kaarlo Juho Ståhlberg wrote greetings to his family by letter in the summer of 1884. The young man had just graduated from Oulu Finnish lyceum with the highest marks. Ahead of him was the journey to retrieve his graduation cap. The recently graduated had a long journey to fetch the cap. The white, black rimmed graduation cap has been a symbol of Finnish education up to modern day, signaling their wearer to be one who has graduated from upper secondary school. The alumni of the Oulu Finnish lyceum would have to go to Helsinki, over 600 kilometers away. The journey to the capital city was necessary for his future studies as well, since he could also register as a student at University of Helsinki. Graduating from a lyceum was considered a valid University entrance exam, thus all new graduates were eligible to continue their studies at the University of Helsinki, if they so wished. So, Kaarlo put on his finest clothes and left for Helsinki. He had every intention of continuing his studies. The local girls had swooned over the fresh graduate, thinking him to be a great beauty. *"Hes as beautiful as a bride!" *his admirers had sighed to themselves. The journey to Helsinki was a wondrous experience for young Kaarlo. In his letters home he declared the capital city to be amazing. Putting the new white graduation cap on his head and pocketing his old dark brown school hat was the highlight of his trip, as he had described in his letters home. Kaarlo wasn’t the only fresh graduate of the Oulu lyceum who left for Helsinki to fetch the prize for their schoolwork. With him were four other graduates from the same school. Perhaps hungry for adventure, the quintet of graduates in Helsinki decided to return to Oulu by foot. The exact route is unknown, but some of the turns of the journey are known. The quintet has most likely gone towards Päijänne through Uusimaa. After that the path might have taken them through Päijänne to Jyväskylä by steamboat. From there the journey took them through Leppävirta to Kuopio from where Kaarlo sent greetings home. The final part of the journey was from Lapinlahti to Kajaani from where the group followed the Oulujoki river back to Oulu. There was over a thousand kilometers behind them and it’s clear the travel time was multiple weeks long. The way back apparently left a large impression on young Kaarlo. Along the way the group of five saw up close the lives of regular people around different places in Finland and got to get familiar with different municipalities and their inhabitants. Kaarle himself said that the journey gave him an important understanding of Finnish peasants and their way of life. The young man had a new phase of life coming up after the summer. He had enrolled as a student at Helsinki university, which meant a move to the capital was coming. Come autumn, he would have to bid his family farewell and a journey to Helsinki would be ahead of him again. *Photo: Students of Oulu Finnish Lyceum. In the bottom row, the second from the left is 18-year-old Kaarlo Juho Ståhlberg.*7c:Tc22,**Resan för att hämta lagen** *”Kära mamma och alla andra! Gissa var jag befinner mig just nu. Varken mer eller mindre än i Kuopios kronkaserner!”* Så skickade den 19-årige Kaarlo Juho Ståhlberg hälsningar till sin familj i ett brev sommaren 1884. Den unge mannen hade just tagit studenten vid det finska gymnasiet i Uleåborg med betyget Laudatur. Nu väntade resan för att hämta den vita studentmössan. Den nybakade studenten fick hämta sin vitmössa långt bort. Den som gått på det finska gymnasiet i Uleåborg skulle åka till Helsingfors, över 600 kilometer bort. Resan till huvudstaden var också nödvändig med tanke på den framtida studievägen, eftersom han samtidigt kunde skriva in sig som student vid Helsingfors universitet. Den studentprov som Kaarlo hade avlagt under sin studietid ansågs som godkänt på universitetets inträdesprov. Så klädde Kaarlo sig i sina finaste kläder och gav sig iväg. De lokala flickorna hade suckat över att den nybakade studenten var vacker som en brud. Resan till Helsingfors var uppenbarligen en stor upplevelse för den unge Kaarlo. I sina brev hem till familjen skrev han att stämningen i huvudstaden var fantastisk. Det hade särskilt lyft hans humör att få sätta på sig den nya vita studentmössan och stoppa den gamla mörkbruna skolmössan i fickan. Kaarlo var inte den enda nybakade studenten från Oulun finska gymnasium som åkte till Helsingfors för att hämta ut belöningen för sina studier. Med honom följde fyra andra som hade tagit examen från samma skola. Kanske var det äventyrslusten som fick den femmannagrupp av studenter som rest till Helsingfors att besluta sig för att vandra tillbaka till Oulu. Den exakta resvägen är okänd, men vissa vändpunkter på resan är kända. Gruppen har troligen vandrat mot Päijänne genom Uusimaa. Därefter har vägen antagligen tagit dem med ångbåt över Päijänne till Jyväskylä, varifrån resan förde dem via Leppävirta till Kuopio. Från Kuopio skickade Kaarlo hälsningar till familjen hemma via brev. Resans sista del gick via Lapinlahti till Kajaani, där gruppen följde Oulujoens strand tillbaka till Oulu. Resan var över tusen kilometer lång och det är uppenbart att det tog flera veckor att resa till fots. Hemresan var uppenbarligen en stor upplevelse för den unge Kaarlo. Under resan fick de fem se vanligt folks liv på nära håll i olika delar av Finland, och de fick lära känna olika byar och deras invånare. Kaarlo berättade själv om sin resa att han hade fått en viktig kontakt med de finska bönderna. Efter sommaren stod den unge Kaarlo inför en ny livsfas. Han hade antagits som student vid Helsingfors universitet, så en flytt till huvudstaden väntade. På hösten skulle familjen ta farväl och resan till Helsingfors stod återigen för dörren. *Bild: Studenter från Oulun finska lyceum. På nedersta raden är den andra från vänster 18-årige Kaarlo Juho Ståhlberg.* *För mer information:* *Projektarbetare* *Heidi Pökkylä* *+358 40 3447270* [*heidi.pokkyla@nivala.fi*](mailto:heidi.pokkyla@nivala.fi) 7d:Tcbf,**Retrieving the graduation cap** *“Dear mama and others! Guess where I am right now. No more and no less than the crown barracks in Kuopio!”* This is how the 19-year-old Kaarlo Juho Ståhlberg wrote greetings to his family by letter in the summer of 1884. The young man had just graduated from Oulu Finnish lyceum with the highest marks. Ahead of him was the journey to retrieve his graduation cap. The recently graduated had a long journey to fetch the cap. The white, black rimmed graduation cap has been a symbol of Finnish education up to modern day, signaling their wearer to be one who has graduated from upper secondary school. The alumni of the Oulu Finnish lyceum would have to go to Helsinki, over 600 kilometers away. The journey to the capital city was necessary for his future studies as well, since he could also register as a student at University of Helsinki. Graduating from a lyceum was considered a valid University entrance exam, thus all new graduates were eligible to continue their studies at the University of Helsinki, if they so wished. So, Kaarlo put on his finest clothes and left for Helsinki. He had every intention of continuing his studies. The local girls had swooned over the fresh graduate, thinking him to be a great beauty. *"Hes as beautiful as a bride!" *his admirers had sighed to themselves. The journey to Helsinki was a wondrous experience for young Kaarlo. In his letters home he declared the capital city to be amazing. Putting the new white graduation cap on his head and pocketing his old dark brown school hat was the highlight of his trip, as he had described in his letters home. Kaarlo wasn’t the only fresh graduate of the Oulu lyceum who left for Helsinki to fetch the prize for their schoolwork. With him were four other graduates from the same school. Perhaps hungry for adventure, the quintet of graduates in Helsinki decided to return to Oulu by foot. The exact route is unknown, but some of the turns of the journey are known. The quintet has most likely gone towards Päijänne through Uusimaa. After that the path might have taken them through Päijänne to Jyväskylä by steamboat. From there the journey took them through Leppävirta to Kuopio from where Kaarlo sent greetings home. The final part of the journey was from Lapinlahti to Kajaani from where the group followed the Oulujoki river back to Oulu. There was over a thousand kilometers behind them and it’s clear the travel time was multiple weeks long. The way back apparently left a large impression on young Kaarlo. Along the way the group of five saw up close the lives of regular people around different places in Finland and got to get familiar with different municipalities and their inhabitants. Kaarle himself said that the journey gave him an important understanding of Finnish peasants and their way of life. The young man had a new phase of life coming up after the summer. He had enrolled as a student at Helsinki university, which meant a move to the capital was coming. Come autumn, he would have to bid his family farewell and a journey to Helsinki would be ahead of him again. *Photo: Students of Oulu Finnish Lyceum. In the bottom row, the second from the left is 18-year-old Kaarlo Juho Ståhlberg.*7e:T9d9,**A builder of the Republic of Finland** On the 17th of July, 1919, K.J. Ståhlberg had just arrived from supper as he got a message by telegram. The new form of governance had just been confirmed. Finland had become a constitutional Republic ending the over two year long dispute between political parties whether independent Finland should become a monarchy or a republic. Being the current president of the highest administrative law, Ståhlberg rushed home and wrote to his children Aino, Elli, Kaarlo, Kyllikki, Aune and Juho with great joy: *“Dear children! You can imagine how happy your dear old pops is when after coming in from supper I got a telegram that the form of governance has been confirmed. The main thing is that it is now that the Republic of Finland is undeniably saved from all kinds of scheming and plotting”* There was a lot of work behind the constitutional republic that independent Finland became in the year 191, wherein especially Ståhlberg, a doctor of laws, had been irreplaceable. He was staunchly in favor of a republic. Ståhlberg's relief at hearing about the confirmation of Finland's form of government is understandable when looking a little further back in time. Ståhlberg had already once had to experience a rough defeat as a supporter of the republic, as in 1918 monarchism had already once defeated republicanism by votes 75 to 32. Shaken and upset by this decision Ståhlberg asked to resign from the parliament and the tasks of a representative which was thought to be the end of his political career. With his strong sense of justice, Ståhlberg couldn’t accept monarchy as independent Finland's form of government. He believed it would take Finland back into The Middle Ages where king's ruled supreme over the common folk. He could not accept this. However, we do know that Ståhlberg’s political career did not in any way end there. Silently, as a result of many political troubles, the monarchists' dream of having a king faded away. Even the most devoted monarchists started to slowly abandon the idea of a king, especially as Germany’s defeat during World War I made the idea of a German king politically difficult. Indeed, the German royal Frederick Charles Louis Constantine, Prince and Landgrave of Hesse, turned away the offered crown himself when he saw how divided the Finnish masses where. The republic form of government rose back from the dead. As Finland became a constitutional republic, Ståhlberg must've let out a sigh of relief.7f:T9d9,**A builder of the Republic of Finland** On the 17th of July, 1919, K.J. Ståhlberg had just arrived from supper as he got a message by telegram. The new form of governance had just been confirmed. Finland had become a constitutional Republic ending the over two year long dispute between political parties whether independent Finland should become a monarchy or a republic. Being the current president of the highest administrative law, Ståhlberg rushed home and wrote to his children Aino, Elli, Kaarlo, Kyllikki, Aune and Juho with great joy: *“Dear children! You can imagine how happy your dear old pops is when after coming in from supper I got a telegram that the form of governance has been confirmed. The main thing is that it is now that the Republic of Finland is undeniably saved from all kinds of scheming and plotting”* There was a lot of work behind the constitutional republic that independent Finland became in the year 191, wherein especially Ståhlberg, a doctor of laws, had been irreplaceable. He was staunchly in favor of a republic. Ståhlberg's relief at hearing about the confirmation of Finland's form of government is understandable when looking a little further back in time. Ståhlberg had already once had to experience a rough defeat as a supporter of the republic, as in 1918 monarchism had already once defeated republicanism by votes 75 to 32. Shaken and upset by this decision Ståhlberg asked to resign from the parliament and the tasks of a representative which was thought to be the end of his political career. With his strong sense of justice, Ståhlberg couldn’t accept monarchy as independent Finland's form of government. He believed it would take Finland back into The Middle Ages where king's ruled supreme over the common folk. He could not accept this. However, we do know that Ståhlberg’s political career did not in any way end there. Silently, as a result of many political troubles, the monarchists' dream of having a king faded away. Even the most devoted monarchists started to slowly abandon the idea of a king, especially as Germany’s defeat during World War I made the idea of a German king politically difficult. Indeed, the German royal Frederick Charles Louis Constantine, Prince and Landgrave of Hesse, turned away the offered crown himself when he saw how divided the Finnish masses where. The republic form of government rose back from the dead. As Finland became a constitutional republic, Ståhlberg must've let out a sigh of relief.80:T78f,**Republikens byggare** Den 17 juli 1919 hade K.J. Ståhlberg just kommit hem från middagen när han via telegram fick höra den glada nyheten. Den nya regeringsformen hade just bekräftats. Finland hade blivit en konstitutionell republik. Ståhlberg, som vid den tiden var tillförordnad ordförande i Högsta förvaltningsdomstolen, skyndade sig hem och skrev följande till sina barn Aino, Elli, Kaarlo, Kyllikki, Aune och Juho: *”Kära barn! Ni kan ju gissa hur glad pappa är, när jag efter middagen fick ett telegram om att regeringsformen hade bekräftats. Det viktigaste är ju att den nu oåterkalleligt är i hamn, räddad från alla intriger och beräkningar.”* Bakom den republikanska regeringsformen låg mycket arbete, där särskilt juridikdoktor Ståhlberg hade varit oersättlig. Han var en stark förespråkare för republiken. Ståhlbergs lättnad över att regeringsformen bekräftats är förståelig när man blickar lite bakåt i tiden. Ståhlberg hade redan en gång fått uppleva ett bittert nederlag som republikan, eftersom monarkin redan under 1918 hade besegrat republikanismen med 75 mot 32 röster. Chockad av detta resultat begärde Ståhlberg att få lämna riksdagen och sina uppdrag som riksdagsledamot, vilket betraktades som karriär. Ståhlberg, som hade en stark rättsuppfattning, kunde dock inte acceptera monarkin som regeringsform, särskilt inte när han såg att den förde Finland tillbaka till medeltiden. Vi vet dock att Ståhlbergs politiska karriär inte alls slutade här. I all tysthet, som en följd av många omständigheter, försvann drömmarna om en kung. Även de mest övertygade monarkisternas tankar började vända sig bort från kungadömet, särskilt när Tysklands nederlag i första världskriget gjorde tanken på en planerad tysk kung politiskt svårförverkligbar. Den republikanska regeringsformen gjorde comeback. Ståhlberg kunde andas ut av lättnad.81:Tce5,**The first President of the Republic** Kaarlo Juho Ståhlberg had a historical mission behind him. Having now completed his incumbency, the man sat peacefully in the parlor of his home. Behind him was a heavy road as the first president of the Republic of Finland. In 1919 Ståhlberg didn’t think of himself as a noteworthy presidential candidate. He believed that the President of the Republic should be a character who could unite the people. After all, ther divisive Civil War of 1918 and the political turmoil it left behind, not to mention the political disputes whether Finland should become a monarchy or a republic between the different political parties, was a heavy burden to carry. However, he did state that if the choice did fall onto him it would be his responsibility to accept the position. Of course Ståhlberg had weaknesses which his supporters recognized. He wasn’t a natural performer, he often described as a stiff public speaker and a personality. The man was straightforward and didn’t always express himself with the most diplomatic words. Still, his merits were recognized by both his supporters and opponents. The republic would likely not have been achieved without his work as a doctor of laws behind the scenes. The hard years of Finland gaining independence shadowed Ståhlberg’s entire presidency. As mentioned before, the Civil War of 1918 and the political turmoil that followed did not make Ståhlberg's presidency an easy one. Still, nobody could deny that after his incumbency the first president had succeeded meritoriously. He had visited different areas of Finland and the constitutional republic with its parliamentary practices had been established. Ståhlberg didn’t travel abroad during his term. It’s been said he stated that there should be something for his successor to do as well. As his term was nearing its end, the political field started to buzz. What would happen now? People didn't turn away from Ståhlberg. He had proven himself to be a capable president and his fellow party members were inspired by him and thus, different notable politicians would go visit doctor Stålberg one by one. Their common goal was to convince and persuade Ståhlberg to run for a second term over a cup of coffee in his parlor. Qualities that were once seen as weaknesses were now being praised. He was called majestic and dignified, certainly a man worth the position of the President of the country. Ståhlberg's mind didn't change. He felt his responsibility to the newly independent republic had been fulfilled and his successor's work would be easier, unlike his had been. After all, whoever became the president after him wouldn't be the first President of Finland. Perhaps thinking of all the difficulties and criticisms he faced during his time as the president, Ståhlberg quipped: *"Do you believe I am like an old diva who gives a second show?"* *Pictures: * *Leibowitsch, N. President Ståhlberg speaking at the closing session of the Parliament. Historical photo collection. National Board of Antiquities. * *Sundström, E. K. J. Ståhlberg, elected as the first President of the Republic, reading his presidential oath at the Parliament's ceremonial session in Heimola's assembly hall. Helsinki City Museum.* 82:Tce5,**The first President of the Republic** Kaarlo Juho Ståhlberg had a historical mission behind him. Having now completed his incumbency, the man sat peacefully in the parlor of his home. Behind him was a heavy road as the first president of the Republic of Finland. In 1919 Ståhlberg didn’t think of himself as a noteworthy presidential candidate. He believed that the President of the Republic should be a character who could unite the people. After all, ther divisive Civil War of 1918 and the political turmoil it left behind, not to mention the political disputes whether Finland should become a monarchy or a republic between the different political parties, was a heavy burden to carry. However, he did state that if the choice did fall onto him it would be his responsibility to accept the position. Of course Ståhlberg had weaknesses which his supporters recognized. He wasn’t a natural performer, he often described as a stiff public speaker and a personality. The man was straightforward and didn’t always express himself with the most diplomatic words. Still, his merits were recognized by both his supporters and opponents. The republic would likely not have been achieved without his work as a doctor of laws behind the scenes. The hard years of Finland gaining independence shadowed Ståhlberg’s entire presidency. As mentioned before, the Civil War of 1918 and the political turmoil that followed did not make Ståhlberg's presidency an easy one. Still, nobody could deny that after his incumbency the first president had succeeded meritoriously. He had visited different areas of Finland and the constitutional republic with its parliamentary practices had been established. Ståhlberg didn’t travel abroad during his term. It’s been said he stated that there should be something for his successor to do as well. As his term was nearing its end, the political field started to buzz. What would happen now? People didn't turn away from Ståhlberg. He had proven himself to be a capable president and his fellow party members were inspired by him and thus, different notable politicians would go visit doctor Stålberg one by one. Their common goal was to convince and persuade Ståhlberg to run for a second term over a cup of coffee in his parlor. Qualities that were once seen as weaknesses were now being praised. He was called majestic and dignified, certainly a man worth the position of the President of the country. Ståhlberg's mind didn't change. He felt his responsibility to the newly independent republic had been fulfilled and his successor's work would be easier, unlike his had been. After all, whoever became the president after him wouldn't be the first President of Finland. Perhaps thinking of all the difficulties and criticisms he faced during his time as the president, Ståhlberg quipped: *"Do you believe I am like an old diva who gives a second show?"* *Pictures: * *Leibowitsch, N. President Ståhlberg speaking at the closing session of the Parliament. Historical photo collection. National Board of Antiquities. * *Sundström, E. K. J. Ståhlberg, elected as the first President of the Republic, reading his presidential oath at the Parliament's ceremonial session in Heimola's assembly hall. Helsinki City Museum.* 83:Ta49,**Republikens första president** Kaarlo Juho Ståhlberg hade en historisk uppgift bakom sig. Nu satt mannen, som fullgjort sin ämbetsperiod, lugnt i salongen i sitt hem. Bakom honom låg en tung resa som första president. Ståhlberg ansåg sig inte 1919 vara en seriös presidentkandidat. Han ansåg att republikens president borde vara en person som förenar folket, trots att landet hade genomgått inbördeskriget och den politiska turbulensen. Han konstaterade dock att om valet skulle falla på honom, var det hans plikt att ta emot ämbetet. Ståhlberg hade visserligen svagheter, vilket även hans anhängare erkände. Han var ingen naturlig talare, utan snarare ganska stel. Mannen var rakt på sak och uttryckte sig inte alltid med de mest diplomatiska ordvalen. Ändå erkändes hans förtjänster erkändes både av anhängare och motståndare. Den republikanska regeringsformen hade knappast uppnåtts utan denna juris doktors arbete bakom kulisserna. De svåra åren efter Finlands självständighet kastade en skugga över hela Ståhlbergs presidentperiod. Ett partilandskap präglat av politiska motsättningar och ett folk utmattat av inbördeskriget gav inte landets första president några lätta utgångspunkter. Ingen kunde dock vid slutet av Ståhlbergs presidentperiod bestrida att landets första presidenten hade fullgjort sin uppgift på ett förtjänstfullt sätt. Han hade besökt olika delar av Finland och den republikanska statsformen med dess parlamentariska praxis hade etablerats. Ståhlberg gjorde inga utlandsbesök under sin mandatperiod. Han ska ha sagt att han ville lämna något att göra åt sin efterträdare. När mandatperioden närmade sig sitt slut började det surra på den politiska arenan. Vad skulle nu hända? Partikamraternas blickar vände sig inte bort från doktor Ståhlberg, utan det blev snart en veritabel övertalningskampanj kring honom. Framstående politiker besökte honom turvis för att övertala Ståhlberg att ställa upp för en ny mandatperiod, över en kopp kaffe i salongen i hans hem. Egenskaper som tidigare betraktats som svagheter började nu hyllas. Mannen prisades som majestätisk och värdig, verkligen en man värdig sitt ämbete. Ståhlberg lät sig inte påverkas. Han ansåg att han hade fullgjort sin plikt och tänkte att arbetet skulle bli lättare för hans efterträdare, som ju inte skulle bli Finlands första president. Presidentämbetet var nu etablerat. Kanske med allt detta som hänt under presidentperioden i åtanke utbrast Ståhlberg: *”Tror du att jag är som den där gamla divan som ger en andra föreställning?"*84:T686,**Lepikon torppa** (*eng. Lepikko torp*) is the birthplace of **Urho Kekkonen** (1900 - 1986), the eight President of the Republic of Finland. He acted as the longest reigning president of Finland during the years 1956 - 1982. He was born in Lepikon torppa in 1900 and lived there for the first six years of his life. The building represents a truly unique piece of Finnish presidential history. Lepikon torppa has operated as a museum since 1966. The old torp was acquired by the Lepikko Foundation that restored the building to its appearance in the early 1900s. The Foundation has ran the museum continuously ever since and when the museum opened, Kekkonen himself visited his first home. The torp's museum collection represents items and objects typical of the life in early 1900s. Some museum objects are items that originally belonged to the Kekkonen family, other items been collected by the Lepikko foundation. **Lepikon torppa is a part of the Presidenttipolku cultural route. The Cultural route will launch in 2026 as a part of the Oulu European Capital of Culture year.** Other historical museums part of the Presidenttipolku cultural route are the childhood home museum of Finland's first president K.J. Ståhlberg in Haapajärvi and the Kyösti and Kalervo Kallio museum in Nivala. *Step on to the route and experience unique historical sites showing the history of three great statesmen of Finland!* *Need more information about the cultural route? Contact:* *Cultural Project Worker Heidi Pökkylä* *+358 40 3447270* *heidi.pokkyla@nivala.fi* *Photo credit:* *Poutvaara, M. Lepikon torppa. Ethnographic Picture Collection. Finnish Heritage Agency.* 85:T686,**Lepikon torppa** (*eng. Lepikko torp*) is the birthplace of **Urho Kekkonen** (1900 - 1986), the eight President of the Republic of Finland. He acted as the longest reigning president of Finland during the years 1956 - 1982. He was born in Lepikon torppa in 1900 and lived there for the first six years of his life. The building represents a truly unique piece of Finnish presidential history. Lepikon torppa has operated as a museum since 1966. The old torp was acquired by the Lepikko Foundation that restored the building to its appearance in the early 1900s. The Foundation has ran the museum continuously ever since and when the museum opened, Kekkonen himself visited his first home. The torp's museum collection represents items and objects typical of the life in early 1900s. Some museum objects are items that originally belonged to the Kekkonen family, other items been collected by the Lepikko foundation. **Lepikon torppa is a part of the Presidenttipolku cultural route. The Cultural route will launch in 2026 as a part of the Oulu European Capital of Culture year.** Other historical museums part of the Presidenttipolku cultural route are the childhood home museum of Finland's first president K.J. Ståhlberg in Haapajärvi and the Kyösti and Kalervo Kallio museum in Nivala. *Step on to the route and experience unique historical sites showing the history of three great statesmen of Finland!* *Need more information about the cultural route? Contact:* *Cultural Project Worker Heidi Pökkylä* *+358 40 3447270* *heidi.pokkyla@nivala.fi* *Photo credit:* *Poutvaara, M. Lepikon torppa. Ethnographic Picture Collection. Finnish Heritage Agency.* 86:T52d,**Lepikko torp** är födelsehemmet för Finlands åttonde president, **Urho Kekkonen** (1900 - 1986). Finlands längst sittande president föddes i Lepikon torp år 1900 och bodde där de första sex åren av sitt liv. Byggnaden är alltså en ganska unik del av Finlands presidenthistoria. Som museum har Lepikon torp varit öppet kontinuerligt sedan 1966. År 2026 firas alltså Lepikon torps 60-årsjubileum som museum! Innan museiverksamheten startade köpte Lepikko-stiftelsen torpet och återställde byggnaden till dess utseende från 1900-talet. Torpets samling av föremål representerar sådant som var typiskt på landsbygden i början av 1900-talet. En del av samlingen består av originalmöbler som tillhörde Kekkos familj. Lepikon torp är en del av Presidentstigen, en kulturled som publiceras 2026. Kulturleden publiceras som en del av Uleåborgs 2026, Europas kulturhuvudstadsår. Andra presidenthistoriska platser längs kulturleden är Kyösti- och Kalervo Kallions museum i Nivala och K.J. Ståhlbergs barndomshem museum i Haapajärvi. *Kliv på stigen och följ med presidenterna!.* *Mer information om Presidentstigen kulturled:* *Kulturprojektarbetare * *Heidi Pökkylä +358 40 3447270 * *heidi.pokkyla@nivala.fi* *Bild: Poutvaara, M. Lepikos stuga. Etnologisk bildsamling. Museiverket.* 87:Tb55,**The boy from the Lepikko croft** *“Hereby we have a chance to announce that we have otherwise been well but we did have a strong and healthy baby boy born on the 3rd of this month since we last saw you. But otherwise Emilia is in full health. No apparent issues up until now, but we don’t know how you all are as you haven’t written to us. Please, do go on and write, if you can. And nothing else this time other than goodbye and fare well!”* This is how Emilia and Juho Kekkonen from Pielavesi wrote after having just welcomed a baby boy into the world. This little one was named Urho Kaleva Kekkonen. The mother wished for the boy to be called Urho, while the father was partial to Kaleva. Perhaps the parents’ compromise was to give their first-born both names to carry. This was unusual for the times, since not many people in the rural areas had two names. The parents probably didn’t think to assume that this boy born in the croft in Pielavesi would become the longest-running president of the Republic of Finland. Urho Kaleva Kekkonen lived the first six years of his life in the area of this little croft which had much to do for a small boy. His father Juho, who worked as a forest supervisor, had work friends living around the croft grounds. This meant there were plenty of people to play with the energetic boy. Kekkonen fondly remembered a certain Uncle Kalle, who he called an important presence in his childhood. The man taught the young boy many important life lessons. Once Kalle and Urho were competing during an evening on who could spatter higher during their evening wee. It was clear that from higher up you could reach higher. Kalle won the battle. Young Urho was very upset and angered by this and bitter from losing, even shed some tears. Kalle had told Urho that there are both days of loss and days of victory in life. There is another important lesson the boy from the Lepikko croft learned from him. Kekkonen had reminisced how he had once misbehaved and been mean to his mother. He didn’t elaborate on this any further, perhaps embarrassed by his behavior as a child. Kalle had scooped the boy up on his lap and stated that he would have the boy on his lap for however long it took until he apologized to his mother. Urho and Kalle must have had a battle of wills, as it took quite a while until the boy apologized to his mother. On later dates, Kekkonen had recalled his days in the Lepikko croft to have been happy. Already at the croft, beside a magnificent alder forest, the core traits of Kekkonen’s character became visible. Competitiveness and stubbornness would be his defining traits for the rest of his life. *Photo: Urho Kekkonen's archive. The photo shows a young Urho Kekkonen standing on the steps of the Lepikko croft.* *You can access UKK archive here: *[UKK-Arkisto – Urho Kekkosen arkisto](https://www.ukk-arkisto.fi/)88:Tb53,**Sonen till torpen i Lepiko** *”Härmed får vi tillfälle att meddela att vi i övrigt har haft det bra, men den 3:e denna månad föddes en livlig och frisk pojke, som har vuxit sig stor sedan vi sågs senast. I övrigt är hälsan som vanligt hos Emilia. Det har inte funnits några särskilda besvär hittills, men vi vet inte hur det står till med er och hur ni mår, eftersom ni inte har skrivit till oss. Men var snälla och skriv, om ni bara orkar. Och inget mer denna gång, farväl och ha det bra!”* Så skrev **Emilia** och **Juho Kekkonen**, bosatta i Pielavesi, i september 1900, efter att just ha välkomnat en liten pojke till världen. Denna lille pojke fick namnet **Urho Kaleva Kekkonen**. Mamman önskade att pojken skulle heta Urho och pappan var å sin sida för Kaleva. Kanske var föräldrarnas kompromiss när det gällde namnet att ge sin förstfödde bära båda namnen. Föräldrarna kunde knappast ana att denna pojke, född i en torp i den lilla församlingen Pielavesi, skulle komma att fungera som Republiken Finlands den president som suttit längst Urho Kaleva Kekkonen tillbringade de första sex åren av sitt liv på gården till denna lilla torp, där det fanns gott om sysslor för en ung pojke. Hans far, som arbetade som skogsförman Juhos arbetskamrater bodde i torpets omgivning, så den energiske pojken hade gott om lekkamrater. En farbror Kalle som en viktig person i sin barndom. Mannen lärde den unge pojken viktiga livslärdomar. Kalle och Urho hade tävlat om vem som kunde spruta högst när de var ute på kvällsturen. Det var ju uppenbart att den som stod högre kunde spruta högre. Kalle vann tävlingen. Den unge Urho hade varit mycket ledsen och rasande över detta, och i sin bitterhet över förlusten hade han till och med fällit några tårar. Kalle hade sagt till Urho att livet bestod av både dagar med nederlag och dagar med segrar. Den unge mannen från Lepikon torp hade fått en annan viktig läxa av Kalle. Kekkonen mindes att han hade gjort något otillåtet och elakt mot sin mor. Han gick inte närmare in på detta barnsliga upptåg, kanske skämdes han för sitt barnsliga trots mot sin mor. Kalle hade tagit pojken i sin famn och sagt att han skulle hålla honom på knäet så länge att han bad sin mor om ursäkt för sina upptåg. Urho och Kalle hade troligen en viljekamp, för man fick få vänta på. Kekkonen har på sina äldre dagar minns att åren som tillbringades i torpet i Lepikko var lyckliga. Redan i torpet i Lepikko, vid sidan av den ståtliga lunden, var Kekkonens innersta karaktärsdrag började visa sig. Tävlingsinstinkt och egenvilja skulle räcka hela livet. *Bild: Urho Kekkonens arkiv. På bilden står den unge Urho Kekkonen på trappan till torpet Lepikko. * *Du kan bekanta dig med arkivet här: *[UKK-Arkisto – Urho Kekkosen arkisto](https://www.ukk-arkisto.fi/)89:Tb55,**The boy from the Lepikko croft** *“Hereby we have a chance to announce that we have otherwise been well but we did have a strong and healthy baby boy born on the 3rd of this month since we last saw you. But otherwise Emilia is in full health. No apparent issues up until now, but we don’t know how you all are as you haven’t written to us. Please, do go on and write, if you can. And nothing else this time other than goodbye and fare well!”* This is how Emilia and Juho Kekkonen from Pielavesi wrote after having just welcomed a baby boy into the world. This little one was named Urho Kaleva Kekkonen. The mother wished for the boy to be called Urho, while the father was partial to Kaleva. Perhaps the parents’ compromise was to give their first-born both names to carry. This was unusual for the times, since not many people in the rural areas had two names. The parents probably didn’t think to assume that this boy born in the croft in Pielavesi would become the longest-running president of the Republic of Finland. Urho Kaleva Kekkonen lived the first six years of his life in the area of this little croft which had much to do for a small boy. His father Juho, who worked as a forest supervisor, had work friends living around the croft grounds. This meant there were plenty of people to play with the energetic boy. Kekkonen fondly remembered a certain Uncle Kalle, who he called an important presence in his childhood. The man taught the young boy many important life lessons. Once Kalle and Urho were competing during an evening on who could spatter higher during their evening wee. It was clear that from higher up you could reach higher. Kalle won the battle. Young Urho was very upset and angered by this and bitter from losing, even shed some tears. Kalle had told Urho that there are both days of loss and days of victory in life. There is another important lesson the boy from the Lepikko croft learned from him. Kekkonen had reminisced how he had once misbehaved and been mean to his mother. He didn’t elaborate on this any further, perhaps embarrassed by his behavior as a child. Kalle had scooped the boy up on his lap and stated that he would have the boy on his lap for however long it took until he apologized to his mother. Urho and Kalle must have had a battle of wills, as it took quite a while until the boy apologized to his mother. On later dates, Kekkonen had recalled his days in the Lepikko croft to have been happy. Already at the croft, beside a magnificent alder forest, the core traits of Kekkonen’s character became visible. Competitiveness and stubbornness would be his defining traits for the rest of his life. *Photo: Urho Kekkonen's archive. The photo shows a young Urho Kekkonen standing on the steps of the Lepikko croft.* *You can access UKK archive here: *[UKK-Arkisto – Urho Kekkosen arkisto](https://www.ukk-arkisto.fi/)8a:Tb2e,**Memories from the people of Pielavesi** Urho Kekkonen visited Pielavesi multiple times during his life. Each visit was memorable to the locals, especially if the president was there with his entire entourage. Many locals have later recalled their own meetings with Kekkonen afterwards. One gentleman remembered how he had met Kekkonen as a young schoolboy. A trio of boys had been spending time together when they saw a car escort. This confused the boys, of course. They had never seen such a large car escort before, especially not in the small town of Pielavesi. Whoever could be visiting Pielavesi with such a large following? The boys got their answer when Urho Kekkonen with his iconic bald head and glasses rose from one of the cars. The president stopped to speak with the schoolchildren of his birthplace. Of course the first thing Kekkonen asked was how the boys’ schoolwork was going. The gentleman remembers answering this question with* “exceptionally well”*. In truth, his mathematics had not gone so well, but of course that wasn’t something you told the President of the Republic. One lady reminisced how she had been running errands around the time of the Pielavesi agricultural exhibition. She had been confused when the road leading towards the Lepikko croft had been chock-full of people. She soon found out the reason for the crowd. From behind the crowd of people she saw Urho Kekkonen, who had come to visit the Pielavesi agricultural exhibition in 1958 and decided to also go and see his childhood home in the process. At the same time as the exhibition was also played a baseball match between North Savo and South Savo. The game got an unusually ceremonial beginning as the President of the Republic, Urho Kekkonen, made the first throw of the game. A local who had worked as a server at the Lepikko croft recollected how Kekkonen had once arrived to Pielavesi for a hunting trip in the early 1970’s. The visit to Lepikko croft hadn’t been a part of the itinerary for the trip, but who could stop Kekkonen when his mind was set. The hosts of the hunting party had let the workers of the croft’s cafe know that the President would be coming in to visit. The staff had panicked a bit when they saw their pastry selection was quite modest for serving the President. They hadn’t known to prepare for this kind of a visit! And so, the kitchen staff went to ask for buns from the neighbors. And luck was on their side as the neighboring house had just baked fresh sweet buns. So the President and his entourage were served coffee and buns and they survived the the surprise visit with only some small heart palpitations. *Images: Urho Kekkonen's archive. Kekkonen visiting the Lepikko croft, his birthplace.* \*You can access the archive here: [UKK-Arkisto – Urho Kekkosen arkisto](https://www.ukk-arkisto.fi/)8b:Ta85,**Minnen från invånarna i Pielavesi** Urho Kekkonen besökte Pielavesi flera gånger under sin livstid. Varje besök var minnesvärd för lokalbefolkningen, särskilt om presidenten var ute och färdades med hela sitt följe. Lokalbefolkningen har i efterhand minns sina egna möten med Kekkonen. En herre mindes hur han som ung skolpojke hade träffat Kekkonen. En grupp på tre pojkar hade varit ute och lekt när de såg bilkonvojen. En sådan sak väckte naturligtvis förvåning, särskilt hos de unga pojkarna. Vem i hela friden skulle i Pielavesi? Pojkarna fick svar på sina funderingar när Urho Kekkonen klev ur bilen, och med sitt kala huvud och sina tjocka glasögon gick han inte att ta fel på. Presidenten stannade till för att prata med med eleverna i sin hemkommun. Naturligtvis frågade Kekkonen först hur det gick i skolan för pojkarna. Herr minns att han svarade på denna fråga att det gick absolut bra. I verkligheten hade matematiken blivit ett problem, men det berättade man naturligtvis inte för republikens president. En dam mindes hur hon hade varit ute och ordnat sina egna ärenden vid tiden för jordbruksutställningen i Pielavesi. Hon hade undrat vad det var som pågick när vägen till torpet i Lepiko var full av människor. Orsaken till folkmassan avslöjades snart. Bakom folkmassan såg hon Urho Kekkonen, som hade kommit för att besöka jordbruksutställningen i Pielavesi 1958 och samtidigt beslutat sig för att titta in i sitt barndomshem. I samband med utställningen spelades också en . Matchen fick en mer festlig inledning än vanligt, eftersom republikens president utförde matchens första kast. En lokalbo som hade arbetat som servitör på torpet i Lepikko hade berättat hur Kekkonen en gång kommit till Pielavesi på en jaktutflykt i början av 1970-talet. Besöket på Lepikon torp ingick inte i den planerade programmet för utflykten, men vem kunde hindra Kekkonen när han kände sig lockad till Lepikon. Värdarna för jaktgruppen meddelade personalen i torpets kafé att presidenten var på väg dit. Personalen blev lite panikslagen när de insåg att deras utbud av kaffebröd var alltför blygsamt för att bjuda presidenten på fika. Man hade ju inte kunnat förbereda sig på ett sådant besök! Så man gick från köket för att be om bullar från grannhuset. Turen var med dem, för hos grannen fanns nybakade, färska bullar. På så sätt kunde presidenten och hans följe bjudas på kaffe och situationen klarades av med endast en liten hjärtklappning. *Bild: Urho Kekkonens arkiv. * *Du kan bekanta dig med arkivet här: *[UKK-Arkisto – Urho Kekkosen arkisto](https://www.ukk-arkisto.fi/)8c:Tb2e,**Memories from the people of Pielavesi** Urho Kekkonen visited Pielavesi multiple times during his life. Each visit was memorable to the locals, especially if the president was there with his entire entourage. Many locals have later recalled their own meetings with Kekkonen afterwards. One gentleman remembered how he had met Kekkonen as a young schoolboy. A trio of boys had been spending time together when they saw a car escort. This confused the boys, of course. They had never seen such a large car escort before, especially not in the small town of Pielavesi. Whoever could be visiting Pielavesi with such a large following? The boys got their answer when Urho Kekkonen with his iconic bald head and glasses rose from one of the cars. The president stopped to speak with the schoolchildren of his birthplace. Of course the first thing Kekkonen asked was how the boys’ schoolwork was going. The gentleman remembers answering this question with* “exceptionally well”*. In truth, his mathematics had not gone so well, but of course that wasn’t something you told the President of the Republic. One lady reminisced how she had been running errands around the time of the Pielavesi agricultural exhibition. She had been confused when the road leading towards the Lepikko croft had been chock-full of people. She soon found out the reason for the crowd. From behind the crowd of people she saw Urho Kekkonen, who had come to visit the Pielavesi agricultural exhibition in 1958 and decided to also go and see his childhood home in the process. At the same time as the exhibition was also played a baseball match between North Savo and South Savo. The game got an unusually ceremonial beginning as the President of the Republic, Urho Kekkonen, made the first throw of the game. A local who had worked as a server at the Lepikko croft recollected how Kekkonen had once arrived to Pielavesi for a hunting trip in the early 1970’s. The visit to Lepikko croft hadn’t been a part of the itinerary for the trip, but who could stop Kekkonen when his mind was set. The hosts of the hunting party had let the workers of the croft’s cafe know that the President would be coming in to visit. The staff had panicked a bit when they saw their pastry selection was quite modest for serving the President. They hadn’t known to prepare for this kind of a visit! And so, the kitchen staff went to ask for buns from the neighbors. And luck was on their side as the neighboring house had just baked fresh sweet buns. So the President and his entourage were served coffee and buns and they survived the the surprise visit with only some small heart palpitations. *Images: Urho Kekkonen's archive. Kekkonen visiting the Lepikko croft, his birthplace.* \*You can access the archive here: [UKK-Arkisto – Urho Kekkosen arkisto](https://www.ukk-arkisto.fi/)8d:Taf2,**School journey ** Its the year 1915 in imperial Russian occupied Finland. A fifteen-year-old boy is sitting in the Kajaani comprehensive school. The boy has just gotten a stern talking to from his teacher. This young man is Urho Kekkonen. But how did young Kekkonen end up on a school bench, scolded by his teacher? Young Urho Kekkonen’s road away from Pielavesi went along with his father Juho’s work as a forest supervisor. When work and the logging sites moved from Pielavesi, Juho Kekkonen and his family went along with them. Urho began grammar school in Lapinlahti at 8 years old. He didn’t get to grow very attached to the place, as after a few years his schoolwork continued at the Iisalmi comprehensive school. The constant moving around didn’t stop there, as soon the family moved to Kajaani. In Kajaani his father had found work at a cellulose factory as a log broker. The timber industry is still to this day one of Finland'd most important trades and industries, the yearly turnover being over 10 billion euros. The boy, described as sharp and witty, continued going to school at the second grade of the Kajaani comprehensive school even though at first the boy was mapped out to become a logger like his father. However, his teachers had convinced Urho’s parents of the usefulness of continuing his education, especially as Urho had proved to do well at school so far. Let it be confessed that he often trusted his good memory more than spending hours by his schoolbooks. Urho's young age and shyness was often clear in his demeanor at the start of his educational career. That shyness soon flaked away though, and the determination and stubbornness he was later well known for started to soon. His teachers described young Kekkonen by many phrases. He was a quick and witty student when in the right mood to study. When he wasn’t in the mood, he was rambunctious, quick to anger and often uncompromising. When scolded, Urho’s youth and sensitivity showed: tears were quick to well up in the young boy's eyes. Urho didn’t manage to avoid detentions as the strict school environment often clashed with the active and vigorous student. The witty young man used his words like a sword and wasn’t afraid to voice out his opinions. This is what happened when he was caught forging his Russian language grades. Urho had felt the grades he received were incorrect and unjust and thus had gone to correct them with a pencil. However ,his teacher had caught him. As punishment the grade for his behavior was lowered to an eight and he would have four hours of detention ahead of him. *Photo: Young Urho Kekkonen with his siblings. Urho Kekkonen archive.* *You can access the archive here: *[UKK-Arkisto – Urho Kekkosen arkisto](https://www.ukk-arkisto.fi/)8e:Tb10,**Skolåren** Vi befinner oss år 1915 i det ryska kejsardömet i Finland. På en bänk i Kajaani samskola sitter en ung 15-årig pojke. Pojken har just fått en hård utskällning av sin lärare, eftersom han har ertappats med fusk. Denna unge man är Urho Kekkonen. Men hur hamnade den unge Kekkonen på skolbänken för att bli tillrättavisad av läraren? Den unge Urho Kekkonens väg bort från Pielavesi följde samma väg som hans far Juho, som arbetade som skogsarbetsledare. När arbetet och skogsavverkningarna flyttades bort från Pielavesi följde Juho Kekkonen och hans familj efter. Urho började i folkskolan i Lapinlahti när han var 8 år. Han hann inte slå rot där, för efter ett par år fortsatte skolgången på samskolan i Iisalmi. Flyttningarna var inte över ännu , för efter bara ett år på samma plats flyttade familjen till Kajaani. Där hade fadern fått arbete på cellulosafabriken som timmerhandlare. Den skarpsinnige och vältalige pojken fortsatte sin skolgång i andra klass på Kajaani samskola, även om man först hade tänkt att han skulle bli skogsarbetare precis som sin far. Lärarna hade dock övertygat föräldrarna om fördelarna med att fortsätta skolgången, särskilt eftersom Urho hade visat att han klarade sig bra i skolan. Det måste erkännas att han ofta litade mer på sitt goda minne än att han hade slitit hårt med skolböckerna. Hans unga ålder syntes tydligt och pojken var fortfarande blyg i början av sin skolgång. Den blygheten försvann dock snart, och Kekkonen senare så välkända målmedvetenhet och envishet började visa sig redan då. Lärarna beskrev den unge Kekkonen med många olika ord. Han varen kvick och vältalig elev när han var på humör. När han inte var på humör var han vild, lättretlig och orubblig i sina åsikter. När lärarna tillrättavisade Urho visade sig hans känslighet: tårarna vällde lätt upp i ögonen. Urho lyckades inte undgå straff, utan skolans stränga disciplin kom ofta i konflikt med den aktiva och energiska eleven. Den vältalige ynglingen använde sina ord som ett svärd och var inte rädd för att uttrycka sina tankar. Så var det också när han åkte fast för att ha förfalskat sina betyg i ryska. Urho ansåg att de betyg han fått var felaktiga och orättvisa. Därför hade han bestämt sig för att rätta till den orättvisa han upplevt med hjälp av en blyertspenna, vilket läraren hade upptäckt. Som straff för detta upptåg sänktes hans uppförandebetyg till åtta och han skulle få fyra timmars karserikopp, eller med dagens termer, kvarsittning. *Bild: Urho Kekkonens arkiv. På bilden står den unge Urho Kekkonen på trappan till torpet Lepikko. * *Du kan bekanta dig med arkivet här: *[UKK-Arkisto – Urho Kekkosen arkisto](https://www.ukk-arkisto.fi/)8f:Taf2,**School journey ** Its the year 1915 in imperial Russian occupied Finland. A fifteen-year-old boy is sitting in the Kajaani comprehensive school. The boy has just gotten a stern talking to from his teacher. This young man is Urho Kekkonen. But how did young Kekkonen end up on a school bench, scolded by his teacher? Young Urho Kekkonen’s road away from Pielavesi went along with his father Juho’s work as a forest supervisor. When work and the logging sites moved from Pielavesi, Juho Kekkonen and his family went along with them. Urho began grammar school in Lapinlahti at 8 years old. He didn’t get to grow very attached to the place, as after a few years his schoolwork continued at the Iisalmi comprehensive school. The constant moving around didn’t stop there, as soon the family moved to Kajaani. In Kajaani his father had found work at a cellulose factory as a log broker. The timber industry is still to this day one of Finland'd most important trades and industries, the yearly turnover being over 10 billion euros. The boy, described as sharp and witty, continued going to school at the second grade of the Kajaani comprehensive school even though at first the boy was mapped out to become a logger like his father. However, his teachers had convinced Urho’s parents of the usefulness of continuing his education, especially as Urho had proved to do well at school so far. Let it be confessed that he often trusted his good memory more than spending hours by his schoolbooks. Urho's young age and shyness was often clear in his demeanor at the start of his educational career. That shyness soon flaked away though, and the determination and stubbornness he was later well known for started to soon. His teachers described young Kekkonen by many phrases. He was a quick and witty student when in the right mood to study. When he wasn’t in the mood, he was rambunctious, quick to anger and often uncompromising. When scolded, Urho’s youth and sensitivity showed: tears were quick to well up in the young boy's eyes. Urho didn’t manage to avoid detentions as the strict school environment often clashed with the active and vigorous student. The witty young man used his words like a sword and wasn’t afraid to voice out his opinions. This is what happened when he was caught forging his Russian language grades. Urho had felt the grades he received were incorrect and unjust and thus had gone to correct them with a pencil. However ,his teacher had caught him. As punishment the grade for his behavior was lowered to an eight and he would have four hours of detention ahead of him. *Photo: Young Urho Kekkonen with his siblings. Urho Kekkonen archive.* *You can access the archive here: *[UKK-Arkisto – Urho Kekkosen arkisto](https://www.ukk-arkisto.fi/)90:T784,**Sports prodigy** Let’s return to March of 1924, when the Standing jump Finnish championships are being held in Kouvola. A 24-year-old Urho Kekkonen is standing at the end of the jumping track. There is a serious, focused, expression on the young athlete’s face. It’s showtime. The triple jump is, like the name says, three jumps. In the standing competitions the jumps are taken from the standing position with no run-up. Two weeks earlier Kekkonen had had to face a rough defeat for such a competitive spirit, when he had had to face defeat at the academic indoor championship. Having trained the whole winter, Kekkonen jumps his first jump as the sound rings out. The second jump takes him forward and on the third jump both legs and arms thrust forward. The soft sand smooths the landing. The measuring tape starts to sing as the measurers begin their work. Soon the length of the jump is confirmed. The young man surely had a smile on his face as the result is confirmed to be 972 centimeters. He has just broken the Finnish world record for the standing triple jump. The gold medal for triple jump wasn’t the only medal laid on Kekkonen’s shoulders during the Kouvola championships. He got a great result from the high jump where he also cleared first place with a result of 149. Kekkonen himself however said this placement to be only due to his greatest competitor Viljo Mäki having exhausted himself already during long jump. Kekkonen’s triple jump result was even hailed as a world record. This wasn’t actually the case, but perhaps this speaks to the excellence of his achievement in the eyes of his peers. His athletic success didn’t end in 1924 of course, but it was undoubtedly his best year in sports. He could certainly be proud of his triple jump result from 1924. Proud of his new record, Kekkonen has been said to have declared *“Well boys, now I’m starting to become a man!"*91:T86d,**Idrottstalang** Vi återvänder till mars 1924. I Kouvola pågår de finska mästerskapen i ståhopp. Vid slutet av hoppbanan står den 24-årige Urho Kekkonen. Den unge idrottarens ansikte präglas av ett allvarligt, koncentrerat uttryck. Nu är det dags att visa vad han går för. I tresteg utförs prestationen, som namnet antyder, i en serie om tre hopp. I tävlingar utan anlöp utförs prestationerna, som namnet antyder, utan att ta fart från banan. Två veckor tidigare hade Kekkonen fått uppleva en bitter förlust för en tävlingsinriktad man, då han inte segern i de akademiska inomhusmästerskapen. Kekkonen, som har tränat hela vintern, tar fart mot det första språnget på startskottet. Det andra språnget för honom framåt och vid det tredje svänger han båda benen framåt tillsammans med armarna. Den mjuka sanden dämpar landningen. Måttbandet börjar snabbt rulla när mätarna sätter igång. Snart fastställs längden på hoppet. Det är troligt att den unge Kekkonen, åtminstone i detta skede, ett leende på läpparna när resultatet fastställs till 972 centimeter. Han hade just satt ett nytt finskt rekord i trehopp utan anlöp. Guldmedaljen i tresteg blev inte den enda medalj som Kekkonen fick runt halsen Kouvola . Han gjorde en stark insats i höjdhopp, där han också under tävlingarna första platsen med resultatet 149. Kekkonen själv konstaterade dock att denna placering endast berodde på att hans främsta konkurrent, Viljo Mäki, hade uttömt sina krafter i längdhoppet. Kekkonens prestation i tresteg kunde till och med hyllas som ett världsrekord. Så var det inte i verkligheten, men kanske säger detta något om hur enastående Kekkonens prestation var. Idrottsframgångarna stannade inte alls vid 1924, även om det utan tvekan var hans resultatmässigt bästa idrottsår. Man kunde vara nöjd med trehoppsprestationen från 1924. Det sägs att Kekkonen, nöjd med rekordet, ropade: *”Nu börjar jag bli en riktig man, grabbar!”* *Bild: Urho Kekkonens arkiv. * *Du kan bekanta dig med arkivet här: *[UKK-Arkisto – Urho Kekkosen arkisto](https://www.ukk-arkisto.fi/)92:T784,**Sports prodigy** Let’s return to March of 1924, when the Standing jump Finnish championships are being held in Kouvola. A 24-year-old Urho Kekkonen is standing at the end of the jumping track. There is a serious, focused, expression on the young athlete’s face. It’s showtime. The triple jump is, like the name says, three jumps. In the standing competitions the jumps are taken from the standing position with no run-up. Two weeks earlier Kekkonen had had to face a rough defeat for such a competitive spirit, when he had had to face defeat at the academic indoor championship. Having trained the whole winter, Kekkonen jumps his first jump as the sound rings out. The second jump takes him forward and on the third jump both legs and arms thrust forward. The soft sand smooths the landing. The measuring tape starts to sing as the measurers begin their work. Soon the length of the jump is confirmed. The young man surely had a smile on his face as the result is confirmed to be 972 centimeters. He has just broken the Finnish world record for the standing triple jump. The gold medal for triple jump wasn’t the only medal laid on Kekkonen’s shoulders during the Kouvola championships. He got a great result from the high jump where he also cleared first place with a result of 149. Kekkonen himself however said this placement to be only due to his greatest competitor Viljo Mäki having exhausted himself already during long jump. Kekkonen’s triple jump result was even hailed as a world record. This wasn’t actually the case, but perhaps this speaks to the excellence of his achievement in the eyes of his peers. His athletic success didn’t end in 1924 of course, but it was undoubtedly his best year in sports. He could certainly be proud of his triple jump result from 1924. Proud of his new record, Kekkonen has been said to have declared *“Well boys, now I’m starting to become a man!"*93:Ta71,### **A multifaceted personality ** It’s calm in the Tamminiemi villa located in Meilahti, Helsinki. The last moments of the summer are here as autumn waits for the cooler weather. The aged president Urho Kekkonen lies in bed, listening attentively as a bookkeeper reads his notes out loud. Behind him are over 25 years of serving as the President of the Finnish Republic. This Art Nouveau-style villa in Tamminiemi is in all its glamour a more modest dwelling than the Presidential Palace, which made the villa feel more homely to Kekkonen. Kekkonen left a clear mark on Finland's political field during his long career. he himself might have foreseen that his exceptionally long presidency would rouse many opinions. Both as a politician and as a person Urho Kekkonen was not straightforward nor to everyone’s liking. The many conflicts of the century, the aftermath of two World Wars and a tense foreign political climate were present in the political stage that Kekkonen stepped onto in 1956. As a man, personality, and president Kekkonen was versatile and multifaceted. In both good and bad the positive and less than positive aspects of Kekkonen’s personality were present in the essence of the strong leader. The stubbornness, will to win and the want to be right were core characteristics of Kekkonen from childhood to the very end of his life. His background as a son of a lumberjack, child of the Lepikko croft, also made him a skilled man of the people. He was straightforward and thorough, but knew how to be tactical. Of course, his way of centering power to himself wasn’t very parliamentary. Kekkonen knew how to use the fist of power when he wanted to. His merits as president were hard to deny though. The hard times were overcome and Finland cemented its position in foreign politics. Tamminiemi became Kekkonen’s home during his retirement after leaving presidency in 1981. His health had weakened after a quarter of a century as the foreman of Finland so much that it was no longer possible to manage the difficult position. Kekkonen had for long acknowledged his worsening health and knew that his time as president was nearing its end. Perhaps due to his famous strongheadedness, he held onto his post until the final moments because he didn’t believe there were any acceptable candidates to be his successor. Kekkonen wrote his final resignation application in 1981 and the Tamminiemi villa was transformed into his retirement home. There the longest-running president of the Republic of Finland passed on to eternal sleep on the 31st of August in 1986. *Photo: Kuvassiskot. President Urho Kekkonen. Finnish Heritage Agency.*94:Tafe,### **En mångfacetterad person** Det är lugnt i Tamminiemi-villan i Meilahti i Helsingfors. Sommarens sista stunder är här, medan hösten väntar på kallare väder. Den åldrade presidenten Urho Kekkonen vilar i sin säng och lyssnar uppmärksamt på sekreterarens uppläsning av anteckningarna. Bakom honom ligger en över 25 år lång karriär som Finlands president. Denna jugendstilvilla i Tamminiemi var i all sin prakt en mer anspråkslös tillflyktsort än Presidentpalatset, och Kekkonen kände sig mer hemma här. Urho Kekkonen lämnade under sin långa karriär ett betydande avtryck även på den finska politiska arenan. Urho var nog själv medveten om att hans exceptionellt långa karriär som president skulle väcka många olika tankar. Som politiker och person var Urho Kekkonen inte entydig, och han föll inte alla i smaken. Århundradets mångfacetterade konflikter, efterdyningarna av världskrigen och den spända utrikespolitiska stämningen präglade den politiska scen där Kekkonen trädde in i huvudrollen 1956. Som människa, person och president var Kekkonen mångsidig och mångfacetterad. I med- och motgångar fanns de positiva och mindre positiva sidorna av Kekkonens personlighet närvarande i hans framtoning som stark ledare. Den envishet, vinnarvilja och en sorts vilja att ha rätt som funnits sedan barndomen var Kekkosen kännetecken ända till livets slut. Bakgrunden som son till en skogsarbetare, uppvuxen på torpet i Lepikko, gjorde honom också till en skicklig folkman. Han var rak och grundlig, men kunde också agera taktiskt. Hans sätt att koncentrera makten till sig själv var inte särskilt parlamentariskt. Kekkonen kunde använda maktens järnhand när han ville. Det är dock svårt att förneka hans meriter som president. Man klarade sig igenom svåra tider och Finland befäste sin utrikespolitiska ställning. Tamminiemi blev Kekkonens hem under hans pensionärsdagar efter att han lämnat presidentposten 1981. Hälsotillståndet hade försämrats hos Kekkonen, som hade varit Finlands statschef i ett kvarts sekel, så att det inte längre var möjligt för honom att klara av det krävande ämbetet. Kekkonen hade länge varit medveten om sin försämrade hälsa och visste att hans tid som president var på väg att ta slut. Kanske var det på grund av den envishet som var så typisk för honom som han höll fast vid sitt ämbete ända in i det sista, eftersom han inte ansåg att det fanns någon bland efterträdarkandidaterna som var lämplig för uppgiften. Kekkonen undertecknade sin slutgiltiga avskedsansökan 1981, då villan i Tamminiemi omvandlades till hans ålderdomshem. I Tamminiemis lugn gick Republiken Finlands längsta sittande president gick bort den 31 augusti 1986. *Bild: Kuvasiskot. President Urho Kekkonen.*95:Ta71,### **A multifaceted personality ** It’s calm in the Tamminiemi villa located in Meilahti, Helsinki. The last moments of the summer are here as autumn waits for the cooler weather. The aged president Urho Kekkonen lies in bed, listening attentively as a bookkeeper reads his notes out loud. Behind him are over 25 years of serving as the President of the Finnish Republic. This Art Nouveau-style villa in Tamminiemi is in all its glamour a more modest dwelling than the Presidential Palace, which made the villa feel more homely to Kekkonen. Kekkonen left a clear mark on Finland's political field during his long career. he himself might have foreseen that his exceptionally long presidency would rouse many opinions. Both as a politician and as a person Urho Kekkonen was not straightforward nor to everyone’s liking. The many conflicts of the century, the aftermath of two World Wars and a tense foreign political climate were present in the political stage that Kekkonen stepped onto in 1956. As a man, personality, and president Kekkonen was versatile and multifaceted. In both good and bad the positive and less than positive aspects of Kekkonen’s personality were present in the essence of the strong leader. The stubbornness, will to win and the want to be right were core characteristics of Kekkonen from childhood to the very end of his life. His background as a son of a lumberjack, child of the Lepikko croft, also made him a skilled man of the people. He was straightforward and thorough, but knew how to be tactical. Of course, his way of centering power to himself wasn’t very parliamentary. Kekkonen knew how to use the fist of power when he wanted to. His merits as president were hard to deny though. The hard times were overcome and Finland cemented its position in foreign politics. Tamminiemi became Kekkonen’s home during his retirement after leaving presidency in 1981. His health had weakened after a quarter of a century as the foreman of Finland so much that it was no longer possible to manage the difficult position. Kekkonen had for long acknowledged his worsening health and knew that his time as president was nearing its end. Perhaps due to his famous strongheadedness, he held onto his post until the final moments because he didn’t believe there were any acceptable candidates to be his successor. Kekkonen wrote his final resignation application in 1981 and the Tamminiemi villa was transformed into his retirement home. There the longest-running president of the Republic of Finland passed on to eternal sleep on the 31st of August in 1986. *Photo: Kuvassiskot. President Urho Kekkonen. Finnish Heritage Agency.*96:T7a9,The Kyösti and Kalervo Kallio Museum presents the life, work and legacy of \*\*Kyösti Kallio \*\*(1873 - 1940), the fourth president of the Republic of Finland and his son, the artist \*\*Kalervo Kallio \*\*(1909 - 1969). **On the lower floor** of the museum visitors will find the Kyösti Kallio exhibition. The collection on display consists of objects related to Kyösti Kallio's personal life and political career, ranging from precious hand-carved furniture from his childhood home to presidential medals of honor. **On the upper floor** visitors can enjoy the work of Kyösti Kallio's son, the artist and sculptor Kalervo Kallio. Kalervo Kallio became a sculptor later in life, which makes his artistic output even more impressive. He is most well known for his work in creating memorial sculptures of the Winter War and Continuation War. During his career he mainly sculpted from live models and he traveled all over the world during his career. Among the people he sculpted are the famous scientist Albert Einstein, the 31st president of the United States Albert Hoover and many prolific Finnish politicians and statesmen. **The Kyösti and Kalervo Kallio Museum will next open in summer 2026.** The Kyösti and Kalervo Kallio Museum is a part of the **Presidenttipolku** cultural route. The Cultural route will launch in 2026 as a part of the Oulu European Capital of Culture year. Other historical museums part of the Presidenttipolku cultural route are the childhood home museum of Finland's first president K.J. Ståhlberg in Haapajärvi and the birth place of Finland's longest reigning president Urho Kekkonen the cabin called Lepikon torppa in Pielavesi. *Step on to the route and experience unique historical sites showing the history of three great statesmen of Finland!* *Need more information about the cultural route? Contact:* *Cultural Project Worker Heidi Pökkylä* *+358 40 3447270* *heidi.pokkyla@nivala.fi* 97:T7a9,The Kyösti and Kalervo Kallio Museum presents the life, work and legacy of \*\*Kyösti Kallio \*\*(1873 - 1940), the fourth president of the Republic of Finland and his son, the artist \*\*Kalervo Kallio \*\*(1909 - 1969). **On the lower floor** of the museum visitors will find the Kyösti Kallio exhibition. The collection on display consists of objects related to Kyösti Kallio's personal life and political career, ranging from precious hand-carved furniture from his childhood home to presidential medals of honor. **On the upper floor** visitors can enjoy the work of Kyösti Kallio's son, the artist and sculptor Kalervo Kallio. Kalervo Kallio became a sculptor later in life, which makes his artistic output even more impressive. He is most well known for his work in creating memorial sculptures of the Winter War and Continuation War. During his career he mainly sculpted from live models and he traveled all over the world during his career. Among the people he sculpted are the famous scientist Albert Einstein, the 31st president of the United States Albert Hoover and many prolific Finnish politicians and statesmen. **The Kyösti and Kalervo Kallio Museum will next open in summer 2026.** The Kyösti and Kalervo Kallio Museum is a part of the **Presidenttipolku** cultural route. The Cultural route will launch in 2026 as a part of the Oulu European Capital of Culture year. Other historical museums part of the Presidenttipolku cultural route are the childhood home museum of Finland's first president K.J. Ståhlberg in Haapajärvi and the birth place of Finland's longest reigning president Urho Kekkonen the cabin called Lepikon torppa in Pielavesi. *Step on to the route and experience unique historical sites showing the history of three great statesmen of Finland!* *Need more information about the cultural route? Contact:* *Cultural Project Worker Heidi Pökkylä* *+358 40 3447270* *heidi.pokkyla@nivala.fi* 98:Ta14,**Little Gustaf** *“His body is slender, around 2 inches from 6 feet tall. He looks like a sturdy and athletic young man, which is immediately noticeable from him. His appearance is of blue-eyed, dark-ish hair, his mouth usually in a smile. His high forehead shows meticulous consideration in even the smallest matters. By his nature he is also a thoughtful, jovially happy, considerate person. There is also a poetic side of him, a good comrade, who you can trust. He won’t share secrets, no matter what nature they are. A great cavalier as well as pleasant in all his being and behaviour. ”* This is how a 19-year-old Kyösti Kallio described himself in his diaries in 1893. The words were based on deep conversations about his nature with his friends. But where did this young man’s story begin? Kyösti Kallio arrived in the world in 1873 in Ylivieska’s Niemelänkylä, the third child to Mikko Kallio and Pieta Knuutila. The little one was named Kustaa, which the priest put down to the Swedish church registers as Gustaf. His family home was more educated than was the norm: his father Mikko had the ability to read and write and was a part of the local politics in Ylivieska. Kustaa is said to have been a healthy, yet slow-growing child. Due to his small size, he was often called Little-Kustu at home. Kustu stayed as the boy’s nickname for a long time, until at a later age the young man’s first name ended up settling as Kyösti. Just like the other children of peasants, Kyösti learned how to work on a farm from a young age. As a little boy he would follow his father and his farmhands on the fields and forests. As Kyösti grew older, he was given increasingly more demanding farmwork such as taking livestock to pasture and heavy field work. Other outdoor hobbies were of interest to the active child as well, such as skiing. Alongside the farm work there was time to also have fun. Horseback riding, sledding and playing on the ice on the beach of the frozen Kalajoki were an integral part of Kyösti’s childhood. This lifestyle he learned as a young boy and a deep appreciation for farm work left its mark on the young Kyösti. Diligence and perseverance were some of his core characteristics. He always saw himself as a peasant and a farmer before all else. It’s doubtful anyone could have guessed that a son of a farmer born in Ylivieska’s Niemelänkylä would rise to the heart of a recently independent Finland’s politics and the 4th President of the Republic. *Photo: Pietinen, Aarne. President of the Republic Kyösti Kallio.*99:Ta1b,**Lille Gustaf** *”Han är smärt byggd och ungefär 178 cm lång. Han ser ut som en välbyggd och idrottslig ung man, vilket man omedelbart lägger märke till. Han har blå ögon, mörkt hår och brukar alltid ha ett leende på läpparna. Han har en hög panna, vilket tyder på att han noga överväger även de minsta detaljerna. Till sin natur är han, förutom att han är eftertänksam, munter, glad och känslosam. Man kan till och med hitta en poetisk sida hos honom. En god kamrat som man kan lita på. Han avslöjar inga hemligheter, oavsett vilken typ de är. En utmärkt kavaljer och behaglig i hela sitt väsen och uppträdande.”* Så beskrev den 19-årige Kyösti Kallio sig själv i sina dagböcker år 1893. Bakgrunden var djupa samtal med vänner om sin egen karaktär. Men var började denna unge mans historia? Kyösti Kallio kom till världen 1873 i Niemelänkylä i Ylivieska som det tredje barnet till Mikko Kallio och Pieta Knutila. Den lille pojken fick namnet Kustaa, vilket prästen skrev in i de svenskspråkiga kyrkböckerna som Gustaf. Familjen var mer upplyst än genomsnittet: fadern kunde läsa och räkna och var engagerad i lokalpolitiken i Ylivieska. Kustaa sägs ha varit ett friskt men långsamt växande barn. På grund av sin lilla storlek kallades han hemma för Pikku-Kustu. Kustu förblev pojkens smeknamn länge, tills den unge mannens förnamn senare fastnade i formen Kyösti. Liksom andra bondbarn lärde sig Kyösti redan i ung ålder hur man arbetar på en gård. Som liten pojke följde han med sin far och hans drängar ut på åkrarna och i skogen. Allteftersom Kyösti växte upp fick han allt mer krävande arbetsuppgifter på gården, såsom att föra boskapen ut på betet och att utföra tungt jordbruksarbete. Även andra friluftsaktiviteter lockade aktiva och energiska barnet, till exempel skidåkning. Vid sidan av arbetet på gården hann man också ha roligt. Ridning, pulkaåkning och islekar vid den isbelagda Kalajoen var en väsentlig del av bondpojken Kyöstis barndom. Denna bondlivsstil som han lärde sig i ung ålder och längtan efter arbetet på gården satte sina spår hos den unge Kyösti. Flit och uthållighet var kännetecknande drag hos honom. Han betraktade sig själv alltid först och främst som bonde och jordbrukare. Knappast någon kunde ana att den bondesonen som föddes i Niemelänkylä i Ylivieska skulle komma att stiga till centrum av det nyligen självständiga Finlands politik och bli republikens fjärde president. *Bild: Pietinen, Aarne. Republikens president Kyösti Kallio*. 9a:Ta14,**Little Gustaf** *“His body is slender, around 2 inches from 6 feet tall. He looks like a sturdy and athletic young man, which is immediately noticeable from him. His appearance is of blue-eyed, dark-ish hair, his mouth usually in a smile. His high forehead shows meticulous consideration in even the smallest matters. By his nature he is also a thoughtful, jovially happy, considerate person. There is also a poetic side of him, a good comrade, who you can trust. He won’t share secrets, no matter what nature they are. A great cavalier as well as pleasant in all his being and behaviour. ”* This is how a 19-year-old Kyösti Kallio described himself in his diaries in 1893. The words were based on deep conversations about his nature with his friends. But where did this young man’s story begin? Kyösti Kallio arrived in the world in 1873 in Ylivieska’s Niemelänkylä, the third child to Mikko Kallio and Pieta Knuutila. The little one was named Kustaa, which the priest put down to the Swedish church registers as Gustaf. His family home was more educated than was the norm: his father Mikko had the ability to read and write and was a part of the local politics in Ylivieska. Kustaa is said to have been a healthy, yet slow-growing child. Due to his small size, he was often called Little-Kustu at home. Kustu stayed as the boy’s nickname for a long time, until at a later age the young man’s first name ended up settling as Kyösti. Just like the other children of peasants, Kyösti learned how to work on a farm from a young age. As a little boy he would follow his father and his farmhands on the fields and forests. As Kyösti grew older, he was given increasingly more demanding farmwork such as taking livestock to pasture and heavy field work. Other outdoor hobbies were of interest to the active child as well, such as skiing. Alongside the farm work there was time to also have fun. Horseback riding, sledding and playing on the ice on the beach of the frozen Kalajoki were an integral part of Kyösti’s childhood. This lifestyle he learned as a young boy and a deep appreciation for farm work left its mark on the young Kyösti. Diligence and perseverance were some of his core characteristics. He always saw himself as a peasant and a farmer before all else. It’s doubtful anyone could have guessed that a son of a farmer born in Ylivieska’s Niemelänkylä would rise to the heart of a recently independent Finland’s politics and the 4th President of the Republic. *Photo: Pietinen, Aarne. President of the Republic Kyösti Kallio.*9b:Tc4e,**From a student to the master of Heikkilä** There was bustle in the Kalliokangas farm in Ylivieska. A moving load was being loaded to the horse cart at a brisk pace under the watchful eye of Anttuuna Kangas. The merchant’s daughter was a strict mistress who checked that each packed item was in its intended place. Leaving to Nivala along with the moving load would also be coming Anttuuna’s foster child Kyösti Kallio. The boy had become his wealthy aunt’s foster child at 12 years old due to reasons not fully understood by later generatios, Perhaps Kyösti’s father believed that under the wealthy aunt’s care Kyösti would have better opportunities. Kyösti’s school years in Raahe grammar school and Oulu lyceum were now behind him. His aunt had pressed Kyösti to go to school as she wished for her foster child to follow her father’s work. Anttuuna’s father had been a successful merchant who had left behind a notable fortune. However, Becoming a merchant would require studying and receiving some sort of higher education. In mathematical subjects Kyösti did in fact succeed quite well. Perhaps because learning numbers, equations and other mathematical skills where skills that had direct practical use in a farmer's life. However, Finland's second national language, Swedish, became a stumbling block. The learning the language was hard for the young man and unfortunately, he would struggle with it the rest of his life. The longing for farm work would prove to be stronger than the interest for studying. Kyösti had been a very practical man ever since he was young and perhaps his aunt Anttuuna finally realized that Kyösti’s calling was outside academic pursuits. Therefore the aunt bought the Heikkilä and Mehtälä farms in Nivala. An assessor's widow was selling her late husband’s land in a hurry and was happy to sell the lands to Anttuuna. On these grounds the boy would have room to grow and have a chance to show his capabilities as a farmer, and a master of the house. Kyösti was not a wallower by nature. He knew when it was time to move on and he did so with gumption. When he felt like he was no longer gaining anything from school, it was useless for anyone to try and convince him to stay with his studies. The same was when he was leaving to go to Nivala. Although his family was staying behind, there was no wallowing. So, in 1895 Kyösti left for Heikkilä. With him were some basic items of a peasant household, such as spinning-wheels, a loom, and clothing baskets. Traveling with livestock wasn’t fast, but at least there was time to see the new environment on the way. At the end of the journey Kyösti put his horse to a gallop and made it to the Heikkilä yard before the load and the livestock. The young man's mind started to fill with all the work waiting on the farm. The land needed to be clear for farming fields, as most of the owned land was boggy forest. There was a lot to do. *Photo: Pietinen. President Kyösti Kallio showing his property to Governor E. Y. Pehkonen. Historical photo collection. Pietinen's photography collection. National Museum of Finland.*9c:Tc4e,**From a student to the master of Heikkilä** There was bustle in the Kalliokangas farm in Ylivieska. A moving load was being loaded to the horse cart at a brisk pace under the watchful eye of Anttuuna Kangas. The merchant’s daughter was a strict mistress who checked that each packed item was in its intended place. Leaving to Nivala along with the moving load would also be coming Anttuuna’s foster child Kyösti Kallio. The boy had become his wealthy aunt’s foster child at 12 years old due to reasons not fully understood by later generatios, Perhaps Kyösti’s father believed that under the wealthy aunt’s care Kyösti would have better opportunities. Kyösti’s school years in Raahe grammar school and Oulu lyceum were now behind him. His aunt had pressed Kyösti to go to school as she wished for her foster child to follow her father’s work. Anttuuna’s father had been a successful merchant who had left behind a notable fortune. However, Becoming a merchant would require studying and receiving some sort of higher education. In mathematical subjects Kyösti did in fact succeed quite well. Perhaps because learning numbers, equations and other mathematical skills where skills that had direct practical use in a farmer's life. However, Finland's second national language, Swedish, became a stumbling block. The learning the language was hard for the young man and unfortunately, he would struggle with it the rest of his life. The longing for farm work would prove to be stronger than the interest for studying. Kyösti had been a very practical man ever since he was young and perhaps his aunt Anttuuna finally realized that Kyösti’s calling was outside academic pursuits. Therefore the aunt bought the Heikkilä and Mehtälä farms in Nivala. An assessor's widow was selling her late husband’s land in a hurry and was happy to sell the lands to Anttuuna. On these grounds the boy would have room to grow and have a chance to show his capabilities as a farmer, and a master of the house. Kyösti was not a wallower by nature. He knew when it was time to move on and he did so with gumption. When he felt like he was no longer gaining anything from school, it was useless for anyone to try and convince him to stay with his studies. The same was when he was leaving to go to Nivala. Although his family was staying behind, there was no wallowing. So, in 1895 Kyösti left for Heikkilä. With him were some basic items of a peasant household, such as spinning-wheels, a loom, and clothing baskets. Traveling with livestock wasn’t fast, but at least there was time to see the new environment on the way. At the end of the journey Kyösti put his horse to a gallop and made it to the Heikkilä yard before the load and the livestock. The young man's mind started to fill with all the work waiting on the farm. The land needed to be clear for farming fields, as most of the owned land was boggy forest. There was a lot to do. *Photo: Pietinen. President Kyösti Kallio showing his property to Governor E. Y. Pehkonen. Historical photo collection. Pietinen's photography collection. National Museum of Finland.*9d:Tb70,**Från skolbänken till värd på Heikkilä** Det hände på gården Kalliokangas i Ylivieska. Flyttgodset lastades i rask takt på hästvagnarna under Anttuuna Kankaan vakande öga. Köpmansdottern var en noggrann husmor som såg till att varje föremål som packades på vagnen fick sin rätta plats. Med flyttgodset skulle även Anttuunas fosterbarn Kyösti Kallio följa med till Nivala. Pojken hade blivit sin förmögna mosters fosterbarn vid 12 års ålder. Kanske tänkte Kyöstis far att pojken skulle få en bra start på sitt framtida liv i sin förmögna mosters vård. Kyösti hade gått i Raahe grundskola och Oulu gymnasium. Moster hade skolan, eftersom hon hoppades att hennes fosterbarn skulle bli uppmuntrat Kyösti att gå i i sin avlidne fars verksamhet. Anttuunas far hade varit en framgångsrik köpman som lämnade efter sig en betydande förmögenhet. För att bli köpman krävdes skolgång. I matematik ämnen lyckades Kyösti bra, kanske för att han tyckte att det var praktiskt att utveckla sina räkneförmågor. Ett hinder blev det andra inhemska språket, svenska, som Kyösti tyckte var svårt ända till slutet av sitt liv. Längtan efter livet på gården visade sig vara en starkare drivkraft än studierna. Kyösti hade redan från ung ålder varit en praktisk man, och kanske insåg även moster Anttuuna till slut att Kyöstis kallelse låg någon annanstans än i skolbänken. Så köpte tant gårdarna i Nivala som tidigare varit en samdrift mellan Heikkilä och Mehtälä. Assessorns änka sålde i all hast den markförmögenhet i all hast och var nöjd med att affärerna gick i hamn. På dessa gårdar skulle pojken ha utrymme att växa och visa sina färdigheter som gårdsägare. Kyösti var inte av den klagande sorten. Han visste när det var dags att gå vidare och gjorde det med energi. När han inte längre ansåg att han hade någon nytta av skolan, var det lönlöst för någon att försöka övertala honom att fortsätta sin skolgång. På samma sätt gjorde han när han gav sig av till Nivala. Även om familjen blev kvar, blev man inte kvar för att sörja. Således gav sig Kyösti år 1895 iväg mot Heikkilä. Med sig hade han de vanliga husgeråden från en bondgård, såsom spinnrockar, vävstolar och klädkorgar. Resan med boskapen var inte särskilt snabbt, men åtminstone hann han samtidigt observera den nya omgivningen. På slutet av resan satte Kyösti hästen i galopp och på så sätt hann han fram till gården i Heikkilä innan lasten och boskapen. Den unge bondens tankar började fyllas av det arbete som väntade på gården. Marken skulle röjas till åkrar, eftersom större delen av den omfattande markegendomen bestod av skog och myr. Det fanns mycket att göra. *Bild: Pietinen. Republiks president Kyösti Kallio visar sina ägor för landshövdingen E. Y. Pehkonen. Historisk bildsamling. Fotograf Pietinens samling. Museiverket.*9e:Ta30,**From Diet of Finland to the Presidential office** It may be surprising that in the early years of the new Republic the position of President was not very sought after. Accepting the role of a candidate was a road of inconvenience and constant persuading. Perhaps the reason behind such apprehension was the heaviness of the tasks, the rough criticism the head of state was at times met with, and all the problems to be solved within a young Republic. Kaisa Kallio's was deeply worried when her husband Kyösti Kallio announced his presidential candidacy. Being selected would mean he would be home even less than before when he worked as a member of the Finnish parliament. It could even mean that Kaisa might have to also move to the capital with her husband. The First Lady’s responsibilities would be difficult to attend to from Nivala. Kyösti had assured Kaisa that he would most likely not be elected. After all, Ståhlberg and Svinhufvud were also running, both of whom already had a presidential term behind them. Kaisa was placated by this; perhaps after the election Kyösti could visit Nivala more often. The election was an electoral college election, wherein during the first round Kallio got 56 votes. A bigger pot was collected by Ståhlberg with 150 votes. Svinhufvud was in second place with 94 votes. Kaisa believed the result was clear: her husband would not become a President. She would soon be disappointed. There was political maneuvering behind the scenes. The Social Democrats wanted to prevent Ståhlberg and Svinhufvud’s battle in the third round of the election, as they suspected Svinhufvud to take the win. This was not acceptable to the 95 Social Democrat electors, which is why they moved all their votes to Kallio in the second round of voting. This political maneuvering and compromise was worthwhile as Kyösti Kallio was chosen as the 4th President of the Republic of Finland with 177 votes. During the counting of the votes, as the results started to become clear, somebody in the hall yelled: *“Fur hat is coming! Fur hat is coming!”*. This, of course, was a reference to the most popular hat amongst peasants and farmers, the fur hat. Kallio was worried about his future tasks. He knew both his strengths and his limitations. The work of the President would not be easy. As a man with a sense of responsibility though, he would not back down. Since he had been chosen for the task, he had to answer the call. *Image: Indurski, J. J. Rural Party parliamentary group. Antell Collections. Historical photo collection. National Board of Antiquities.*9f:Ta30,**From Diet of Finland to the Presidential office** It may be surprising that in the early years of the new Republic the position of President was not very sought after. Accepting the role of a candidate was a road of inconvenience and constant persuading. Perhaps the reason behind such apprehension was the heaviness of the tasks, the rough criticism the head of state was at times met with, and all the problems to be solved within a young Republic. Kaisa Kallio's was deeply worried when her husband Kyösti Kallio announced his presidential candidacy. Being selected would mean he would be home even less than before when he worked as a member of the Finnish parliament. It could even mean that Kaisa might have to also move to the capital with her husband. The First Lady’s responsibilities would be difficult to attend to from Nivala. Kyösti had assured Kaisa that he would most likely not be elected. After all, Ståhlberg and Svinhufvud were also running, both of whom already had a presidential term behind them. Kaisa was placated by this; perhaps after the election Kyösti could visit Nivala more often. The election was an electoral college election, wherein during the first round Kallio got 56 votes. A bigger pot was collected by Ståhlberg with 150 votes. Svinhufvud was in second place with 94 votes. Kaisa believed the result was clear: her husband would not become a President. She would soon be disappointed. There was political maneuvering behind the scenes. The Social Democrats wanted to prevent Ståhlberg and Svinhufvud’s battle in the third round of the election, as they suspected Svinhufvud to take the win. This was not acceptable to the 95 Social Democrat electors, which is why they moved all their votes to Kallio in the second round of voting. This political maneuvering and compromise was worthwhile as Kyösti Kallio was chosen as the 4th President of the Republic of Finland with 177 votes. During the counting of the votes, as the results started to become clear, somebody in the hall yelled: *“Fur hat is coming! Fur hat is coming!”*. This, of course, was a reference to the most popular hat amongst peasants and farmers, the fur hat. Kallio was worried about his future tasks. He knew both his strengths and his limitations. The work of the President would not be easy. As a man with a sense of responsibility though, he would not back down. Since he had been chosen for the task, he had to answer the call. *Image: Indurski, J. J. Rural Party parliamentary group. Antell Collections. Historical photo collection. National Board of Antiquities.*a0:T9d0,**Från ståndsförsamlingen till president** Det kan verka förvånande att presidentposten inte var särskilt eftertraktad under den unga republikens första tid. Man gick med på att ställa upp som kandidat endast med möda och ofta efter upprepade övertalning. Kanske låg motviljan i uppdragets tyngd, den ibland hårda kritiken mot statschefen och hanteringen av den unga republikens utmaningar. Kaisa Kallios sorg var stor när hennes make Kyösti Kallio ställde upp presidentkandidat. Att bli vald till president skulle innebära att maken skulle vara hemma ännu mer sällan än nu. Det kunde hända att Kaisa, om Kyösti skulle bli vald, själv skulle tvingas flytta till huvudstaden. Det skulle vara svårt att sköta presidentfruens representativa uppgifter från Nivala. Kyösti hade försäkrat sin hustru att valet knappast skulle falla på honom. I valet deltog ju Ståhlberg och Svinhufvud, som båda hade en mandatperiod som president bakom sig. Kaisa hade varit nöjd med detta; kanske skulle Kyösti efter valet kunna besöka hemgården i Nivala oftare. Valet var ett valmansval, där Kallio fick 56 röster i den första omgången. Ståhlberg samlade flest poäng med 150 röster. På andra plats kom Svinhufvud med 94 röster. Enligt Kaisa verkade utgången klar. Hennes man skulle inte bli president. Men så blev det inte. Bakom kulisserna pågick intensiva förhandlingar och taktiska manövrer. Socialdemokraterna ville förhindra en duell mellan Ståhlberg och Svinhufvud i den tredje omgången, eftersom de misstänkte att Svinhufvud då skulle ta hem segern. Detta var inte ett alternativ för socialdemokraternas 95 manna valförsamling, varför de överförde alla sina röster till Kallio i valets andra omgång. Denna politiska taktik och kompromiss bar frukt. Kyösti Kallio valdes till Republiken Finlands till fjärde president med 177 röster. Under rösträkningen, när valresultatet började bli klart, hördes det i salen: ”*Karvalakki kommer! Karvalakki kommer!”.* Detta var naturligtvis en hänvisning till den huvudbonad som var populär bland bönderna, nämligen karvalakki. Kallio var orolig inför sitt kommande uppdrag. Han kände både till sina styrkor och sina begränsningar. Presidentuppdraget skulle inte bli lätt. Den plikttrogne mannen backade dock inte. Eftersom han välts till uppdraget måste han svara på kallelsen. *Bild: Indurski, J. J. Lantbruksförbundets riksdagsgrupp. Antells samlingar. Historiska bildsamlingen. Museiverket.*a1:Tbed,**President of the Winter War** The Helsinki central railway station is bustling. A guard of honour has gathered to say goodbye to the recently resigned President Kyösti Kallio. The marketplace is full of people, as people knew the President was beginning his journey home to Nivala for retirement. Hurrah’s rang out as Porilaisten Marssi played. Marshal Mannerheim had arrived with generals and the President's adjutants to bid Kallio farewell. Behind were three years as President, the toughest trial having been The Winter War starting in 1939. Before being elected as president in 1937, Kyösti Kallio had a long career in politics. He managed to work as both Prime Minister as well as the chairman of the Parliament multiple times. Inaction was not a suitable condition for Kallio, which was present in his career as a statesman. There was always work for the one who looks, especially a man dedicated to state politics. Kallio was amicable and patient. Perhaps due to his temperament and the conditions of the society he highlighted national harmony. Especially during The Winter War the President cherished unity, as he believed infighting to be the biggest threat to the Finnish Republic. His worsening health however complicated the President’s work and eventually made it impossible. In August of 1939 Kallio had begun to read out a letter from his son to his family. The mood took a turn however, when the President suddenly couldn’t speak. An alarm rose around him as the family understood something to be wrong. Kallio was first surprised and then insulted by the rest of the family’s panic as he himself didn’t feel anything strange. Still, it was clear something had happened. A doctor arrived soon and after a brief examination stated that the President had a stroke. It was clear to Kallio that he could no longer properly manage his work as the President. He left in a request for his resignation at the end of the year, the reasoning being his weakened state of health. This is how on December 19th of 1940 Kallio arrived to the Helsinki central railway station. Kallio was dressed in a fur coat and hat. His right arm, paralyzed from the stroke, rested at the breast of his jacket. The family had planned where Kallio and his wife Kaisa would settle for their retirement days. Kallio’s pride and joy, his home estate Heikkilä in Nivala, was now owned and looked after by their son. Nearing the Nivala-bound train, Kallio suddenly stumbled and collapsed. Marshall Mannerheim, the generals, and adjutants, having walked behind him, caught Kallio in their arms. His wife Kaisa rushed to her husband. The doctor, having hurried to the scene, pronounced what many of the surrounding people may have already been understood to have happened. President Kallio had passed away from a sudden seizure. *Photo: President Kallio and Marshal Mannerheim. Photo collection of the Finnish Railway Museum. Finnish Railway Museum.* *This photograph was taken mere minutes before President Kyösti Kallio's fatal seizure. *a2:Tbed,**President of the Winter War** The Helsinki central railway station is bustling. A guard of honour has gathered to say goodbye to the recently resigned President Kyösti Kallio. The marketplace is full of people, as people knew the President was beginning his journey home to Nivala for retirement. Hurrah’s rang out as Porilaisten Marssi played. Marshal Mannerheim had arrived with generals and the President's adjutants to bid Kallio farewell. Behind were three years as President, the toughest trial having been The Winter War starting in 1939. Before being elected as president in 1937, Kyösti Kallio had a long career in politics. He managed to work as both Prime Minister as well as the chairman of the Parliament multiple times. Inaction was not a suitable condition for Kallio, which was present in his career as a statesman. There was always work for the one who looks, especially a man dedicated to state politics. Kallio was amicable and patient. Perhaps due to his temperament and the conditions of the society he highlighted national harmony. Especially during The Winter War the President cherished unity, as he believed infighting to be the biggest threat to the Finnish Republic. His worsening health however complicated the President’s work and eventually made it impossible. In August of 1939 Kallio had begun to read out a letter from his son to his family. The mood took a turn however, when the President suddenly couldn’t speak. An alarm rose around him as the family understood something to be wrong. Kallio was first surprised and then insulted by the rest of the family’s panic as he himself didn’t feel anything strange. Still, it was clear something had happened. A doctor arrived soon and after a brief examination stated that the President had a stroke. It was clear to Kallio that he could no longer properly manage his work as the President. He left in a request for his resignation at the end of the year, the reasoning being his weakened state of health. This is how on December 19th of 1940 Kallio arrived to the Helsinki central railway station. Kallio was dressed in a fur coat and hat. His right arm, paralyzed from the stroke, rested at the breast of his jacket. The family had planned where Kallio and his wife Kaisa would settle for their retirement days. Kallio’s pride and joy, his home estate Heikkilä in Nivala, was now owned and looked after by their son. Nearing the Nivala-bound train, Kallio suddenly stumbled and collapsed. Marshall Mannerheim, the generals, and adjutants, having walked behind him, caught Kallio in their arms. His wife Kaisa rushed to her husband. The doctor, having hurried to the scene, pronounced what many of the surrounding people may have already been understood to have happened. President Kallio had passed away from a sudden seizure. *Photo: President Kallio and Marshal Mannerheim. Photo collection of the Finnish Railway Museum. Finnish Railway Museum.* *This photograph was taken mere minutes before President Kyösti Kallio's fatal seizure. *a3:Tc3a,**Vinterkrigets president** Det sjuder av liv på Helsingfors centralstation. En hederskompani har anlänt till stationen för att ta farväl av Kyösti Kallio, som nyligen avgått från presidentposten. Torget var fullt av folk, eftersom man visste att presidenten skulle påbörja sin resa hem till Nivala för att tillbringa sina pensionsdagar. Jubelropen ekade medan marschen från Pori ekade. Marskalk Mannerheim hade anlänt tillsammans med generaler och presidentens adjutanter för att ta farväl av Kallio. Bakom honom låg tre år som president, vars svåraste prövning var vinterkriget som började 1939. Innan han valdes till president 1937 hade Kyösti Kallio en lång karriär inom politiken. Han hann tjänstgöra både som statsminister och som talman i riksdagen flera gånger. Att vara sysslolös passade inte Kallio, vilket framgår av hans statsmannakarriär. Arbete fanns det alltid för den som sökte, särskilt för en man som ägnat sig åt statspolitik. Inget var så svårt för Kallio som att sitta still. Kallio var försonlig och återhållsam. Kanske delvis på grund av sin naturliga läggning och samhällsförhållandena betonade han den nationella enigheten. Särskilt under vinterkriget värnade presidenten om enighet, eftersom han ansåg att inre splittring var det största hotet mot den finska staten. Hans försämrade hälsa gjorde det dock svårt för honom att sköta presidentämbetet och gjorde det till slut omöjligt. I augusti 1939 hade Kallio börjat läsa upp ett brev som han fått från sin son för sin familj. Stämningen förändrades dock när presidenten plötsligt inte kunde tala. Det uppstod uppståndelse omkring honom när familjemedlemmarna insåg att något var fel. Kallio var först förvirrad och sedan sårad av resten av familjens panik, eftersom han själv inte kände sig särskilt annorlunda. Det var dock uppenbart att något hade hänt. Snart konstaterade läkaren som anlände till platsen att presidenten hade drabbats av en hjärninfarkt. För Kallio var det uppenbart att han inte längre skulle kunna fullgöra sitt uppdrag som president. I slutet av året lämnade han in sin avskedsansökan med försämrad hälsa som skäl. Så anlände Kallio den 19 december 1940 till Helsingfors järnvägsstation. Kallio var klädd i pälsrock och pälsmössa. Den högra handen, som var förlamad till följd av hjärninfarkten, vilade på rockens bröst. Familjen hade planerat var Kallio och hans hustru Kaisa skulle bosätta sig under sin pension. Kallios ögonsten, gården Heikkilä i Nivala, hade övergått till sonen. När Kallio närmade sig tåget som skulle avgå från Nivala vacklade han till och sjönk ihop. Marskalk Mannerheim, generalerna och adjutanterna som gick bakom honom tog tag i Kallio och stödde honom. Hans hustru Kaisa skyndade sig till sin man. En läkare som skyndat till platsen bekräftade det som de närvarande redan kanske anat. President Kallio hade avlidit efter ett plötsligt illamående. *Bild: President Kallio och marskalk Mannerheim. Finlands järnvägsmuseums fotokollektion. Finlands Järnvägsmuseum*.a4:Td8b,**A peasant through and through** The summer was a busy time for peasants. Finnish winters are long and cold, so the warm months were used for efficient farming and tending of the fields. Summer wasn’t spent on holidays or festivities. Instead, the masters and their workers worked long days. The long winter had to be prepared for and survival had to be guaranteed. The same was at the Heikkilä farm in Nivala in July of 1935. The master of the farm and the chairman of the Parliament Kyösti Kallio had arrived at his home premises to work. Like normal, the first thing he did was roll up his sleeves and leave to tour his land. The neighbor was asked whether there had been uninvited people wandering in the Heikkilä forests. Had trees been taken? Kallio always made sure that no uninvited guests had taken any lumber from his lands while he was working away from home. After his properties had been looked at, he checked the health of the farm animals. Especially close to his heart were horses. Horses in his farm were Finnhorses. Finnhorses are horses with both riding horse and draught horse influences. They are strong, versatile horses with a pleasant temperament perfectly suited for the work and life of a typical Finnish farm. During the busy summertime it was pretty useless to look for Kallio anywhere outside of his own fields. Activeness, which in politics showed itself as constant busyness and piling things on his own desk, showed itself in Kallio’s home farm as determined work. Farm tasks don’t finish themselves, after all. No matter how closely he has been getting acquainted with the matters of the state, the original calling for farming hasn’t left the man’s soul. Neither has he forgotten householding despite the distance between Nivala and Helsinki. Kyösti wrote diligently to his wife Kaisa and was very up-to-date on the matters of his estate. His diligence may have sometimes tipped over into overbearing as Kyösti guided the matters of the estate over letters. Kallio’s diligent and brisk peasantly lifestyle was experienced up close that hot July by the ambassador of Estonia, Hans Rebane. He had come to meet the Parliament’s chairman Kallio to Nivala. After some searching the chairman was found at Takaneva, haymaking with his 70-person workforce. Perhaps ambassador Rebane was already aware of Kallio’s famous peasant nature and knew that conversation could only start after the haymaking was done. Therefore the ambassador joined the work. Later a farmhand who had worked on the same field recollected how the ambassador had been working the whole afternoon. The man had been strong and work moved along fast. Perhaps joining the haymaking had also gained Rebane the respect of chairman Kallio. Kallio respected honest work and saw it as relaxing as well. At home he was ta simple farmer, not chairman of the Parliament. *Photo: Poutiainen, P. Kyösti Kallio at home in Heikkilä, Nivala. Otavamedia. JOKA Journalistic Photo Archive. National Board of Antiquities. * *In the picture, Kyösti Kallio is with his favorite horse, Hyrrä. The photo was taken for an article in Suomen Kuvalehti when Kyösti Kallio became president in 1937. The new president's down-to-earth farmer habits sparked a lot of thoughts among people at the time about Kallio's farming roots. Some felt the depiction was authentic, while others thought the photos from the Heikkilä farm weren’t dignified enough.*a5:Td8b,**A peasant through and through** The summer was a busy time for peasants. Finnish winters are long and cold, so the warm months were used for efficient farming and tending of the fields. Summer wasn’t spent on holidays or festivities. Instead, the masters and their workers worked long days. The long winter had to be prepared for and survival had to be guaranteed. The same was at the Heikkilä farm in Nivala in July of 1935. The master of the farm and the chairman of the Parliament Kyösti Kallio had arrived at his home premises to work. Like normal, the first thing he did was roll up his sleeves and leave to tour his land. The neighbor was asked whether there had been uninvited people wandering in the Heikkilä forests. Had trees been taken? Kallio always made sure that no uninvited guests had taken any lumber from his lands while he was working away from home. After his properties had been looked at, he checked the health of the farm animals. Especially close to his heart were horses. Horses in his farm were Finnhorses. Finnhorses are horses with both riding horse and draught horse influences. They are strong, versatile horses with a pleasant temperament perfectly suited for the work and life of a typical Finnish farm. During the busy summertime it was pretty useless to look for Kallio anywhere outside of his own fields. Activeness, which in politics showed itself as constant busyness and piling things on his own desk, showed itself in Kallio’s home farm as determined work. Farm tasks don’t finish themselves, after all. No matter how closely he has been getting acquainted with the matters of the state, the original calling for farming hasn’t left the man’s soul. Neither has he forgotten householding despite the distance between Nivala and Helsinki. Kyösti wrote diligently to his wife Kaisa and was very up-to-date on the matters of his estate. His diligence may have sometimes tipped over into overbearing as Kyösti guided the matters of the estate over letters. Kallio’s diligent and brisk peasantly lifestyle was experienced up close that hot July by the ambassador of Estonia, Hans Rebane. He had come to meet the Parliament’s chairman Kallio to Nivala. After some searching the chairman was found at Takaneva, haymaking with his 70-person workforce. Perhaps ambassador Rebane was already aware of Kallio’s famous peasant nature and knew that conversation could only start after the haymaking was done. Therefore the ambassador joined the work. Later a farmhand who had worked on the same field recollected how the ambassador had been working the whole afternoon. The man had been strong and work moved along fast. Perhaps joining the haymaking had also gained Rebane the respect of chairman Kallio. Kallio respected honest work and saw it as relaxing as well. At home he was ta simple farmer, not chairman of the Parliament. *Photo: Poutiainen, P. Kyösti Kallio at home in Heikkilä, Nivala. Otavamedia. JOKA Journalistic Photo Archive. National Board of Antiquities. * *In the picture, Kyösti Kallio is with his favorite horse, Hyrrä. The photo was taken for an article in Suomen Kuvalehti when Kyösti Kallio became president in 1937. The new president's down-to-earth farmer habits sparked a lot of thoughts among people at the time about Kallio's farming roots. Some felt the depiction was authentic, while others thought the photos from the Heikkilä farm weren’t dignified enough.*a6:Tc81,**Bonde i själ och hjärta** Sommaren var en arbetsintensiv tid för bönderna. Vintrarna i Finland är långa och kalla, så de varma månaderna ägnades åt att effektivt odla och sköta åkrarna. På sommaren firades inga fester och man tog inte semester, utan husfolket och tjänstefolket arbetade långa dagar. Man måste förbereda sig för den långa vintern och försörjningen måste säkras. Så var det också på gården Heikkilä i Nivala i juli 1935. Gårdens ägare Kyösti Kallio och talmannen i riksdagen hade anlänt till sin hemgård för att delta i arbetet. Som vanligt hade han först kavlat upp ärmarna och gett sig ut för att inspektera sina marker. Man frågade grannarna noggrant om det hade rört sig främmande folk i Heikkiläs skogar. Hade träd tagits? Kallio var noga med sin skogsegendom. Han gick noggrant igenom grödornas tillväxt på åkrarna och djurens, särskilt de hästar som Kallio älskade, kondition undersöktes. Under sommarens mest hektiska perioder var det egentligen helt meningslöst att leta efter Kallio någon annanstans än på hans egna åkrar. Den livlighet som i det politiska livet visade sig som en ständig brådska och på sitt eget bord, visade sig på hemgården som beslutsamt arbete. Gårdsarbetet sköt ju inte klart sig själv. Lika noggrant som han hade satt sig in i rikets angelägenheter, lika lite hade hans ursprungliga kallelse till jordbruket försvunnit ur hans själ. föräldraskapet inte bortglömts trots avståndet mellan Nivala och Helsingfors. Kyösti skrev flitigt till sin hustru Kaisa i Nivala och höll sig väl underrättad om händelserna på hemgården. Flitigheten kunde ibland övergå i överdriven omsorg när Kyösti gav råd om gårdens angelägenheter i sina brev. Kallios aktiva och flitiga bondliv fick även Estlands sändebud Hans Rebane uppleva på nära håll under den heta juli månaden. Han hade kommit för att träffa riksdagens talman Kallio i Nivala. Efter en kort sökning hittades talmannen i Takaneva bland höskörden tillsammans med sin 70 man starka armé av drängar. Kanske var sändebudet Rebane redan medveten om Kallions berömda bondkaraktär och visste att man inte skulle kunna prata förrän när höskörden var klar. Så började sändebudet också att skörda hö. Senare minns en dräng som arbetade på samma åker hur sändebudet hade slagit hö hela eftermiddagen. Mannen hade varit flitig och arbetet gick snabbt framåt. Kanske fick Rebane också talman Kallios uppskattning genom att delta i höskörden. Kallio uppskattade ärlighet arbetet och tyckte att det var avslappnande. Hemma var han inte talman i riksdagen, utan Heikkiläs husbonde. *Bild: Poutiainen, P. Kyösti Kallio hemma i Heikkilä i Nivala. Otavamedia. JOKA Journalistik bildarkiv. Museiverket.* *På bilden syns Kyösti Kallio med sitt favoritdjur Hyrrä. Bilden togs för en artikel i Suomen Kuvalehti när Kyösti Kallio blev president 1937. Den nyvalde presidentens bondnära sätt väckte många tankar hos samtidens människor om Kallios jordbrukarbakgrund. Vissa tyckte att bilden var autentisk, andra tyckte inte att bilderna från Heikkilä-gården var tillräckligt värdiga.*a7:T636,## **Art House KATVE (SHADE / BLIND SPOT)** **OPENING HOURS:** - Opening 26.6. at 17 - 27.6.-2.8. Mon-Sun 12-18 - 3.8.-22.8. Mon-Fri 10-18, Sat-Sun 12-18 **Free admission - welcome!** The artist team **MURRR!** will fill the interior of a demolished building in the center of Kalajoki with clay murals, wall art and installations in the summer of 2026. The art house KATVE aims to involve local people: - The murals depict memories and stories collected from the city's residents. - Clay art workshops will be organized in connection with the event. - The main materials for the clay murals are local sand and clay, as well as natural fibers and pigments. Art House KATVE gives a voice to people who are usually not heard, and draws attention to our common built environment, and especially to buildings that will soon be demolished and forgotten. The working group MURRR! does this through wall art and installation. The murals are made using materials and techniques that are environmentally friendly, as they are based on raw materials from nearby nature. The clay mortars and paints used are made on site. This is a traditional technique, clay plastering, which was a typical method of coating interior walls in Finland until the 1940s. MURRR!, or the artist team **Ulla Phillips** and **Jenni Valtakari**. Phillips – artist, ceramic designer and clay builder Valtakari – building restorer and clay builder. The cultural services of the city of Kalajoki are involved in the implementation of the project. The project has received support from the Oulu Cultural Foundation.a8:T636,## **Art House KATVE (SHADE / BLIND SPOT)** **OPENING HOURS:** - Opening 26.6. at 17 - 27.6.-2.8. Mon-Sun 12-18 - 3.8.-22.8. Mon-Fri 10-18, Sat-Sun 12-18 **Free admission - welcome!** The artist team **MURRR!** will fill the interior of a demolished building in the center of Kalajoki with clay murals, wall art and installations in the summer of 2026. The art house KATVE aims to involve local people: - The murals depict memories and stories collected from the city's residents. - Clay art workshops will be organized in connection with the event. - The main materials for the clay murals are local sand and clay, as well as natural fibers and pigments. Art House KATVE gives a voice to people who are usually not heard, and draws attention to our common built environment, and especially to buildings that will soon be demolished and forgotten. The working group MURRR! does this through wall art and installation. The murals are made using materials and techniques that are environmentally friendly, as they are based on raw materials from nearby nature. The clay mortars and paints used are made on site. This is a traditional technique, clay plastering, which was a typical method of coating interior walls in Finland until the 1940s. MURRR!, or the artist team **Ulla Phillips** and **Jenni Valtakari**. Phillips – artist, ceramic designer and clay builder Valtakari – building restorer and clay builder. The cultural services of the city of Kalajoki are involved in the implementation of the project. The project has received support from the Oulu Cultural Foundation.a9:T4ef,## Kalajoki's cultural summer culminates in the Wild Kalajoki - Night of the Arts event, 21–22 August, where you can enjoy art and culture around Kalajoki. **The program will be published in August!** The event is part of the European Capital of Culture year (Oulu2026). The goal of the year is to change the cultural climate, enrich cultural life and bring people together. In Kalajoki, we have brought together local cultural enthusiasts, experts and professionals, of which there are many in Kalajoki, to implement the Night of the Arts. There are new great ideas and an interesting local art and culture program to implement the themes of the European Capital of Culture year '**bravely on the edge**' and '**wildly city'**. Art is good for the soul, and for the entire community! - The Night of the Arts program will be implemented on **Friday 21 August and Saturday 22 August** 2026, mainly in and around the center of Kalajoki. - A digital event map of the program, event locations and schedule will be made here on Atla! - The city event, open to all, is being held in collaboration with the cultural services of the city of Kalajoki, as well as local associations and art and culture actors. - In collaboration with the Oulu Cultural Foundation.aa:T4ef,## Kalajoki's cultural summer culminates in the Wild Kalajoki - Night of the Arts event, 21–22 August, where you can enjoy art and culture around Kalajoki. **The program will be published in August!** The event is part of the European Capital of Culture year (Oulu2026). The goal of the year is to change the cultural climate, enrich cultural life and bring people together. In Kalajoki, we have brought together local cultural enthusiasts, experts and professionals, of which there are many in Kalajoki, to implement the Night of the Arts. There are new great ideas and an interesting local art and culture program to implement the themes of the European Capital of Culture year '**bravely on the edge**' and '**wildly city'**. Art is good for the soul, and for the entire community! - The Night of the Arts program will be implemented on **Friday 21 August and Saturday 22 August** 2026, mainly in and around the center of Kalajoki. - A digital event map of the program, event locations and schedule will be made here on Atla! - The city event, open to all, is being held in collaboration with the cultural services of the city of Kalajoki, as well as local associations and art and culture actors. - In collaboration with the Oulu Cultural Foundation.ab:T7da,## **Christmas melodies from Ireland and Finland - FINÉIRE** **EDEL VAUGHAN & Maija Koskenalusta and Antti Havia** A Christmas concert from the windy moors and northern blizzards, arranged based on the Irish musical tradition. Vocal soloist Edel Vaughan's unique, unforgettable voice and a wide range of instruments create a wonderful, atmospheric musical moment. The concert also includes joint singing moments for the entire church hall. Christmas melodies and songs will be performed by Edel Vaughan from Ireland, Maija Koskenalusta and Antti Havia from Finland. ## A series of three concerts will take place in November 2026 (20.-22.11.2026). - Fri 20.11.2026 at 6:00 PM Kalajoki church - Sat 21.11.2026 at 6:00 PM – Revonlahti church - Sun 22.11.2026 at 4:00 PM - Kempele Old Church **Edel** is a solo artist and singer in the well-known Kilfenora Céilí band. She is especially known as a singer of Irish sean-n\_ó\_s songs and English ballads. In addition to singing, Edel plays various flutes. She also works as an Irish language teacher and is originally from County Clare, on the west coast of Ireland. **Maija** is a composer, arranger and music lecturer. She has studied Irish music at the University of Limerick. She continues to work with Irish musicians on many music projects. Maija has composed and arranged music for plays by the Tampere Workers' Theatre, among others. Maija's instruments include Irish flute, tin whistles, piano and vocals. She was a founding member of the Finnish band Eala, which has been playing Irish music for 16 years. **Antti** is a violinist from Kausti who masters the violin, Irish busuk, guitar and banjo. He is a musician at heart and the band's sharp and precise accompanist. Antti has been a member of Eala since the beginning. Concert duration: approx. 1 hour, no intermission. **The concert series is part of the Church to Church routes Art Program. ** ac:T7da,## **Christmas melodies from Ireland and Finland - FINÉIRE** **EDEL VAUGHAN & Maija Koskenalusta and Antti Havia** A Christmas concert from the windy moors and northern blizzards, arranged based on the Irish musical tradition. Vocal soloist Edel Vaughan's unique, unforgettable voice and a wide range of instruments create a wonderful, atmospheric musical moment. The concert also includes joint singing moments for the entire church hall. Christmas melodies and songs will be performed by Edel Vaughan from Ireland, Maija Koskenalusta and Antti Havia from Finland. ## A series of three concerts will take place in November 2026 (20.-22.11.2026). - Fri 20.11.2026 at 6:00 PM Kalajoki church - Sat 21.11.2026 at 6:00 PM – Revonlahti church - Sun 22.11.2026 at 4:00 PM - Kempele Old Church **Edel** is a solo artist and singer in the well-known Kilfenora Céilí band. She is especially known as a singer of Irish sean-n\_ó\_s songs and English ballads. In addition to singing, Edel plays various flutes. She also works as an Irish language teacher and is originally from County Clare, on the west coast of Ireland. **Maija** is a composer, arranger and music lecturer. She has studied Irish music at the University of Limerick. She continues to work with Irish musicians on many music projects. Maija has composed and arranged music for plays by the Tampere Workers' Theatre, among others. Maija's instruments include Irish flute, tin whistles, piano and vocals. She was a founding member of the Finnish band Eala, which has been playing Irish music for 16 years. **Antti** is a violinist from Kausti who masters the violin, Irish busuk, guitar and banjo. He is a musician at heart and the band's sharp and precise accompanist. Antti has been a member of Eala since the beginning. Concert duration: approx. 1 hour, no intermission. **The concert series is part of the Church to Church routes Art Program. ** ad:T5e2,## RAF - RESONANT STRUCTURES **The events of the Rapid Art Force festival, which consists of top international performers, are art experiences that should not be missed!** ## Performances in the summer of 2026: - **Wed 29.7.** Kalajoki, Maakalla Church at 1 pm - **Fri 31.7.** Kärsämäki, Paanukirkko church at 6 pm - **Sun 2.8. **Vihanti, Lampinsaari Gunnarin Kartano at 4 pm - **Mon 3.8.** Alavieska, Pahkakirkko church at 6 pm - **Tue 4.8**. Kalajoki, Tyngän mylly at 6 pm Rapid Art Force invites you to experience how architecture, landscape and sound form living resonant structures. T he journey takes you from the Bothnian Bay to churches, forests, a mining village and riverbanks, where each place is part of an expanding composition. **Current Sounding Structures lineup:** - **Katalin Károlyi:** Sound • Experimental Presence • Dramatic Resonance - **Li-Chin Li:** Sheng • Architectures of Breath - **Isabel Paladin:** Dance • Choreography • Field Connections - **Dora Pétery**: Sounding Objects • Keyboards • Time Travel - **Clara Qiyun Zhao**: Strings • Resonating Lines - **Anne-Marie O’Farrell:** Harp • Architectures of Listening - **Yuko Takeda:** Ancient Sounds • Theatre • Presence - **Timo Kinnunen:** Extended Composition • Mediation of Resonances • Artistic Direction The project is supported by the Oulu Cultural Foundation and the City of Kalajoki. **The art events are part of the Church to Church routes Art Program. **ae:T5e2,## RAF - RESONANT STRUCTURES **The events of the Rapid Art Force festival, which consists of top international performers, are art experiences that should not be missed!** ## Performances in the summer of 2026: - **Wed 29.7.** Kalajoki, Maakalla Church at 1 pm - **Fri 31.7.** Kärsämäki, Paanukirkko church at 6 pm - **Sun 2.8. **Vihanti, Lampinsaari Gunnarin Kartano at 4 pm - **Mon 3.8.** Alavieska, Pahkakirkko church at 6 pm - **Tue 4.8**. Kalajoki, Tyngän mylly at 6 pm Rapid Art Force invites you to experience how architecture, landscape and sound form living resonant structures. T he journey takes you from the Bothnian Bay to churches, forests, a mining village and riverbanks, where each place is part of an expanding composition. **Current Sounding Structures lineup:** - **Katalin Károlyi:** Sound • Experimental Presence • Dramatic Resonance - **Li-Chin Li:** Sheng • Architectures of Breath - **Isabel Paladin:** Dance • Choreography • Field Connections - **Dora Pétery**: Sounding Objects • Keyboards • Time Travel - **Clara Qiyun Zhao**: Strings • Resonating Lines - **Anne-Marie O’Farrell:** Harp • Architectures of Listening - **Yuko Takeda:** Ancient Sounds • Theatre • Presence - **Timo Kinnunen:** Extended Composition • Mediation of Resonances • Artistic Direction The project is supported by the Oulu Cultural Foundation and the City of Kalajoki. **The art events are part of the Church to Church routes Art Program. **af:T5d3,## Recording of the opening webinar of the From Church to Church Route Link to the webinar recording below. **Program:** - Welcome - Greetings from the Diocese of Oulu / **Juha Rauhala,** Dean of the Diocese - Introduction of the From Church to Church Route / **City of Kalajoki** - A church in the middle of a village. Ecclesiastical building tradition in Northern Ostrobothnia. / **Sari Alajoki, **Building Researcher, Oulu Museum and Science Centre - Church art and object tradition of Northern Ostrobothnia. / **Hanna Pirinen,** PhD, Docent, University Researcher, University of Jyväskylä - The meanings and values of ecclesiastical cultural heritage. / **Saana Tammisto,** Cultural Heritage Expert, Church Board - **Discussion** The Church to Church Route contains digital cultural routes compiled from the history of church building and ecclesiastical cultural heritage in Northern Ostrobothnia. The project is part of the European Capital of Culture Year program and the Oulu2026 program of the city of Kalajoki. The routes have been compiled from the churches of the Oulu Cathedral Deanery, Liminka Deanery and Kalajoki Deanery area. (Not all churches in the area are on the thematic routes, however.) In cooperation with the Diocese of Oulu and the Oulu Cultural Foundation. The Church to Church routes in Atla can be found [here: ](https://atla.fi/fi/oulu2026/kartta/kokoelma/kirkkorakentaminen-ja-kulttuuriperinto-reitiston-yleisesittely#16/65.01468/25.477569)!b0:T5d3,## Recording of the opening webinar of the From Church to Church Route Link to the webinar recording below. **Program:** - Welcome - Greetings from the Diocese of Oulu / **Juha Rauhala,** Dean of the Diocese - Introduction of the From Church to Church Route / **City of Kalajoki** - A church in the middle of a village. Ecclesiastical building tradition in Northern Ostrobothnia. / **Sari Alajoki, **Building Researcher, Oulu Museum and Science Centre - Church art and object tradition of Northern Ostrobothnia. / **Hanna Pirinen,** PhD, Docent, University Researcher, University of Jyväskylä - The meanings and values of ecclesiastical cultural heritage. / **Saana Tammisto,** Cultural Heritage Expert, Church Board - **Discussion** The Church to Church Route contains digital cultural routes compiled from the history of church building and ecclesiastical cultural heritage in Northern Ostrobothnia. The project is part of the European Capital of Culture Year program and the Oulu2026 program of the city of Kalajoki. The routes have been compiled from the churches of the Oulu Cathedral Deanery, Liminka Deanery and Kalajoki Deanery area. (Not all churches in the area are on the thematic routes, however.) In cooperation with the Diocese of Oulu and the Oulu Cultural Foundation. The Church to Church routes in Atla can be found [here: ](https://atla.fi/fi/oulu2026/kartta/kokoelma/kirkkorakentaminen-ja-kulttuuriperinto-reitiston-yleisesittely#16/65.01468/25.477569)!b1:Tb37,## Helena Helisten: Three Minds - art exhibition - **3.3.2026 - 31.3.2026** - **Galleria Kirja, Kalajoki main library (Kalajoentie 1)** I have been making self-portraits for about ten years. In my self-portraits, I have looked at myself as if from the outside. I have depicted my external appearance, but I have also examined the content of my mind and my identity, such as where (in what situation) I am and what is important in life. Most of the works in the Three Minds exhibition depict one figure. The works are mainly oil and ink paintings, but there are also other techniques and sketches. The media itself is not significant to me, but is selected according to the need for expression, the situation and the desire to experiment. The work that gave the exhibition its name has three faces. The face of the figure on the right shows a terrified expression, the one on the left could depict someone striving to please, and the one in the middle has a more stable and peaceful expression. When the work was created, I was preparing for a major life change, and the characters reflected my feelings about the alternatives. Helena Helisten is a visual artist from Oulu. She mainly draws and paints using different materials. In recent years, her method has shifted from oil paints to lighter watercolors and drawing and painting with ink. She uses felt-tip pens and reed pens especially in her personal essays. Helisten has also trained as an occupational therapist (AMK) and a work supervisor (STOry). In addition to her own artistic work, she has worked in these professions and uses creative methods also in supervision and therapy work. When working with the elderly, she develops a method of cultural encounter, in which drawing is used as a means of interaction. (Thanks to the project support from the City of Oulu.) Helena Helisten's solo exhibition in Kalajoki is part of an exhibition series that the Oulun Taiteilijaseura -63 ry. is organizing in Northern Ostrobothnia and Kainuu in 2025–2026 in cooperation with the municipalities in the region. 27 municipalities and artists are participating. The Oulun Taiteilijaseura is a professional organization of visual artists working in Northern Ostrobothnia and Kainuu, and the artists in the exhibitions are members of the association. The works on display in the exhibitions can be purchased from the Arto art lending agency, which specializes in local art. Arto is located in Oulu, but the works borrowed and purchased during the exhibition will be delivered to Kalajoki at the end of the exhibition. A selection of almost 2,000 works by 120 local artists from Northern Ostrobothnia and Kainuu is on offer. The Oulu Artists' Association has received a grant from the New Classics Fund to organize the exhibitions. The exhibition is included in the official Oulu 2026 Capital of Culture program.b2:Tb37,## Helena Helisten: Three Minds - art exhibition - **3.3.2026 - 31.3.2026** - **Galleria Kirja, Kalajoki main library (Kalajoentie 1)** I have been making self-portraits for about ten years. In my self-portraits, I have looked at myself as if from the outside. I have depicted my external appearance, but I have also examined the content of my mind and my identity, such as where (in what situation) I am and what is important in life. Most of the works in the Three Minds exhibition depict one figure. The works are mainly oil and ink paintings, but there are also other techniques and sketches. The media itself is not significant to me, but is selected according to the need for expression, the situation and the desire to experiment. The work that gave the exhibition its name has three faces. The face of the figure on the right shows a terrified expression, the one on the left could depict someone striving to please, and the one in the middle has a more stable and peaceful expression. When the work was created, I was preparing for a major life change, and the characters reflected my feelings about the alternatives. Helena Helisten is a visual artist from Oulu. She mainly draws and paints using different materials. In recent years, her method has shifted from oil paints to lighter watercolors and drawing and painting with ink. She uses felt-tip pens and reed pens especially in her personal essays. Helisten has also trained as an occupational therapist (AMK) and a work supervisor (STOry). In addition to her own artistic work, she has worked in these professions and uses creative methods also in supervision and therapy work. When working with the elderly, she develops a method of cultural encounter, in which drawing is used as a means of interaction. (Thanks to the project support from the City of Oulu.) Helena Helisten's solo exhibition in Kalajoki is part of an exhibition series that the Oulun Taiteilijaseura -63 ry. is organizing in Northern Ostrobothnia and Kainuu in 2025–2026 in cooperation with the municipalities in the region. 27 municipalities and artists are participating. The Oulun Taiteilijaseura is a professional organization of visual artists working in Northern Ostrobothnia and Kainuu, and the artists in the exhibitions are members of the association. The works on display in the exhibitions can be purchased from the Arto art lending agency, which specializes in local art. Arto is located in Oulu, but the works borrowed and purchased during the exhibition will be delivered to Kalajoki at the end of the exhibition. A selection of almost 2,000 works by 120 local artists from Northern Ostrobothnia and Kainuu is on offer. The Oulu Artists' Association has received a grant from the New Classics Fund to organize the exhibitions. The exhibition is included in the official Oulu 2026 Capital of Culture program.b3:T55a,We offer active craft and art workshops in a historical environment for families and tourists during the summer. In the workshops, we respect traditional methods, creatively apply new techniques, reuse old materials and create from completely new materials. We enrich the summer of Kalajoki with crafts and visual arts, also reaching tourists in the area. **WORKSHOPS:** - **Wed 1.7.** at 12.30-14.30 The gentlemen of Havula arrive on horseback to the summer villa; a hobby horse workshop. - **Wed 8.7.** at 12.30-14.30 The gentlemen's hat day in Havula; making headwear. - **Wed 15.7.** at 12.30-14.30 Traveling the world with Miss Hilkka; preparing a crossword puzzle - **Wed 22.7.** at 12:30-14:30 World Travels with Miss Hilkka; creative travel to the countries where Miss Hilkka visited and make a souvenir from the trip. - **Wed 29.7.** at 12:30-14:30 The Havula gentry departs on horseback to the city apartment; a hobby horse workshop ## Havula opening hours: - Museum open **25.6. - 2.8. at 11-17** - Museum café open **25.6.-2.8.** **at 11-17.** - Navetta Gallery exhibition: Riina Sorjonen - The new wings of a butterfly, a photo exhibition about the beauty of imperfection. - Café Gallery exhibition: Art crafts Sirpa Salmu - National costume exhibition **6.7**. **at 15-17** Organizer: Taito Keskipohjanmaa Kalajoki. Photo: Minna Immonen.b4:T55a,We offer active craft and art workshops in a historical environment for families and tourists during the summer. In the workshops, we respect traditional methods, creatively apply new techniques, reuse old materials and create from completely new materials. We enrich the summer of Kalajoki with crafts and visual arts, also reaching tourists in the area. **WORKSHOPS:** - **Wed 1.7.** at 12.30-14.30 The gentlemen of Havula arrive on horseback to the summer villa; a hobby horse workshop. - **Wed 8.7.** at 12.30-14.30 The gentlemen's hat day in Havula; making headwear. - **Wed 15.7.** at 12.30-14.30 Traveling the world with Miss Hilkka; preparing a crossword puzzle - **Wed 22.7.** at 12:30-14:30 World Travels with Miss Hilkka; creative travel to the countries where Miss Hilkka visited and make a souvenir from the trip. - **Wed 29.7.** at 12:30-14:30 The Havula gentry departs on horseback to the city apartment; a hobby horse workshop ## Havula opening hours: - Museum open **25.6. - 2.8. at 11-17** - Museum café open **25.6.-2.8.** **at 11-17.** - Navetta Gallery exhibition: Riina Sorjonen - The new wings of a butterfly, a photo exhibition about the beauty of imperfection. - Café Gallery exhibition: Art crafts Sirpa Salmu - National costume exhibition **6.7**. **at 15-17** Organizer: Taito Keskipohjanmaa Kalajoki. Photo: Minna Immonen.b5:T4c2,**The Kalajoki Book Fair will be held in November 2026, in the spirit of the European Capital of Culture year and as part of the Oulu2026 program.** ## Fri 6.11.2026 - Sat 7.11.2026 - **Kohtaamispaikka Loisto, Matkailutie 312** The event and literary discussions will feature Timo Honkela's work Rauhankone. Other literary themes include Europeanness, cultural climate change, word art, the history and cultural heritage of our region. Friday is a children's and young adult literature theme day, with guest authors and other programs. On Friday, there will be a poetry evening and a stage poetry event, as well as music where lyrics play a role. On Saturday, literary interviews and exhibitors. Based on the book Peace Machine by Emeritus Professor and AI researcher Timo Honkela (1962 - 2020), who hails from Kalajoki, 'Layers of Peace Machine' is a comprehensive work of art by Ekho Collective that combines art and technology and is part of the Oulu2026 program in Oulu. Honkela's work will be discussed at the book fair. Tasting menus, tasting of the restaurant's own beer and wine will be available at the venue's restaurant. **More information about the fair program and tickets will be available later!**b6:T4c2,**The Kalajoki Book Fair will be held in November 2026, in the spirit of the European Capital of Culture year and as part of the Oulu2026 program.** ## Fri 6.11.2026 - Sat 7.11.2026 - **Kohtaamispaikka Loisto, Matkailutie 312** The event and literary discussions will feature Timo Honkela's work Rauhankone. Other literary themes include Europeanness, cultural climate change, word art, the history and cultural heritage of our region. Friday is a children's and young adult literature theme day, with guest authors and other programs. On Friday, there will be a poetry evening and a stage poetry event, as well as music where lyrics play a role. On Saturday, literary interviews and exhibitors. Based on the book Peace Machine by Emeritus Professor and AI researcher Timo Honkela (1962 - 2020), who hails from Kalajoki, 'Layers of Peace Machine' is a comprehensive work of art by Ekho Collective that combines art and technology and is part of the Oulu2026 program in Oulu. Honkela's work will be discussed at the book fair. Tasting menus, tasting of the restaurant's own beer and wine will be available at the venue's restaurant. **More information about the fair program and tickets will be available later!**b7:T522,**From Gallery Walls to Barn Gables** In summer 2025, the Galleria International project was launched, an initiative that brings art directly to people, placing it in unexpected and everyday environments. Oulu-based visual artists Raimo Törhönen and Päivi Pussila are transforming the rural landscape by creating works inspired by Raimo’s barn-themed art and painting them onto barn gables. The concept is simple: find a suitable old barn whose gable faces a road or another area where people pass by. A place where art is not expected, where it can positively surprise a random passerby. Each gable features a five-color composition: minimalist, harmonious tones that blend naturally into their surroundings. There are no figurative elements, no text, no symbols, no graffiti, just pure color and form in dialogue with the landscape. In Raahe, two barns were painted during the project, both selected through a public survey inviting local residents to participate. KetoLato was completed in June 2025 and can be found in Vihanti along Lukkaroistentie Road. LatoLato was completed in July 2025 and can be found in Kopsa along Road 88. The project was carried out in collaboration with Oulu2026, Galleria MABD, artists Raimo Törhönen and Päivi Pussila, and the Cultural Services of the City of Raahe. b8:T4d5,**From Gallery Walls to Barn Gables** In summer 2025, the Galleria International project was launched, an initiative that brings art directly to people, placing it in unexpected and everyday environments. Oulu-based visual artists Raimo Törhönen and Päivi Pussila are transforming the rural landscape by creating works inspired by Raimo’s barn-themed art and painting them onto barn gables. The concept is simple: find a suitable old barn whose gable faces a road or another area where people pass by. A place where art is not expected, where it can positively surprise a random passerby. Each gable features a five-color composition: minimalist, harmonious tones that blend naturally into their surroundings. There are no figurative elements, no text, no symbols, no graffiti, just pure color and form in dialogue with the landscape. In Raahe, two barns were painted during the project, both selected through a public survey inviting local residents to participate. KetoLato was completed in June 2025 and can be found in Vihanti along Lukkaroistentie Road. The project was carried out in collaboration with Oulu2026, Galleria MABD, artists Raimo Törhönen and Päivi Pussila, and the Cultural Services of the City of Raahe. b9:T4d5,**From Gallery Walls to Barn Gables** In summer 2025, the Galleria International project was launched, an initiative that brings art directly to people, placing it in unexpected and everyday environments. Oulu-based visual artists Raimo Törhönen and Päivi Pussila are transforming the rural landscape by creating works inspired by Raimo’s barn-themed art and painting them onto barn gables. The concept is simple: find a suitable old barn whose gable faces a road or another area where people pass by. A place where art is not expected, where it can positively surprise a random passerby. Each gable features a five-color composition: minimalist, harmonious tones that blend naturally into their surroundings. There are no figurative elements, no text, no symbols, no graffiti, just pure color and form in dialogue with the landscape. In Raahe, two barns were painted during the project, both selected through a public survey inviting local residents to participate. KetoLato was completed in June 2025 and can be found in Vihanti along Lukkaroistentie Road. The project was carried out in collaboration with Oulu2026, Galleria MABD, artists Raimo Törhönen and Päivi Pussila, and the Cultural Services of the City of Raahe. ba:T4fe,**From Gallery Walls to Barn Gables** In summer 2025, the Galleria International project was launched, an initiative that brings art directly to people, placing it in unexpected and everyday surroundings. Oulu-based visual artists Raimo Törhönen and Päivi Pussila are transforming rural landscapes by painting barn gables with works inspired by Raimo’s barn-themed art. The idea is beautifully simple: find an old barn whose gable faces a road or another area where people pass by. A place where art is not expected, where it can surprise a passerby and brighten their day. Each barn gable is painted with a five-color composition. The result is minimalist and harmonious, with natural tones that blend effortlessly into the surrounding environment. There are no figurative elements, no text, no symbols, no graffiti, just pure color and form in dialogue with the landscape. In Raahe, two barns were painted during the project. Both locations were selected through a public survey inviting local residents to participate. LatoLato was completed in July 2025 and can be found in Kopsa along Road 88. The project was carried out in collaboration with Oulu2026, Galleria MABD, artists Raimo Törhönen and Päivi Pussila, and the Cultural Services of the City of Raahe. bb:T4fe,**From Gallery Walls to Barn Gables** In summer 2025, the Galleria International project was launched, an initiative that brings art directly to people, placing it in unexpected and everyday surroundings. Oulu-based visual artists Raimo Törhönen and Päivi Pussila are transforming rural landscapes by painting barn gables with works inspired by Raimo’s barn-themed art. The idea is beautifully simple: find an old barn whose gable faces a road or another area where people pass by. A place where art is not expected, where it can surprise a passerby and brighten their day. Each barn gable is painted with a five-color composition. The result is minimalist and harmonious, with natural tones that blend effortlessly into the surrounding environment. There are no figurative elements, no text, no symbols, no graffiti, just pure color and form in dialogue with the landscape. In Raahe, two barns were painted during the project. Both locations were selected through a public survey inviting local residents to participate. LatoLato was completed in July 2025 and can be found in Kopsa along Road 88. The project was carried out in collaboration with Oulu2026, Galleria MABD, artists Raimo Törhönen and Päivi Pussila, and the Cultural Services of the City of Raahe. bc:T522,**From Gallery Walls to Barn Gables** In summer 2025, the Galleria International project was launched, an initiative that brings art directly to people, placing it in unexpected and everyday environments. Oulu-based visual artists Raimo Törhönen and Päivi Pussila are transforming the rural landscape by creating works inspired by Raimo’s barn-themed art and painting them onto barn gables. The concept is simple: find a suitable old barn whose gable faces a road or another area where people pass by. A place where art is not expected, where it can positively surprise a random passerby. Each gable features a five-color composition: minimalist, harmonious tones that blend naturally into their surroundings. There are no figurative elements, no text, no symbols, no graffiti, just pure color and form in dialogue with the landscape. In Raahe, two barns were painted during the project, both selected through a public survey inviting local residents to participate. KetoLato was completed in June 2025 and can be found in Vihanti along Lukkaroistentie Road. LatoLato was completed in July 2025 and can be found in Kopsa along Road 88. The project was carried out in collaboration with Oulu2026, Galleria MABD, artists Raimo Törhönen and Päivi Pussila, and the Cultural Services of the City of Raahe. bd:T544,**Stepping into Old Town Raahe is like a journey back to the 19th century.** Old Town Raahe (*Wanha Raahe*) is one of the best-preserved 19th-century wooden towns in Finland. It is not a museum area but a living neighborhood that tells the story of the city’s construction and everyday life, from centuries past to the present day. In Old Town Raahe, you’ll find about 150 historic residential houses and a couple of hundred outbuildings. At the heart of Old Town Raahe lies **Pekkatori Square**, internationally recognized as the best-preserved town square among Finland’s wooden towns. In its center stands a statue of Count Per Brahe, the founder of Raahe, affectionately known to the townspeople as Pekka. In Old Town Raahe, you’ll also find a well-known landmark: **the longest wall in Finland**! Since 2017, the title *House and Milieu of the Year in Old town Raahe* has been awarded to noteworthy sites. Starting in 2026, the recognition will also honor actions and phenomena. It is a tribute to deeds, events, and buildings that enrich the historic wooden town—keeping its spirit, culture, and community alive. The recognitions are presented annually at the "[**Pooki Flakkaa" Raahe Maritime Festival**](https://raahe.fi/en/raahe-maritime-festival), this year July 10–11. [Read more](https://visitraahe.fi/en/oldtownraahe) be:T510,**Stepping into Old Town Raahe is like a journey back to the 19th century.** Old Town Raahe (*Wanha Raahe*) is one of the best-preserved 19th-century wooden towns in Finland. It is not a museum area but a living neighborhood that tells the story of the city’s construction and everyday life, from centuries past to the present day. In Old Town Raahe, you’ll find about 150 historic residential houses and a couple of hundred outbuildings. At the heart of Old Town Raahe lies **Pekkatori Square**, internationally recognized as the best-preserved town square among Finland’s wooden towns. In its center stands a statue of Count Per Brahe, the founder of Raahe, affectionately known to the townspeople as Pekka. In Old Town Raahe, you’ll also find a well-known landmark: **the longest wall in Finland**! Since 2017, the title *House and Milieu of the Year in Old town Raahe* has been awarded to noteworthy sites. Starting in 2026, the recognition will also honor actions and phenomena. It is a tribute to deeds, events, and buildings that enrich the historic wooden town—keeping its spirit, culture, and community alive. The recognitions are presented annually at the "[**Pooki Flakkaa" Raahe Maritime Festival**](https://raahe.fi/en/raahe-maritime-festival), this year July 10–11. bf:T510,**Stepping into Old Town Raahe is like a journey back to the 19th century.** Old Town Raahe (*Wanha Raahe*) is one of the best-preserved 19th-century wooden towns in Finland. It is not a museum area but a living neighborhood that tells the story of the city’s construction and everyday life, from centuries past to the present day. In Old Town Raahe, you’ll find about 150 historic residential houses and a couple of hundred outbuildings. At the heart of Old Town Raahe lies **Pekkatori Square**, internationally recognized as the best-preserved town square among Finland’s wooden towns. In its center stands a statue of Count Per Brahe, the founder of Raahe, affectionately known to the townspeople as Pekka. In Old Town Raahe, you’ll also find a well-known landmark: **the longest wall in Finland**! Since 2017, the title *House and Milieu of the Year in Old town Raahe* has been awarded to noteworthy sites. Starting in 2026, the recognition will also honor actions and phenomena. It is a tribute to deeds, events, and buildings that enrich the historic wooden town—keeping its spirit, culture, and community alive. The recognitions are presented annually at the "[**Pooki Flakkaa" Raahe Maritime Festival**](https://raahe.fi/en/raahe-maritime-festival), this year July 10–11. c0:T544,**Stepping into Old Town Raahe is like a journey back to the 19th century.** Old Town Raahe (*Wanha Raahe*) is one of the best-preserved 19th-century wooden towns in Finland. It is not a museum area but a living neighborhood that tells the story of the city’s construction and everyday life, from centuries past to the present day. In Old Town Raahe, you’ll find about 150 historic residential houses and a couple of hundred outbuildings. At the heart of Old Town Raahe lies **Pekkatori Square**, internationally recognized as the best-preserved town square among Finland’s wooden towns. In its center stands a statue of Count Per Brahe, the founder of Raahe, affectionately known to the townspeople as Pekka. In Old Town Raahe, you’ll also find a well-known landmark: **the longest wall in Finland**! Since 2017, the title *House and Milieu of the Year in Old town Raahe* has been awarded to noteworthy sites. Starting in 2026, the recognition will also honor actions and phenomena. It is a tribute to deeds, events, and buildings that enrich the historic wooden town—keeping its spirit, culture, and community alive. The recognitions are presented annually at the "[**Pooki Flakkaa" Raahe Maritime Festival**](https://raahe.fi/en/raahe-maritime-festival), this year July 10–11. [Read more](https://visitraahe.fi/en/oldtownraahe) c1:T49a,**Discover Raahe Through Its Statues!** Set off on a self-guided walk to explore Raahe’s statues and sculptures! The artworks in the city centre are all within easy walking distance, making it simple to discover them at your own pace. In addition to its individual statues and sculptures, Raahe is home to two remarkable sculpture parks in the city centre: the **Kari Juva Sculpture Park** and the **Lepistö's Cosmos Art Park**, which opened in June 2026. Both parks are conveniently located just a short walk from Raahe's Main Library and the Town Hall, making them easy to include in your visit. For a deeper experience, join a guided walking tour with the Raahe Tourist Guides and uncover the fascinating stories behind the statues. Along the way, you'll learn about Raahe’s rich maritime heritage, remarkable local personalities, and the events that have shaped the city's history. New for 2026, a dedicated **Statue Tour** focuses entirely on the statues and the stories they tell. During the summer season, regular guaranteed-departure tours are available, and private tours can also be booked for groups. [Read more](https://www.raahenmatkailuoppaat.fi/in-english)c2:T8e2,In 2025, the City of Raahe acquired the extraordinary sculpture park of self-taught artist Matti Lepistö as part of its cultural heritage collection. Located in Pattijoki on Mansikkakarintie, the original park features hundreds of unique sculptures that showcase Lepistö’s boundless imagination and distinctive artistic vision. Now, visitors can experience a captivating introduction to this remarkable world at Matti’s Cosmos, a new sculpture park opened in June 2026 near the Raahe Main Library. Designed as a “taste” of Lepistö’s extensive body of work, the park presents a carefully curated selection of sculptures that highlight both the richness of his themes and the playful creativity that delights visitors of all ages – especially children, thanks to the nearby playground. **History** Matti Lepistö (1948–2020) was an outsider artist from Pattijoki, known for his concrete sculptures that are imaginatively rich in their topics. Lepistö displayed his sculptures at his home yard in Mansikkakari, Pattijoki, where he had over 250 large concrete sculptures on the lawn field. Most of the sculptures are still presented in the original park. Lepistö was a textbook example of an outsider artist – a doer, who creates art within their own living environment and whose art reflects their own culture and experiences. Outsider art is also characterized by being self-taught and that the techniques are unique to their makers. This was also the case with Lepistö; by profession, Lepistö was a machinist. Lepistö’s passion for sculpting ignited during an adult education course in the 1980s, and this led to a lifelong career creating individual art. Lepistö left his work as a machinist in the 1990s and, in his own words, became a full-time "starving artist." He developed his own sculpting technique for his sculptures. He made an iron skeleton inside the sculptures, on top of which he placed polystyrene foam and chicken wire as filling. He mixed the concrete with a gut feeling so that it was easy to shape. He earned his living by selling and exhibiting his sculptures and by drawing and painting portraits. In addition to sculpting, Lepistö also drew, painted, did glasswork, and wrote. He was also an enthusiastic photographer.c3:T8e2,In 2025, the City of Raahe acquired the extraordinary sculpture park of self-taught artist Matti Lepistö as part of its cultural heritage collection. Located in Pattijoki on Mansikkakarintie, the original park features hundreds of unique sculptures that showcase Lepistö’s boundless imagination and distinctive artistic vision. Now, visitors can experience a captivating introduction to this remarkable world at Matti’s Cosmos, a new sculpture park opened in June 2026 near the Raahe Main Library. Designed as a “taste” of Lepistö’s extensive body of work, the park presents a carefully curated selection of sculptures that highlight both the richness of his themes and the playful creativity that delights visitors of all ages – especially children, thanks to the nearby playground. **History** Matti Lepistö (1948–2020) was an outsider artist from Pattijoki, known for his concrete sculptures that are imaginatively rich in their topics. Lepistö displayed his sculptures at his home yard in Mansikkakari, Pattijoki, where he had over 250 large concrete sculptures on the lawn field. Most of the sculptures are still presented in the original park. Lepistö was a textbook example of an outsider artist – a doer, who creates art within their own living environment and whose art reflects their own culture and experiences. Outsider art is also characterized by being self-taught and that the techniques are unique to their makers. This was also the case with Lepistö; by profession, Lepistö was a machinist. Lepistö’s passion for sculpting ignited during an adult education course in the 1980s, and this led to a lifelong career creating individual art. Lepistö left his work as a machinist in the 1990s and, in his own words, became a full-time "starving artist." He developed his own sculpting technique for his sculptures. He made an iron skeleton inside the sculptures, on top of which he placed polystyrene foam and chicken wire as filling. He mixed the concrete with a gut feeling so that it was easy to shape. He earned his living by selling and exhibiting his sculptures and by drawing and painting portraits. In addition to sculpting, Lepistö also drew, painted, did glasswork, and wrote. He was also an enthusiastic photographer.c4:T49a,**Discover Raahe Through Its Statues!** Set off on a self-guided walk to explore Raahe’s statues and sculptures! The artworks in the city centre are all within easy walking distance, making it simple to discover them at your own pace. In addition to its individual statues and sculptures, Raahe is home to two remarkable sculpture parks in the city centre: the **Kari Juva Sculpture Park** and the **Lepistö's Cosmos Art Park**, which opened in June 2026. Both parks are conveniently located just a short walk from Raahe's Main Library and the Town Hall, making them easy to include in your visit. For a deeper experience, join a guided walking tour with the Raahe Tourist Guides and uncover the fascinating stories behind the statues. Along the way, you'll learn about Raahe’s rich maritime heritage, remarkable local personalities, and the events that have shaped the city's history. New for 2026, a dedicated **Statue Tour** focuses entirely on the statues and the stories they tell. During the summer season, regular guaranteed-departure tours are available, and private tours can also be booked for groups. [Read more](https://www.raahenmatkailuoppaat.fi/in-english)c5:T425,Musicians and watercraft will travel the entire Pyhäjoki from Lake Pyhäjärvi to the sea 10.-14.7.2026. The five-day Soiva joki event will sail the entire river from Lake Pyhäjärvi to the sea. A group of international musicians and other artists, the Rapid Art Force, will play on a boat that will also stop in the villages along the river to perform. Village associations will organize their own events on the shore (including meals and pop-up cafes). Finally, at the confluence of the river and the sea, musicians will improvise a soundscape suitable for the location. At the same time, after a break of years, the Pyhäjoki canoeing event will be held. All citizens are encouraged to get out on the water in various boats or even stand-up paddleboards and even make music at the same time. The 166-kilometer journey will accommodate six municipalities connected by the river. At the same time, you can also explore the Jokikylä-Ruhkala mini art gallery. In co-operation with Jokikylä-Ruhkala village association, cultural services, sports services. c6:T425,Musicians and watercraft will travel the entire Pyhäjoki from Lake Pyhäjärvi to the sea 10.-14.7.2026. The five-day Soiva joki event will sail the entire river from Lake Pyhäjärvi to the sea. A group of international musicians and other artists, the Rapid Art Force, will play on a boat that will also stop in the villages along the river to perform. Village associations will organize their own events on the shore (including meals and pop-up cafes). Finally, at the confluence of the river and the sea, musicians will improvise a soundscape suitable for the location. At the same time, after a break of years, the Pyhäjoki canoeing event will be held. All citizens are encouraged to get out on the water in various boats or even stand-up paddleboards and even make music at the same time. The 166-kilometer journey will accommodate six municipalities connected by the river. At the same time, you can also explore the Jokikylä-Ruhkala mini art gallery. In co-operation with Jokikylä-Ruhkala village association, cultural services, sports services. c7:T4b1,The work *Olet tässä (You Are Here) *consists of two spheres suspended in the air and several circular ‘viewing windows’ into the landscape. The title refers to the symbol used to help locate oneself on a map, often marked with a round shape. In the work, the round shape has been transposed straight into nature. Laitinen’s artwork is characterised, as the central motif in his work, by humorous human intervention in nature, often with unpredictable results. Often his work acts as a performance, for example creating a tree which is sawn apart and then reassembled as though a puppet, or rowing an island shaped boat with a very small palm tree on it down the River Thames. In this work he has created playful circular viewing windows formed by twisting branches to frame the surrounding landscape; giving new focus on the beauty of Koiteli’s nature, alongside two giant lichen covered spheres. The viewing windows are human interventions in a natural landscape, like pleasant disruptions. The spheres turn in the wind like pendulums: living instruments of time. The works are located in several viewing points around Koitelinkoski. Photos: Maija Toivanen/Oulu2026 ,Rosa Ruuskanenc8:T4b1,The work *Olet tässä (You Are Here) *consists of two spheres suspended in the air and several circular ‘viewing windows’ into the landscape. The title refers to the symbol used to help locate oneself on a map, often marked with a round shape. In the work, the round shape has been transposed straight into nature. Laitinen’s artwork is characterised, as the central motif in his work, by humorous human intervention in nature, often with unpredictable results. Often his work acts as a performance, for example creating a tree which is sawn apart and then reassembled as though a puppet, or rowing an island shaped boat with a very small palm tree on it down the River Thames. In this work he has created playful circular viewing windows formed by twisting branches to frame the surrounding landscape; giving new focus on the beauty of Koiteli’s nature, alongside two giant lichen covered spheres. The viewing windows are human interventions in a natural landscape, like pleasant disruptions. The spheres turn in the wind like pendulums: living instruments of time. The works are located in several viewing points around Koitelinkoski. Photos: Maija Toivanen/Oulu2026 ,Rosa Ruuskanenc9:T443,As we face climate change, what letters might heaven be sending us? Takahiro Iwasaki plays with scale, his playful and humorous sculptures often make giant pylons and enormous cranes into miniature objects, creating fantastical landscapes including oil fields and detailed small scale models. Other examples of his work include creating a hanging sculpture of Japan’s famous Itsukushima Shrine, where his symmetrical work is both the shrine and its reflection. For *Climate Clock* he has also played with scale; working with local carpenters Kari Korpela and Pirjo Korpela to craft an oversized tar barrel. Referencing the annual tar festival next to the site of his sculpture beside the River Kiiminkijoki. Whilst visiting Ylikiiminki he was struck both by the local church and the enormous quantity of snow which distorts the view across the landscape, burying benches, trees and completely covering the river. Iwasaki has often referenced architecture in his work and Ylikiiminki church was designed by Jacob Rijf, one of Finland’s most renowned historical neoclassical architects.ca:T443,As we face climate change, what letters might heaven be sending us? Takahiro Iwasaki plays with scale, his playful and humorous sculptures often make giant pylons and enormous cranes into miniature objects, creating fantastical landscapes including oil fields and detailed small scale models. Other examples of his work include creating a hanging sculpture of Japan’s famous Itsukushima Shrine, where his symmetrical work is both the shrine and its reflection. For *Climate Clock* he has also played with scale; working with local carpenters Kari Korpela and Pirjo Korpela to craft an oversized tar barrel. Referencing the annual tar festival next to the site of his sculpture beside the River Kiiminkijoki. Whilst visiting Ylikiiminki he was struck both by the local church and the enormous quantity of snow which distorts the view across the landscape, burying benches, trees and completely covering the river. Iwasaki has often referenced architecture in his work and Ylikiiminki church was designed by Jacob Rijf, one of Finland’s most renowned historical neoclassical architects.cb:T538,Ranti Bam works primarily with clay, a material she understands as a living entity —responsive, impressionable, and shaped by time. Her work is titled ‘*Ilé-Ìlá: A Place That Remembers*’, which is fitting for its setting of Kierikki Stone Age Centre. In this northern terrain, clay becomes shared ground; a reminder that humans and landscapes are materially entangled, and that how we hold the Earth shapes what remains. Bam forms the shapes of her clay vessels through the pressure of her own body and her sculptures retain the marks of making, becoming intimate hearths and quiet sites of reflection, where the everyday and the sacred meet. Drawing on her Yoruba heritage, the works articulate a dialogue between material and spirit, endurance and fragility. Encountering Stone Age ceramic shards inside the Museum displays deepened Bam’s inquiry into the traces we leave behind. The fragments, marked by hands long gone, revealed clay as archive and witness, a substance that carries memory across generations. Kierikki embodies deep time; its archeologists described how they found Stone Age people’s finger prints in the clay. Affirming her understanding of ceramics as a vessel for both presence and absence. Materials used in the artwork are Black Stoneware clay & Douglas Fir wood. Photo: Maija Toivonen/Oulu2026 cc:T538,Ranti Bam works primarily with clay, a material she understands as a living entity —responsive, impressionable, and shaped by time. Her work is titled ‘*Ilé-Ìlá: A Place That Remembers*’, which is fitting for its setting of Kierikki Stone Age Centre. In this northern terrain, clay becomes shared ground; a reminder that humans and landscapes are materially entangled, and that how we hold the Earth shapes what remains. Bam forms the shapes of her clay vessels through the pressure of her own body and her sculptures retain the marks of making, becoming intimate hearths and quiet sites of reflection, where the everyday and the sacred meet. Drawing on her Yoruba heritage, the works articulate a dialogue between material and spirit, endurance and fragility. Encountering Stone Age ceramic shards inside the Museum displays deepened Bam’s inquiry into the traces we leave behind. The fragments, marked by hands long gone, revealed clay as archive and witness, a substance that carries memory across generations. Kierikki embodies deep time; its archeologists described how they found Stone Age people’s finger prints in the clay. Affirming her understanding of ceramics as a vessel for both presence and absence. Materials used in the artwork are Black Stoneware clay & Douglas Fir wood. Photo: Maija Toivonen/Oulu2026 cd:T629,For Climate Clock, Gabriel Kuri transforms a familiar urban underpass and road side into a terrain of climate risk, with ordinary lampposts, benches and rocks added into the landscape to create new street furniture and painted in the exact green, orange and red hues of a risk assessment chart. This artwork draws on Kuri’s interest in objects and spaces that explore human relationships to everyday things. He integrates elements of the familiar into his collages and sculptures. For example, waste products such as plastic bags, advertising flyers, receipts and tickets. The objects are brought together in unexpected ways such as socks set next to stones. The intervention in the urban landscape draws on elevations (heights of the ground) on the two opposing sides of a highway in Oulunsalo, connected by an underpass. Consisting of rows of functioning lamp posts, boulders horizontally halved and reconstituted, it draws its materials and shapes from existing street furniture. Lampposts and rocks are painted with a horizontal colour gradient corresponding to their precise height relating to green (low risk), yellow (low medium risk) , orange (higher medium risk) and red (high risk). The risk assessment chart is recognised everywhere and used across the world; with so-called cold colours at the bottom representing low risk, rising towards the high risk hot tones. It is used in any human activity involving forecasting the future: demography, weather forecasting, credit, insurance and other social activities. Photos: Maija Toivonen/Oulu2026, Rosa Ruuskanen ce:T629,For Climate Clock, Gabriel Kuri transforms a familiar urban underpass and road side into a terrain of climate risk, with ordinary lampposts, benches and rocks added into the landscape to create new street furniture and painted in the exact green, orange and red hues of a risk assessment chart. This artwork draws on Kuri’s interest in objects and spaces that explore human relationships to everyday things. He integrates elements of the familiar into his collages and sculptures. For example, waste products such as plastic bags, advertising flyers, receipts and tickets. The objects are brought together in unexpected ways such as socks set next to stones. The intervention in the urban landscape draws on elevations (heights of the ground) on the two opposing sides of a highway in Oulunsalo, connected by an underpass. Consisting of rows of functioning lamp posts, boulders horizontally halved and reconstituted, it draws its materials and shapes from existing street furniture. Lampposts and rocks are painted with a horizontal colour gradient corresponding to their precise height relating to green (low risk), yellow (low medium risk) , orange (higher medium risk) and red (high risk). The risk assessment chart is recognised everywhere and used across the world; with so-called cold colours at the bottom representing low risk, rising towards the high risk hot tones. It is used in any human activity involving forecasting the future: demography, weather forecasting, credit, insurance and other social activities. Photos: Maija Toivonen/Oulu2026, Rosa Ruuskanen cf:T5a6,## Welcome to the Church to Church -routes' events! There will be concerts, participatory visual arts and craft workshops, lectures and other programs suitable for the theme, in collaboration with the parishes. Read more from the Oulu2026 event calendar [here!](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd) **This route allows you to browse upcoming events, venues, and experience the art program virtually in video format!** **Art program 2026:** - **Virtual: Church to Church routes opening webinar 20.3.** - **Multiple churches:** RAF Rapid Art Force - multi-arts concerts 24.7. - 4.8. - **Liminka church:** Liminka church 200th anniversary festive week 21. - 27.9. - **Kalajoki, Revonlahti and Kempele church:** Christmas melodies from Ireland and Finland, 20.11. - 22.11. And more to come! **Videotallenteita taideohjelmasta:** - **Maakallan kirkko** / Chorus Vallis - Ihanat on asuinsijasi - **Purjehdusmatka Maakallan kirkkoon** / Chorus Vallis - The Seal Lullaby - **Jokelan pappila** / Palava kynttilä - monologinäytelmä Yhteistyössä Oulun hiippakunta, Oulun tuomiorovastikunta, Limingan rovastikunta ja Kalajoen rovastikunta sekä alueen seurakunnat, Kalajoen kaupunki ja Oulun kulttuurisäätiö. Alueellinen reitistö ja taideohjelma ovat osa Kalajoen kaupungin Oulu2026 -ohjelmaa kulttuuripääkaupunkivuonna. d0:T5d3,## Recording of the opening webinar of the From Church to Church Route Link to the webinar recording below. **Program:** - Welcome - Greetings from the Diocese of Oulu / **Juha Rauhala,** Dean of the Diocese - Introduction of the From Church to Church Route / **City of Kalajoki** - A church in the middle of a village. Ecclesiastical building tradition in Northern Ostrobothnia. / **Sari Alajoki, **Building Researcher, Oulu Museum and Science Centre - Church art and object tradition of Northern Ostrobothnia. / **Hanna Pirinen,** PhD, Docent, University Researcher, University of Jyväskylä - The meanings and values of ecclesiastical cultural heritage. / **Saana Tammisto,** Cultural Heritage Expert, Church Board - **Discussion** The Church to Church Route contains digital cultural routes compiled from the history of church building and ecclesiastical cultural heritage in Northern Ostrobothnia. The project is part of the European Capital of Culture Year program and the Oulu2026 program of the city of Kalajoki. The routes have been compiled from the churches of the Oulu Cathedral Deanery, Liminka Deanery and Kalajoki Deanery area. (Not all churches in the area are on the thematic routes, however.) In cooperation with the Diocese of Oulu and the Oulu Cultural Foundation. The Church to Church routes in Atla can be found [here: ](https://atla.fi/fi/oulu2026/kartta/kokoelma/kirkkorakentaminen-ja-kulttuuriperinto-reitiston-yleisesittely#16/65.01468/25.477569)!d1:T5d3,## Recording of the opening webinar of the From Church to Church Route Link to the webinar recording below. **Program:** - Welcome - Greetings from the Diocese of Oulu / **Juha Rauhala,** Dean of the Diocese - Introduction of the From Church to Church Route / **City of Kalajoki** - A church in the middle of a village. Ecclesiastical building tradition in Northern Ostrobothnia. / **Sari Alajoki, **Building Researcher, Oulu Museum and Science Centre - Church art and object tradition of Northern Ostrobothnia. / **Hanna Pirinen,** PhD, Docent, University Researcher, University of Jyväskylä - The meanings and values of ecclesiastical cultural heritage. / **Saana Tammisto,** Cultural Heritage Expert, Church Board - **Discussion** The Church to Church Route contains digital cultural routes compiled from the history of church building and ecclesiastical cultural heritage in Northern Ostrobothnia. The project is part of the European Capital of Culture Year program and the Oulu2026 program of the city of Kalajoki. The routes have been compiled from the churches of the Oulu Cathedral Deanery, Liminka Deanery and Kalajoki Deanery area. (Not all churches in the area are on the thematic routes, however.) In cooperation with the Diocese of Oulu and the Oulu Cultural Foundation. The Church to Church routes in Atla can be found [here: ](https://atla.fi/fi/oulu2026/kartta/kokoelma/kirkkorakentaminen-ja-kulttuuriperinto-reitiston-yleisesittely#16/65.01468/25.477569)!d2:T7da,## **Christmas melodies from Ireland and Finland - FINÉIRE** **EDEL VAUGHAN & Maija Koskenalusta and Antti Havia** A Christmas concert from the windy moors and northern blizzards, arranged based on the Irish musical tradition. Vocal soloist Edel Vaughan's unique, unforgettable voice and a wide range of instruments create a wonderful, atmospheric musical moment. The concert also includes joint singing moments for the entire church hall. Christmas melodies and songs will be performed by Edel Vaughan from Ireland, Maija Koskenalusta and Antti Havia from Finland. ## A series of three concerts will take place in November 2026 (20.-22.11.2026). - Fri 20.11.2026 at 6:00 PM Kalajoki church - Sat 21.11.2026 at 6:00 PM – Revonlahti church - Sun 22.11.2026 at 4:00 PM - Kempele Old Church **Edel** is a solo artist and singer in the well-known Kilfenora Céilí band. She is especially known as a singer of Irish sean-n\_ó\_s songs and English ballads. In addition to singing, Edel plays various flutes. She also works as an Irish language teacher and is originally from County Clare, on the west coast of Ireland. **Maija** is a composer, arranger and music lecturer. She has studied Irish music at the University of Limerick. She continues to work with Irish musicians on many music projects. Maija has composed and arranged music for plays by the Tampere Workers' Theatre, among others. Maija's instruments include Irish flute, tin whistles, piano and vocals. She was a founding member of the Finnish band Eala, which has been playing Irish music for 16 years. **Antti** is a violinist from Kausti who masters the violin, Irish busuk, guitar and banjo. He is a musician at heart and the band's sharp and precise accompanist. Antti has been a member of Eala since the beginning. Concert duration: approx. 1 hour, no intermission. **The concert series is part of the Church to Church routes Art Program. ** d3:T7da,## **Christmas melodies from Ireland and Finland - FINÉIRE** **EDEL VAUGHAN & Maija Koskenalusta and Antti Havia** A Christmas concert from the windy moors and northern blizzards, arranged based on the Irish musical tradition. Vocal soloist Edel Vaughan's unique, unforgettable voice and a wide range of instruments create a wonderful, atmospheric musical moment. The concert also includes joint singing moments for the entire church hall. Christmas melodies and songs will be performed by Edel Vaughan from Ireland, Maija Koskenalusta and Antti Havia from Finland. ## A series of three concerts will take place in November 2026 (20.-22.11.2026). - Fri 20.11.2026 at 6:00 PM Kalajoki church - Sat 21.11.2026 at 6:00 PM – Revonlahti church - Sun 22.11.2026 at 4:00 PM - Kempele Old Church **Edel** is a solo artist and singer in the well-known Kilfenora Céilí band. She is especially known as a singer of Irish sean-n\_ó\_s songs and English ballads. In addition to singing, Edel plays various flutes. She also works as an Irish language teacher and is originally from County Clare, on the west coast of Ireland. **Maija** is a composer, arranger and music lecturer. She has studied Irish music at the University of Limerick. She continues to work with Irish musicians on many music projects. Maija has composed and arranged music for plays by the Tampere Workers' Theatre, among others. Maija's instruments include Irish flute, tin whistles, piano and vocals. She was a founding member of the Finnish band Eala, which has been playing Irish music for 16 years. **Antti** is a violinist from Kausti who masters the violin, Irish busuk, guitar and banjo. He is a musician at heart and the band's sharp and precise accompanist. Antti has been a member of Eala since the beginning. Concert duration: approx. 1 hour, no intermission. **The concert series is part of the Church to Church routes Art Program. ** d4:T7ea,## **Christmas melodies from Ireland and Finland ** **EDEL VAUGHAN & Maija Koskenalusta and Antti Havia ** A Christmas concert from the windy moors and northern blizzards, arranged based on the Irish musical tradition. Vocal soloist Edel Vaughan's unique, unforgettable voice and a wide range of instruments create a wonderful, atmospheric musical moment. The concert also includes joint singing moments for the entire church hall. Christmas melodies and songs will be performed by Edel Vaughan from Ireland, Maija Koskenalusta and Antti Havia from Finland. ## A series of three concerts will take place in November 2026 (20.-22.11.2026). - Fri 20.11.2026 at 6:00 PM Kalajoki church - **Sat 21.11.2026 at 6:00 PM – Revonlahti church ** - Sun 22.11.2026 at 4:00 PM - Kempele Old Church **Edel** is a solo artist and singer in the well-known Kilfenora Céilí band. She is especially known as a singer of Irish sean-n\_ó\_s songs and English ballads. In addition to singing, Edel plays various flutes. She also works as an Irish language teacher and is originally from County Clare, on the west coast of Ireland. **Maija** is a composer, arranger and music lecturer. She has studied Irish music at the University of Limerick. She continues to work with Irish musicians on many music projects. Maija has composed and arranged music for plays by the Tampere Workers' Theatre, among others. Maija's instruments include Irish flute, tin whistles, piano and vocals. She was a founding member of the Finnish band Eala, which has been playing Irish music for 16 years. **Antti** is a violinist from Kausti who masters the violin, Irish busuk, guitar and banjo. He is a musician at heart and the band's sharp and precise accompanist. Antti has been a member of Eala since the beginning. Concert duration: approx. 1 hour, no intermission. **The concert series is part of the Church to Church routes Art Program. **d5:T7ea,## **Christmas melodies from Ireland and Finland ** **EDEL VAUGHAN & Maija Koskenalusta and Antti Havia ** A Christmas concert from the windy moors and northern blizzards, arranged based on the Irish musical tradition. Vocal soloist Edel Vaughan's unique, unforgettable voice and a wide range of instruments create a wonderful, atmospheric musical moment. The concert also includes joint singing moments for the entire church hall. Christmas melodies and songs will be performed by Edel Vaughan from Ireland, Maija Koskenalusta and Antti Havia from Finland. ## A series of three concerts will take place in November 2026 (20.-22.11.2026). - Fri 20.11.2026 at 6:00 PM Kalajoki church - **Sat 21.11.2026 at 6:00 PM – Revonlahti church ** - Sun 22.11.2026 at 4:00 PM - Kempele Old Church **Edel** is a solo artist and singer in the well-known Kilfenora Céilí band. She is especially known as a singer of Irish sean-n\_ó\_s songs and English ballads. In addition to singing, Edel plays various flutes. She also works as an Irish language teacher and is originally from County Clare, on the west coast of Ireland. **Maija** is a composer, arranger and music lecturer. She has studied Irish music at the University of Limerick. She continues to work with Irish musicians on many music projects. Maija has composed and arranged music for plays by the Tampere Workers' Theatre, among others. Maija's instruments include Irish flute, tin whistles, piano and vocals. She was a founding member of the Finnish band Eala, which has been playing Irish music for 16 years. **Antti** is a violinist from Kausti who masters the violin, Irish busuk, guitar and banjo. He is a musician at heart and the band's sharp and precise accompanist. Antti has been a member of Eala since the beginning. Concert duration: approx. 1 hour, no intermission. **The concert series is part of the Church to Church routes Art Program. **d6:T7ed,## **Christmas melodies from Ireland and Finland ** **EDEL VAUGHAN & Maija Koskenalusta and Antti Havia ** A Christmas concert from the windy moors and northern blizzards, arranged based on the Irish musical tradition. Vocal soloist Edel Vaughan's unique, unforgettable voice and a wide range of instruments create a wonderful, atmospheric musical moment. The concert also includes joint singing moments for the entire church hall. Christmas melodies and songs will be performed by Edel Vaughan from Ireland, Maija Koskenalusta and Antti Havia from Finland. ## A series of three concerts will take place in November 2026 (20.-22.11.2026). - Fri 20.11.2026 at 6:00 PM Kalajoki church - Sat 21.11.2026 at 6:00 PM – Revonlahti church - **Sun 22.11.2026 at 4:00 PM - Kempele Old Church ** **Edel** is a solo artist and singer in the well-known Kilfenora Céilí band. She is especially known as a singer of Irish sean-n\_ó\_s songs and English ballads. In addition to singing, Edel plays various flutes. She also works as an Irish language teacher and is originally from County Clare, on the west coast of Ireland. **Maija** is a composer, arranger and music lecturer. She has studied Irish music at the University of Limerick. She continues to work with Irish musicians on many music projects. Maija has composed and arranged music for plays by the Tampere Workers' Theatre, among others. Maija's instruments include Irish flute, tin whistles, piano and vocals. She was a founding member of the Finnish band Eala, which has been playing Irish music for 16 years. **Antti** is a violinist from Kausti who masters the violin, Irish busuk, guitar and banjo. He is a musician at heart and the band's sharp and precise accompanist. Antti has been a member of Eala since the beginning. Concert duration: approx. 1 hour, no intermission. **The concert series is part of the Church to Church routes Art Program. **d7:T7ed,## **Christmas melodies from Ireland and Finland ** **EDEL VAUGHAN & Maija Koskenalusta and Antti Havia ** A Christmas concert from the windy moors and northern blizzards, arranged based on the Irish musical tradition. Vocal soloist Edel Vaughan's unique, unforgettable voice and a wide range of instruments create a wonderful, atmospheric musical moment. The concert also includes joint singing moments for the entire church hall. Christmas melodies and songs will be performed by Edel Vaughan from Ireland, Maija Koskenalusta and Antti Havia from Finland. ## A series of three concerts will take place in November 2026 (20.-22.11.2026). - Fri 20.11.2026 at 6:00 PM Kalajoki church - Sat 21.11.2026 at 6:00 PM – Revonlahti church - **Sun 22.11.2026 at 4:00 PM - Kempele Old Church ** **Edel** is a solo artist and singer in the well-known Kilfenora Céilí band. She is especially known as a singer of Irish sean-n\_ó\_s songs and English ballads. In addition to singing, Edel plays various flutes. She also works as an Irish language teacher and is originally from County Clare, on the west coast of Ireland. **Maija** is a composer, arranger and music lecturer. She has studied Irish music at the University of Limerick. She continues to work with Irish musicians on many music projects. Maija has composed and arranged music for plays by the Tampere Workers' Theatre, among others. Maija's instruments include Irish flute, tin whistles, piano and vocals. She was a founding member of the Finnish band Eala, which has been playing Irish music for 16 years. **Antti** is a violinist from Kausti who masters the violin, Irish busuk, guitar and banjo. He is a musician at heart and the band's sharp and precise accompanist. Antti has been a member of Eala since the beginning. Concert duration: approx. 1 hour, no intermission. **The concert series is part of the Church to Church routes Art Program. **d8:T43d,**Experience a monologue play about a leading figure of the revival movement, presented in its very own historical setting! ** ## A monologue about the years Niilo Kustaa Malmberg spent in Kalajoki in 1830-33. Written by Raimo Hentunen, based on the works *Palava kynttilä - Niilo Kustaa Malmbergin elämä* (Olavi Kares) and *Niilo Kustaa Malmbergin kirjeet* (Pentti Taipale). - Starring Markus Saarnio. - Directed by Raimo Hentunen. - Performed in the yard of the Jokela vicarage in Kalajoki, in front of the Malmberg house, 2025. The production and performance of the monologue was part of the Kalajoki Academy's Theme and Event Project. The monologue was performed again in July 2025, as part of the Kalajoki 500th anniversary events, when the recording was made. In collaboration with: - Särkkäin Näyttämö ry, - Theater Willi Lakeus, - Kalajoki parish - City of Kalajoki Recording: AR-Tuotanto / Antti Roslander. Recording rights: City of Kalajoki, Cultural Services. *Photo: Kalajoki parish. *d9:T43d,**Experience a monologue play about a leading figure of the revival movement, presented in its very own historical setting! ** ## A monologue about the years Niilo Kustaa Malmberg spent in Kalajoki in 1830-33. Written by Raimo Hentunen, based on the works *Palava kynttilä - Niilo Kustaa Malmbergin elämä* (Olavi Kares) and *Niilo Kustaa Malmbergin kirjeet* (Pentti Taipale). - Starring Markus Saarnio. - Directed by Raimo Hentunen. - Performed in the yard of the Jokela vicarage in Kalajoki, in front of the Malmberg house, 2025. The production and performance of the monologue was part of the Kalajoki Academy's Theme and Event Project. The monologue was performed again in July 2025, as part of the Kalajoki 500th anniversary events, when the recording was made. In collaboration with: - Särkkäin Näyttämö ry, - Theater Willi Lakeus, - Kalajoki parish - City of Kalajoki Recording: AR-Tuotanto / Antti Roslander. Recording rights: City of Kalajoki, Cultural Services. *Photo: Kalajoki parish. *da:T769,## **Liminka church’s 200th anniversary celebration week 21.-27.9.2026 ** Wonderful and diverse music programs and concerts throughout the week at Liminka Church! ### **Monday 21.9.2026 at 6:00 PM ** The vocal ensemble Lumoa is an a cappella vocal ensemble formed by three long-time music enthusiasts and professionals, Sanni Salo, Tiina Saukkoriipi-Haapala and Kaisa Kauppinen, who charm their listeners with their bright and nuanced sound and present contact. ### **Tuesday 22.9.2026 at 6:00 PM ** Panfluter – Superorgan. The most thrilling tunes of autumn will be played by panfluter Stefan Stanciu and organist Elias Niemelä in a joint concert at Liminka Church on September 22, 2026 at 6:00 PM. ### **Wednesday 23.9.2026 at 6:00 PM ** Liminka Region Music Institute concert for children and families with children. ### **Thursday 24.9.2026 at 6:00 PM ** Church concert "Evergreen melodies". Lassi Makkonen baritone and Marjukka Hautajärvi mezzo-soprano. Laura Isola piano, Maria Vesterinen viola and Antti Mikkonen piano. ### **Friday 25.9.2026 at 6:00 PM ** Ajast’aikaan Lakeudella. Ensemble Musica Semper and Harri Österman. Ensemble Musica Semper is an Oulu-based project orchestra assembled by cellist and composer Harri Österman from Liminka. ### **Sunday 27.9.2026 at 10:00 AM ** Bishop’s Mass at 10 am. Liminka Church 200 years old. ### **Sunday 27.9.2026 at 6:00 PM ** Celebration week’s closing concert. Janne Sihvo and Oulunsalo Ensemble conducted by Sinikka Ala-Leppilampi, Ismo Hintsala harpsichord/piano. J.S.Bach cantata: Ich habe genug, as well as Finnish lieder with piano accompaniment. Check out the Liminka parish [event website! ](https://www.liminganseurakunta.fi/osallistu/limingan-kirkko-200-vuotta)db:T769,## **Liminka church’s 200th anniversary celebration week 21.-27.9.2026 ** Wonderful and diverse music programs and concerts throughout the week at Liminka Church! ### **Monday 21.9.2026 at 6:00 PM ** The vocal ensemble Lumoa is an a cappella vocal ensemble formed by three long-time music enthusiasts and professionals, Sanni Salo, Tiina Saukkoriipi-Haapala and Kaisa Kauppinen, who charm their listeners with their bright and nuanced sound and present contact. ### **Tuesday 22.9.2026 at 6:00 PM ** Panfluter – Superorgan. The most thrilling tunes of autumn will be played by panfluter Stefan Stanciu and organist Elias Niemelä in a joint concert at Liminka Church on September 22, 2026 at 6:00 PM. ### **Wednesday 23.9.2026 at 6:00 PM ** Liminka Region Music Institute concert for children and families with children. ### **Thursday 24.9.2026 at 6:00 PM ** Church concert "Evergreen melodies". Lassi Makkonen baritone and Marjukka Hautajärvi mezzo-soprano. Laura Isola piano, Maria Vesterinen viola and Antti Mikkonen piano. ### **Friday 25.9.2026 at 6:00 PM ** Ajast’aikaan Lakeudella. Ensemble Musica Semper and Harri Österman. Ensemble Musica Semper is an Oulu-based project orchestra assembled by cellist and composer Harri Österman from Liminka. ### **Sunday 27.9.2026 at 10:00 AM ** Bishop’s Mass at 10 am. Liminka Church 200 years old. ### **Sunday 27.9.2026 at 6:00 PM ** Celebration week’s closing concert. Janne Sihvo and Oulunsalo Ensemble conducted by Sinikka Ala-Leppilampi, Ismo Hintsala harpsichord/piano. J.S.Bach cantata: Ich habe genug, as well as Finnish lieder with piano accompaniment. Check out the Liminka parish [event website! ](https://www.liminganseurakunta.fi/osallistu/limingan-kirkko-200-vuotta)dc:T5e2,## RAF - RESONANT STRUCTURES **The events of the Rapid Art Force festival, which consists of top international performers, are art experiences that should not be missed!** ## Performances in the summer of 2026: - **Wed 29.7.** Kalajoki, Maakalla Church at 1 pm - **Fri 31.7.** Kärsämäki, Paanukirkko church at 6 pm - **Sun 2.8. **Vihanti, Lampinsaari Gunnarin Kartano at 4 pm - **Mon 3.8.** Alavieska, Pahkakirkko church at 6 pm - **Tue 4.8**. Kalajoki, Tyngän mylly at 6 pm Rapid Art Force invites you to experience how architecture, landscape and sound form living resonant structures. T he journey takes you from the Bothnian Bay to churches, forests, a mining village and riverbanks, where each place is part of an expanding composition. **Current Sounding Structures lineup:** - **Katalin Károlyi:** Sound • Experimental Presence • Dramatic Resonance - **Li-Chin Li:** Sheng • Architectures of Breath - **Isabel Paladin:** Dance • Choreography • Field Connections - **Dora Pétery**: Sounding Objects • Keyboards • Time Travel - **Clara Qiyun Zhao**: Strings • Resonating Lines - **Anne-Marie O’Farrell:** Harp • Architectures of Listening - **Yuko Takeda:** Ancient Sounds • Theatre • Presence - **Timo Kinnunen:** Extended Composition • Mediation of Resonances • Artistic Direction The project is supported by the Oulu Cultural Foundation and the City of Kalajoki. **The art events are part of the Church to Church routes Art Program. **dd:T5e2,## RAF - RESONANT STRUCTURES **The events of the Rapid Art Force festival, which consists of top international performers, are art experiences that should not be missed!** ## Performances in the summer of 2026: - **Wed 29.7.** Kalajoki, Maakalla Church at 1 pm - **Fri 31.7.** Kärsämäki, Paanukirkko church at 6 pm - **Sun 2.8. **Vihanti, Lampinsaari Gunnarin Kartano at 4 pm - **Mon 3.8.** Alavieska, Pahkakirkko church at 6 pm - **Tue 4.8**. Kalajoki, Tyngän mylly at 6 pm Rapid Art Force invites you to experience how architecture, landscape and sound form living resonant structures. T he journey takes you from the Bothnian Bay to churches, forests, a mining village and riverbanks, where each place is part of an expanding composition. **Current Sounding Structures lineup:** - **Katalin Károlyi:** Sound • Experimental Presence • Dramatic Resonance - **Li-Chin Li:** Sheng • Architectures of Breath - **Isabel Paladin:** Dance • Choreography • Field Connections - **Dora Pétery**: Sounding Objects • Keyboards • Time Travel - **Clara Qiyun Zhao**: Strings • Resonating Lines - **Anne-Marie O’Farrell:** Harp • Architectures of Listening - **Yuko Takeda:** Ancient Sounds • Theatre • Presence - **Timo Kinnunen:** Extended Composition • Mediation of Resonances • Artistic Direction The project is supported by the Oulu Cultural Foundation and the City of Kalajoki. **The art events are part of the Church to Church routes Art Program. **de:T4bd,## Community art projects at Kalajoki City Library! At Kalajoki Library you can participate in two community art projects; knitting graffiti and button art! The works are part of the art program of the Church to Church project. ## Knitting graffiti There is a basket on the table in the library's newspaper department with knitting needles and yarn of different colors. Participate in making community knitting like this: - Take yarn and needles from the basket - Sit down and knit a piece of knitting of the size you want - Leave the finished piece in another basket and the tools for the next - Thank you, you are part of our community work! Finally, the pieces of knitting are connected to each other, and the finished knitting is taken to decorate the parish environment. ## Button art There is an easel with a canvas in the library's newspaper department. Participate in the button artwork like this: - Take a button from the box next to you and glue it to the painting among the other buttons - 1-2 buttons to glue per person so that everyone who wants to can participate in the community artwork! Art projects and more detailed instructions can be found in the Kalajoki Library's newspaper department.df:T4bd,## Community art projects at Kalajoki City Library! At Kalajoki Library you can participate in two community art projects; knitting graffiti and button art! The works are part of the art program of the Church to Church project. ## Knitting graffiti There is a basket on the table in the library's newspaper department with knitting needles and yarn of different colors. Participate in making community knitting like this: - Take yarn and needles from the basket - Sit down and knit a piece of knitting of the size you want - Leave the finished piece in another basket and the tools for the next - Thank you, you are part of our community work! Finally, the pieces of knitting are connected to each other, and the finished knitting is taken to decorate the parish environment. ## Button art There is an easel with a canvas in the library's newspaper department. Participate in the button artwork like this: - Take a button from the box next to you and glue it to the painting among the other buttons - 1-2 buttons to glue per person so that everyone who wants to can participate in the community artwork! Art projects and more detailed instructions can be found in the Kalajoki Library's newspaper department.e0:T5a6,## Welcome to the Church to Church -routes' events! There will be concerts, participatory visual arts and craft workshops, lectures and other programs suitable for the theme, in collaboration with the parishes. Read more from the Oulu2026 event calendar [here!](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd) **This route allows you to browse upcoming events, venues, and experience the art program virtually in video format!** **Art program 2026:** - **Virtual: Church to Church routes opening webinar 20.3.** - **Multiple churches:** RAF Rapid Art Force - multi-arts concerts 24.7. - 4.8. - **Liminka church:** Liminka church 200th anniversary festive week 21. - 27.9. - **Kalajoki, Revonlahti and Kempele church:** Christmas melodies from Ireland and Finland, 20.11. - 22.11. And more to come! **Videotallenteita taideohjelmasta:** - **Maakallan kirkko** / Chorus Vallis - Ihanat on asuinsijasi - **Purjehdusmatka Maakallan kirkkoon** / Chorus Vallis - The Seal Lullaby - **Jokelan pappila** / Palava kynttilä - monologinäytelmä Yhteistyössä Oulun hiippakunta, Oulun tuomiorovastikunta, Limingan rovastikunta ja Kalajoen rovastikunta sekä alueen seurakunnat, Kalajoen kaupunki ja Oulun kulttuurisäätiö. Alueellinen reitistö ja taideohjelma ovat osa Kalajoen kaupungin Oulu2026 -ohjelmaa kulttuuripääkaupunkivuonna. e1:T1dd8,## **Welcome - Church to Church!** Churches and shrines of various religions have been and continue to be the most central and popular tourist destinations everywhere. **These church routes, located in the area of three deaneries in Northern Ostrobothnia, have been built to make it easier for tourists interested in architecture, art and history to discover the diverse cultural heritage of churches.** **(More information about the Church to Church project below the routes)** ## **Church to Church routes** **Coastal Route** The Coastal Route follows the old Ostrobothnia coastal road alignment and offers a diverse range of churches and their surroundings from different centuries. The route reveals the spectrum of styles of church architecture in our region. The oldest of the churches on the coastal route is Kempele Church from 1688 and the youngest is Pyhäjoki Church from 1977. In between, you can find classical cruciform churches, revival styles, and solid Art Nouveau stone churches. [Link to the Coastal Route](https://atla.fi/en/oulu2026/kartta/kokoelma/rantatien-kirkot-kirkosta-kirkkoon-oulu2026#11.72/64.256/23.9671) **The Oldest Cruciform Churches** On the cruciform church route, you will become familiar with the top achievements of folk building masters in log construction and the oldest cruciform churches in the area. [Link to the The Oldest Cruciform Churches -route](https://atla.fi/en/oulu2026/kartta/kokoelma/ristikirkot-kirkosta-kirkkoon-oulu2026#6.71/64.626/26.237) **Buttress Churches** The route, which is themed around buttress churches, the Finnish equivalent of Gothic cathedrals, reveals the technical innovations of early church builders in the field of log construction. [Link to the Buttress Churches -route](https://atla.fi/en/oulu2026/kartta/kokoelma/tukipilarikirkot-kirkosta-kirkkoon-oulu2026#8.91/64.7962/26.24) **Churches of Toppelius** On the Churches of Toppelius route, you can navigate to admire the works of our country's most famous church painter, Mikael Toppelius (1734-1821). [Link to the Churches of Toppelius -route](https://atla.fi/en/oulu2026/kartta/kokoelma/toppeliuksen-kirkot-kirkosta-kirkkoon-oulu2026#6.37/64.887/27.053) **Modern and special churches** The route of modern and special churches introduces the region's unique specialties in church construction, and draws attention to newer developments in church architecture. [Link to the Modern and special churches -route](https://atla.fi/en/oulu2026/kartta/kokoelma/modernit-ja-erikoiset-kirkot#6.61/64.445/26.618) **Bell towers and Pauper Statues** Churchyard bell towers are a distinctive Finnish building type, along with wooden churches. The Pauper statue to is most commonly a painted wooden statue attached to the wall of a church or bell tower. [Link to the Bell towers and Pauper Statues -route](https://atla.fi/en/oulu2026/kartta/kokoelma/tapulit-kirkosta-kirkkoon-oulu2026-cEdDUZhG3XKImRQ16djHM#6.23/64.403/27.03) **The history and stories of the Kalajoki mother parish** On this local church route, you can explore the monuments of old churches, vicarages, and all four current churches. [Link to the Kalajoki local route](https://atla.fi/en/oulu2026/kartta/kokoelma/kalajoen-kirkot-emaseurakunnan-vaiheita#8.87/64.1883/24.1601) **Church to church -Art program route** In 2026, churches will become part of a wide range of art forms, concerts and community art events. On the route, you can explore the venues and watch video recordings of the art program. Follow the information about the Church to Church art program in the Oulu2026 event calendar! [Link here.](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd) [**Link to the Art program route**](https://atla.fi/en/oulu2026/kartta/kokoelma/kirkosta-kirkkoon-taideohjelma-FRUtRr2dDokgwTxYn_ptD#7.61/64.338/25.222) ## **Read more about the construction of the church in Northern Ostrobothnia: ** In Finland, churches form the longest continuum of building types from the Middle Ages to the present day and play a central role in the history of their location. Churches have been built in Finland since Christianity, spread by the Catholic Church, reached the southwestern parts of our country in the 12th century. Our oldest surviving church buildings can be found in Åland and southern Finland. During the Reformation, the Lutheran religion finally replaced the Catholic religion in 1527. Today, there are two state churches in Finland, the Evangelical Lutheran Church and the Orthodox Church. Most of the church buildings belong to the state religions, but other religious denominations also have their own sanctuaries. There are a total of approximately 800 Lutheran church buildings in Finland, and about a hundred Orthodox churches and prayerhouses. **There are 71 churches in Northern Ostrobothnia, the oldest of which is Muhos Church from 1634 and the youngest is Ylivieska from 2021. ** Some localities have several churches as a result of municipal mergers, and in Oulu there are also district churches. **A church is one of the most impressive and often oldest buildings in its environment, especially in rural areas. ** In addition to the church building, the churchyard often contains a separate bell tower, a cemetery with parks and chapels, the graves of heroes who fell in wars (civil, winter and continuance wars), and sometimes other monuments and buildings related to the history of the locality. The accessibility of churches (Road Churches) is good, they are usually barrier-free and free of charge. In Finland, all churches built before 1917 are protected by the Church Act, and many are also valued as nationally or provincially significant built cultural environments. **Churches contain a wealth of tangible and intangible cultural heritage; high-quality architecture, visual arts, crafts and design.** The oldest wooden churches are examples of the skill of Finnish folk architecture masters. In Finland, in addition to its spiritual mission, the church has also been responsible for local administration, school education and social welfare until the establishment of municipal administration (1865) and for population records for a long time after that. Most of the churches in the area are traditional log buildings, but there are also some made of stone, brick and concrete. The oldest are the so-called buttress churches, most of which are cruciform churches built using the traditional lama salvo technique or the later long churches with a west tower. The churches of the early 18th century were built according to Italian Renaissance ideals but applying the local lamasalvo tradition. The transition from Gustavian classicism of the late 18th century to the St. Petersburg Empire style of the early 19th century took place. As the century progressed, the effects of the decaying classicism and the so-called Repetition styles were also visible in churches. At the turn of the 20th century, the ideals of classicism gave way to Art Nouveau and national romanticism. After the classicism of the 1920s, functionalism and the subsequent modernism became dominant styles in churches as well. *Church to church -routes: in collaboration with Kalajoen kaupungin kulttuuripalvelut sekä Oulun hiippakunta, Oulun tuomiorovastikunta, Limingan rovastikunta and Kalajoen rovastikunta. * * * *Sources of text, unless stated otherwise, construction researcher Sari Alajoki. * e2:T13b7,## Oulu Cathedral **Oulu** **Cathedral** **was** **completed** **in 1777 and** **named** **Sofia Magdalena Church** **after** **the** **wife** **of King Gustav III.** **The** **church** **was** **designed** **by** **Daniel Hagman** **from** **Sundsvall.** It was built of natural stone and was so large that all of Oulu's 2,400 inhabitants at the time could fit in for a service at the same time. In the spring of 1822, Oulu was destroyed by fire and the wooden structures of the church also burned down. Only the stone walls remained intact, and the movable parts were saved. The church was rebuilt according to the drawings of architect Carl Ludvig Engel. The frame was the original stone walls, while the new ones were the central dome, roof structures and tower. The church was completed in 1832 and the tower in 1845. The church received the status of a cathedral in 1900, when the episcopal seat was moved from Kuopio to Oulu. The Cathedral is a central part of the Oulu cityscape. The artifacts and art in Oulu Cathedral are a combination of different centuries. Many of the objects were donated. A communion chalice and two tombstones have survived from the 17th century. The oldest chasubles, chandeliers and sconces are from the 18th century. ### **About** **the** **art...** The Cathedral’s altarpiece was painted by court painter **Robert Wilhelm Ekman** (1808–1873) in 1859. The romantic oil painting depicts the events related to the transfiguration of Christ, which are told in the New Testament Gospels of Matthew, Mark and Luke. To the right of the sacristy doorway is the newest work of Oulu Cathedral, the painting Taivaanranta – Divine Horizon by Sampo Kaikkonen (b. 1975) from Oulu. **The** **portrait** **of Johannes** **Messenius** **on** **the** **side** **wall** **of** **the** **choir** **of Oulu** **Cathedral** **is** **the** **oldest** **portrait** **painting** **in** **our** **country** **that** **can** **be** **identified** **with** **certainty.** It was most likely painted in 1611 by **Cornelius** **Arendtz**. He is known to have worked as a painter at the Swedish court as early as 1608 and again in 1655. The church hall of Oulu Cathedral is adorned with 11 stained glass windows from three eras: 1898, 1932 and 1977. The oldest paintings, "Jesus on the Cross" and "The Resurrection of Christ", are in the windows of the altarpiece. They were made by the Neumann & Vogel stained glass factory in Stockholm. During the interior renovation of the church in 1932, six stained glass windows were purchased for the windows of the north and south aisles, partly with donations from congregation and partly with funds from the parish. They were designed by artist **Gunnar Forsström** and manufactured by S. Wuorio's glass factory. During the interior renovation, the south end was decorated with "The Birth of Christ, the Annunciation of the Angel to the Shepherds and the Adoration of the Kings" donated by wife of a dean Lotty Snellman, and "The Good Shepherd and Jesus with the Children" donated by trade Commercial Counsellor’s wife Maikki J. Santaholma. The north end of the Cathedral received the "Sermon on the Mount, Christ's Sermon in the Field and on the Sea" donated by Matilda Pettersson-Pekuri and "Christ Heals the Lame, Raises Jairus' Daughter and Heals the Blind" donated by Laura and J. A. Mannermaa. The parish paid for the stained glass windows in the south and north end, "The Dove of the Holy Spirit and the Vine" and "Christ the Lamb and the Crown of Thorns". **On** **December** **4th** **1977,** **in** **connection** **with** **the** **200th** **anniversary** **of** **the** **cathedral,** **three** **new** **stained** **glass** **windows** **made in** **the** **S.** **Wuorio** **glass** **factory** **were** **unveiled.** The east wall of the southern branch received Bruno Tuukkanen's work "Jesus' Path of Suffering", which was donated by several organizations in Oulu and private individuals. The Oulu Deaconess Institute donated Onni Oja's "Mountain Sermon" to the west wall of the southern branch. Lauri Ahlgrén's "Holy Trinity", acquired with funds from the Oulu Evangelical Lutheran Congregation, was placed on the west wall of the northern branch. ## Oulu Cathedral is part of the Tiekirkot (Roadside Churches) network: - Roadside churches are **free** **and open** **rest** stops on your summer roadtrips - Open **18.5.–6.9.2026** every day at 10–20. - Cafe Krypta is open Mon–Thu at 10–17, Fri 10–15 until 31.7. Closed on midsummer's eve. *Image* *credits:* - *1:* *Parishes* *of Oulu* - *2: Mikko* *Mannberg* */* *The* *Finnish* *Heritage* *Agency* *(2022)* - *3: Maija Kairamo /* *The* *Finnish* *Heritage* *Agency* *(1997)* - *4: M.L.* *Carstens* */* *The* *Finnish* *Heritage* *Agency* *(1907)* - *5: "Ruins* *of* *houses* *after* *aerial* *bombing* *in Oulu. Oulu* *Cathedral* *in* *the* *background"* *The* *Finnish* *Heritage* *Agency* */* *The* *Press Photo Archive JOKA (1944)* e3:T13b7,## Oulu Cathedral **Oulu** **Cathedral** **was** **completed** **in 1777 and** **named** **Sofia Magdalena Church** **after** **the** **wife** **of King Gustav III.** **The** **church** **was** **designed** **by** **Daniel Hagman** **from** **Sundsvall.** It was built of natural stone and was so large that all of Oulu's 2,400 inhabitants at the time could fit in for a service at the same time. In the spring of 1822, Oulu was destroyed by fire and the wooden structures of the church also burned down. Only the stone walls remained intact, and the movable parts were saved. The church was rebuilt according to the drawings of architect Carl Ludvig Engel. The frame was the original stone walls, while the new ones were the central dome, roof structures and tower. The church was completed in 1832 and the tower in 1845. The church received the status of a cathedral in 1900, when the episcopal seat was moved from Kuopio to Oulu. The Cathedral is a central part of the Oulu cityscape. The artifacts and art in Oulu Cathedral are a combination of different centuries. Many of the objects were donated. A communion chalice and two tombstones have survived from the 17th century. The oldest chasubles, chandeliers and sconces are from the 18th century. ### **About** **the** **art...** The Cathedral’s altarpiece was painted by court painter **Robert Wilhelm Ekman** (1808–1873) in 1859. The romantic oil painting depicts the events related to the transfiguration of Christ, which are told in the New Testament Gospels of Matthew, Mark and Luke. To the right of the sacristy doorway is the newest work of Oulu Cathedral, the painting Taivaanranta – Divine Horizon by Sampo Kaikkonen (b. 1975) from Oulu. **The** **portrait** **of Johannes** **Messenius** **on** **the** **side** **wall** **of** **the** **choir** **of Oulu** **Cathedral** **is** **the** **oldest** **portrait** **painting** **in** **our** **country** **that** **can** **be** **identified** **with** **certainty.** It was most likely painted in 1611 by **Cornelius** **Arendtz**. He is known to have worked as a painter at the Swedish court as early as 1608 and again in 1655. The church hall of Oulu Cathedral is adorned with 11 stained glass windows from three eras: 1898, 1932 and 1977. The oldest paintings, "Jesus on the Cross" and "The Resurrection of Christ", are in the windows of the altarpiece. They were made by the Neumann & Vogel stained glass factory in Stockholm. During the interior renovation of the church in 1932, six stained glass windows were purchased for the windows of the north and south aisles, partly with donations from congregation and partly with funds from the parish. They were designed by artist **Gunnar Forsström** and manufactured by S. Wuorio's glass factory. During the interior renovation, the south end was decorated with "The Birth of Christ, the Annunciation of the Angel to the Shepherds and the Adoration of the Kings" donated by wife of a dean Lotty Snellman, and "The Good Shepherd and Jesus with the Children" donated by trade Commercial Counsellor’s wife Maikki J. Santaholma. The north end of the Cathedral received the "Sermon on the Mount, Christ's Sermon in the Field and on the Sea" donated by Matilda Pettersson-Pekuri and "Christ Heals the Lame, Raises Jairus' Daughter and Heals the Blind" donated by Laura and J. A. Mannermaa. The parish paid for the stained glass windows in the south and north end, "The Dove of the Holy Spirit and the Vine" and "Christ the Lamb and the Crown of Thorns". **On** **December** **4th** **1977,** **in** **connection** **with** **the** **200th** **anniversary** **of** **the** **cathedral,** **three** **new** **stained** **glass** **windows** **made in** **the** **S.** **Wuorio** **glass** **factory** **were** **unveiled.** The east wall of the southern branch received Bruno Tuukkanen's work "Jesus' Path of Suffering", which was donated by several organizations in Oulu and private individuals. The Oulu Deaconess Institute donated Onni Oja's "Mountain Sermon" to the west wall of the southern branch. Lauri Ahlgrén's "Holy Trinity", acquired with funds from the Oulu Evangelical Lutheran Congregation, was placed on the west wall of the northern branch. ## Oulu Cathedral is part of the Tiekirkot (Roadside Churches) network: - Roadside churches are **free** **and open** **rest** stops on your summer roadtrips - Open **18.5.–6.9.2026** every day at 10–20. - Cafe Krypta is open Mon–Thu at 10–17, Fri 10–15 until 31.7. Closed on midsummer's eve. *Image* *credits:* - *1:* *Parishes* *of Oulu* - *2: Mikko* *Mannberg* */* *The* *Finnish* *Heritage* *Agency* *(2022)* - *3: Maija Kairamo /* *The* *Finnish* *Heritage* *Agency* *(1997)* - *4: M.L.* *Carstens* */* *The* *Finnish* *Heritage* *Agency* *(1907)* - *5: "Ruins* *of* *houses* *after* *aerial* *bombing* *in Oulu. Oulu* *Cathedral* *in* *the* *background"* *The* *Finnish* *Heritage* *Agency* */* *The* *Press Photo Archive JOKA (1944)* e4:T1dd8,## **Welcome - Church to Church!** Churches and shrines of various religions have been and continue to be the most central and popular tourist destinations everywhere. **These church routes, located in the area of three deaneries in Northern Ostrobothnia, have been built to make it easier for tourists interested in architecture, art and history to discover the diverse cultural heritage of churches.** **(More information about the Church to Church project below the routes)** ## **Church to Church routes** **Coastal Route** The Coastal Route follows the old Ostrobothnia coastal road alignment and offers a diverse range of churches and their surroundings from different centuries. The route reveals the spectrum of styles of church architecture in our region. The oldest of the churches on the coastal route is Kempele Church from 1688 and the youngest is Pyhäjoki Church from 1977. In between, you can find classical cruciform churches, revival styles, and solid Art Nouveau stone churches. [Link to the Coastal Route](https://atla.fi/en/oulu2026/kartta/kokoelma/rantatien-kirkot-kirkosta-kirkkoon-oulu2026#11.72/64.256/23.9671) **The Oldest Cruciform Churches** On the cruciform church route, you will become familiar with the top achievements of folk building masters in log construction and the oldest cruciform churches in the area. [Link to the The Oldest Cruciform Churches -route](https://atla.fi/en/oulu2026/kartta/kokoelma/ristikirkot-kirkosta-kirkkoon-oulu2026#6.71/64.626/26.237) **Buttress Churches** The route, which is themed around buttress churches, the Finnish equivalent of Gothic cathedrals, reveals the technical innovations of early church builders in the field of log construction. [Link to the Buttress Churches -route](https://atla.fi/en/oulu2026/kartta/kokoelma/tukipilarikirkot-kirkosta-kirkkoon-oulu2026#8.91/64.7962/26.24) **Churches of Toppelius** On the Churches of Toppelius route, you can navigate to admire the works of our country's most famous church painter, Mikael Toppelius (1734-1821). [Link to the Churches of Toppelius -route](https://atla.fi/en/oulu2026/kartta/kokoelma/toppeliuksen-kirkot-kirkosta-kirkkoon-oulu2026#6.37/64.887/27.053) **Modern and special churches** The route of modern and special churches introduces the region's unique specialties in church construction, and draws attention to newer developments in church architecture. [Link to the Modern and special churches -route](https://atla.fi/en/oulu2026/kartta/kokoelma/modernit-ja-erikoiset-kirkot#6.61/64.445/26.618) **Bell towers and Pauper Statues** Churchyard bell towers are a distinctive Finnish building type, along with wooden churches. The Pauper statue to is most commonly a painted wooden statue attached to the wall of a church or bell tower. [Link to the Bell towers and Pauper Statues -route](https://atla.fi/en/oulu2026/kartta/kokoelma/tapulit-kirkosta-kirkkoon-oulu2026-cEdDUZhG3XKImRQ16djHM#6.23/64.403/27.03) **The history and stories of the Kalajoki mother parish** On this local church route, you can explore the monuments of old churches, vicarages, and all four current churches. [Link to the Kalajoki local route](https://atla.fi/en/oulu2026/kartta/kokoelma/kalajoen-kirkot-emaseurakunnan-vaiheita#8.87/64.1883/24.1601) **Church to church -Art program route** In 2026, churches will become part of a wide range of art forms, concerts and community art events. On the route, you can explore the venues and watch video recordings of the art program. Follow the information about the Church to Church art program in the Oulu2026 event calendar! [Link here.](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd) [**Link to the Art program route**](https://atla.fi/en/oulu2026/kartta/kokoelma/kirkosta-kirkkoon-taideohjelma-FRUtRr2dDokgwTxYn_ptD#7.61/64.338/25.222) ## **Read more about the construction of the church in Northern Ostrobothnia: ** In Finland, churches form the longest continuum of building types from the Middle Ages to the present day and play a central role in the history of their location. Churches have been built in Finland since Christianity, spread by the Catholic Church, reached the southwestern parts of our country in the 12th century. Our oldest surviving church buildings can be found in Åland and southern Finland. During the Reformation, the Lutheran religion finally replaced the Catholic religion in 1527. Today, there are two state churches in Finland, the Evangelical Lutheran Church and the Orthodox Church. Most of the church buildings belong to the state religions, but other religious denominations also have their own sanctuaries. There are a total of approximately 800 Lutheran church buildings in Finland, and about a hundred Orthodox churches and prayerhouses. **There are 71 churches in Northern Ostrobothnia, the oldest of which is Muhos Church from 1634 and the youngest is Ylivieska from 2021. ** Some localities have several churches as a result of municipal mergers, and in Oulu there are also district churches. **A church is one of the most impressive and often oldest buildings in its environment, especially in rural areas. ** In addition to the church building, the churchyard often contains a separate bell tower, a cemetery with parks and chapels, the graves of heroes who fell in wars (civil, winter and continuance wars), and sometimes other monuments and buildings related to the history of the locality. The accessibility of churches (Road Churches) is good, they are usually barrier-free and free of charge. In Finland, all churches built before 1917 are protected by the Church Act, and many are also valued as nationally or provincially significant built cultural environments. **Churches contain a wealth of tangible and intangible cultural heritage; high-quality architecture, visual arts, crafts and design.** The oldest wooden churches are examples of the skill of Finnish folk architecture masters. In Finland, in addition to its spiritual mission, the church has also been responsible for local administration, school education and social welfare until the establishment of municipal administration (1865) and for population records for a long time after that. Most of the churches in the area are traditional log buildings, but there are also some made of stone, brick and concrete. The oldest are the so-called buttress churches, most of which are cruciform churches built using the traditional lama salvo technique or the later long churches with a west tower. The churches of the early 18th century were built according to Italian Renaissance ideals but applying the local lamasalvo tradition. The transition from Gustavian classicism of the late 18th century to the St. Petersburg Empire style of the early 19th century took place. As the century progressed, the effects of the decaying classicism and the so-called Repetition styles were also visible in churches. At the turn of the 20th century, the ideals of classicism gave way to Art Nouveau and national romanticism. After the classicism of the 1920s, functionalism and the subsequent modernism became dominant styles in churches as well. *Church to church -routes: in collaboration with Kalajoen kaupungin kulttuuripalvelut sekä Oulun hiippakunta, Oulun tuomiorovastikunta, Limingan rovastikunta and Kalajoen rovastikunta. * * * *Sources of text, unless stated otherwise, construction researcher Sari Alajoki. * e5:T62e,**Sheltered and diverse forests** are important for many birds. The Oulu river delta has the highest number of nesting bird pairs in Oulu, over 300 pairs per square kilometre. About 90 bird species have been found nesting in Hietasaari, Mustasaari and Vihreäsaari, including several endangered species such as the willow tit and the barn swallow. During the migration season up to 200 species, including nesting birds, can be observed. **In the summer**, the forests of Hietasaari are home to pigeons such as stock dove, many woodpeckers, finches, tits and warblers, as well as grouse. Most nesting birds migrate south for the winter. **In winter **, you can see tits (great-, blue-, willow- and sprucetits), woodpeckers (black woodpecker, woodpecker, white-backed woodpecker, lesser spotted woodpecker, Eurasian three-toed woodpecker), bullfinch, jay, bohemian waxwing, goldcrest, Eurasian treecreeper and also birds of prey such as the Eurasian pygmy owl, great grey owl, northen goshawk and white-tailed eagle. **Nesting holes** such as, woodpeckers, owls and, for example, the common goldeneye, need a forest with decaying wood. The woodpecker is a key species for other species, as it is able to knock holes in decaying wood and in defective parts of trees. Other birds, such as flying squirrels and bats, use the holes made by woodpeckers for living. The drumming of a woodpecker is a bird's way of communicating its territory to other woodpeckers. Intensive forestry has reduced the amount of decaying wood in forests and thus reduced the living areas of hollow-nesters.e6:T62e,**Sheltered and diverse forests** are important for many birds. The Oulu river delta has the highest number of nesting bird pairs in Oulu, over 300 pairs per square kilometre. About 90 bird species have been found nesting in Hietasaari, Mustasaari and Vihreäsaari, including several endangered species such as the willow tit and the barn swallow. During the migration season up to 200 species, including nesting birds, can be observed. **In the summer**, the forests of Hietasaari are home to pigeons such as stock dove, many woodpeckers, finches, tits and warblers, as well as grouse. Most nesting birds migrate south for the winter. **In winter **, you can see tits (great-, blue-, willow- and sprucetits), woodpeckers (black woodpecker, woodpecker, white-backed woodpecker, lesser spotted woodpecker, Eurasian three-toed woodpecker), bullfinch, jay, bohemian waxwing, goldcrest, Eurasian treecreeper and also birds of prey such as the Eurasian pygmy owl, great grey owl, northen goshawk and white-tailed eagle. **Nesting holes** such as, woodpeckers, owls and, for example, the common goldeneye, need a forest with decaying wood. The woodpecker is a key species for other species, as it is able to knock holes in decaying wood and in defective parts of trees. Other birds, such as flying squirrels and bats, use the holes made by woodpeckers for living. The drumming of a woodpecker is a bird's way of communicating its territory to other woodpeckers. Intensive forestry has reduced the amount of decaying wood in forests and thus reduced the living areas of hollow-nesters.e7:T724,**Mosses and ferns** Mosses and ferns are some of the oldest plants on earth. Mosses covered the land alredy over 400 million years ago and ferns 360 million years ago. These plants do not spread by seeds, but by releasing spores, which means that they do not have flowers. Mosses are found in the lowest layers of the forest vegetation, in the so-called forest floor layer, which they share with lichens and fungi. Mosses can be keystone species of the ecosystem, which means that they play a critical role in the health of their environment. For example the genus *Sphagnum* (Rahkasammal), which makes up peat, is important for restoration of habitats and reforestation. This moss is also interesting in how it spreads its spores, which it shoots from tiny tubes at acceleration over 30 000 times larger than that of the Earth’s gravitational field. Globally mosses absorb a large quantity of carbon and store it in soil and peat, helping to mitigate climate change. Moss families you can find in Hietasaari are: sphagnum, mniaceae, hylocomiaceae, rhytidiadelphus, polytrichum, dicranum and Hylocomiaceae*. * Ferns occupy the layer above the ground layers, the so-called herb layer. In here we can also find grasses and subshrubs, such as blueberries and lingonberries. Similarly to moses, the appearance of ferns has not changed much for tens of millions of years, for which reasons they are sometimes also popularly called “living fossils”. Horsetails, which are also often found among the forest vegetation, are also a type of ferns. Their recognizable ancestors with almost identical structure can be found in fossils dating back to the Jurassic period and may have been a common food for herbivorous dinosaurs. In Hietasaari you can find following ferns: narrow buckler-fern, western oakfern and wood horsetail.e8:T724,**Mosses and ferns** Mosses and ferns are some of the oldest plants on earth. Mosses covered the land alredy over 400 million years ago and ferns 360 million years ago. These plants do not spread by seeds, but by releasing spores, which means that they do not have flowers. Mosses are found in the lowest layers of the forest vegetation, in the so-called forest floor layer, which they share with lichens and fungi. Mosses can be keystone species of the ecosystem, which means that they play a critical role in the health of their environment. For example the genus *Sphagnum* (Rahkasammal), which makes up peat, is important for restoration of habitats and reforestation. This moss is also interesting in how it spreads its spores, which it shoots from tiny tubes at acceleration over 30 000 times larger than that of the Earth’s gravitational field. Globally mosses absorb a large quantity of carbon and store it in soil and peat, helping to mitigate climate change. Moss families you can find in Hietasaari are: sphagnum, mniaceae, hylocomiaceae, rhytidiadelphus, polytrichum, dicranum and Hylocomiaceae*. * Ferns occupy the layer above the ground layers, the so-called herb layer. In here we can also find grasses and subshrubs, such as blueberries and lingonberries. Similarly to moses, the appearance of ferns has not changed much for tens of millions of years, for which reasons they are sometimes also popularly called “living fossils”. Horsetails, which are also often found among the forest vegetation, are also a type of ferns. Their recognizable ancestors with almost identical structure can be found in fossils dating back to the Jurassic period and may have been a common food for herbivorous dinosaurs. In Hietasaari you can find following ferns: narrow buckler-fern, western oakfern and wood horsetail.e9:T5e8,**Primary succesion forest** The earth's crust that sank during the last ice age continues to rise on the Finnish coast. In the Bay of Bothnia, the rate of rise is up to 8 millimetres per year. This changes the landscape relatively quickly, the shoreline shifts up to hundreds of meters per generation on low-lying shores. Land uplift also changes the environment. The series of vegetation types it produces is called primary succession. Vegetation is created on a new vegetation-free substrate that has not previously had vegetation. The series of developments from land that has only just risen from the sea to coastal meadow and finally to a coniferous forest will take at least 100 years. On the southwestern shore of Hietasaari, the development series can be seen in part, although young forest in the bush phase has been cleared in the sheep pasture. After the coastal meadow phase formed by herbaceous plants, there is a bush phase, when e.g. sea buckthorn, bog myrtle and willows are dominant. After that, there is an alder phase, where the main tree species in the young forest in the Bay of Bothnia is grey alder. The vegetation is often lush groves. As the land continues to rise, downy birch becomes the dominant tree here. Alders die of old age. Over time, birches are replaced by either spruce or pine, depending on the soil and moisture conditions. Some areas may also become swampy and forest floodplains are also common. Such wet depressions can also be found in the southern part of Hietasaari.ea:T5e8,**Primary succesion forest** The earth's crust that sank during the last ice age continues to rise on the Finnish coast. In the Bay of Bothnia, the rate of rise is up to 8 millimetres per year. This changes the landscape relatively quickly, the shoreline shifts up to hundreds of meters per generation on low-lying shores. Land uplift also changes the environment. The series of vegetation types it produces is called primary succession. Vegetation is created on a new vegetation-free substrate that has not previously had vegetation. The series of developments from land that has only just risen from the sea to coastal meadow and finally to a coniferous forest will take at least 100 years. On the southwestern shore of Hietasaari, the development series can be seen in part, although young forest in the bush phase has been cleared in the sheep pasture. After the coastal meadow phase formed by herbaceous plants, there is a bush phase, when e.g. sea buckthorn, bog myrtle and willows are dominant. After that, there is an alder phase, where the main tree species in the young forest in the Bay of Bothnia is grey alder. The vegetation is often lush groves. As the land continues to rise, downy birch becomes the dominant tree here. Alders die of old age. Over time, birches are replaced by either spruce or pine, depending on the soil and moisture conditions. Some areas may also become swampy and forest floodplains are also common. Such wet depressions can also be found in the southern part of Hietasaari.eb:T6fa,**Decaying tree sustains life** A quarter (5000) of Finland's species, are directly or indirectly dependent on decaying wood. About half of the endangered species live in forests with a lot of decaying wood. The success of species is affected by the decaying wood continuum which means that there is wood in different stages of decay constantly available. Species specialise in wood at a certain stage of decay, which they use as food and as a platform for growth and reproduction. Decaying wood also acts as a carbon storage, as does the humus that remains from it. You can find decaying wood in the forest in many forms; The tree may have fallen to the ground or be upright. Have you seen fallen trees along the path? What about upright stumps? Decaying trees are needed by beetles, lichens, mosses and various fungi such as polypores and aphyllophorales in order to live. A large number of aphyllophorale species have been found in Hietasaari, and this indicates natural habitats rich in decaying wood, which are important for biodiversity. A total of 204 species of aphyllophorales and ascomycota fungi have been discovered in Hietasaari and Vihreäsaari. With some of these this island is the northernmost habitat found in Finland (*Botryobasidium pruinatum, Antrodiella serpula, Hyphoderma mutatum, Tomentella viridula)*. In addition, there are species of fungi that are endangered and even unknown to science. In natural forests, decaying wood accounts for about a quarter, while in commercial forests the amount of dead wood is less than five per cent. There are places in Hietasaari where the forest has been allowed to grow in its natural state, which is why there is also a lot of decaying wood. That's why we get to enjoy a great diversity of species right next to the city!ec:T6fa,**Decaying tree sustains life** A quarter (5000) of Finland's species, are directly or indirectly dependent on decaying wood. About half of the endangered species live in forests with a lot of decaying wood. The success of species is affected by the decaying wood continuum which means that there is wood in different stages of decay constantly available. Species specialise in wood at a certain stage of decay, which they use as food and as a platform for growth and reproduction. Decaying wood also acts as a carbon storage, as does the humus that remains from it. You can find decaying wood in the forest in many forms; The tree may have fallen to the ground or be upright. Have you seen fallen trees along the path? What about upright stumps? Decaying trees are needed by beetles, lichens, mosses and various fungi such as polypores and aphyllophorales in order to live. A large number of aphyllophorale species have been found in Hietasaari, and this indicates natural habitats rich in decaying wood, which are important for biodiversity. A total of 204 species of aphyllophorales and ascomycota fungi have been discovered in Hietasaari and Vihreäsaari. With some of these this island is the northernmost habitat found in Finland (*Botryobasidium pruinatum, Antrodiella serpula, Hyphoderma mutatum, Tomentella viridula)*. In addition, there are species of fungi that are endangered and even unknown to science. In natural forests, decaying wood accounts for about a quarter, while in commercial forests the amount of dead wood is less than five per cent. There are places in Hietasaari where the forest has been allowed to grow in its natural state, which is why there is also a lot of decaying wood. That's why we get to enjoy a great diversity of species right next to the city!ed:T541,**Persicaria foliosa** Mustasalmi is a shallow watercourse between the islands in Oulu River delta, where rare aquatic plants such as Persicaria foliosa and water pygmyweed grow. They thrive especially on the mudflats brought by the river and exposed by the land uplift. Persicaria foliosa also grows in sedge grass, i.e. grass formed by sedge plants in shallow water. The species is critically endangered (EN class) and specially protected (Habitats Directive species). In order to protect the Persicaria foliosa, a Natura area has been established in the delta of the Oulujoki River, which includes the eastern shore of Mustasaari and the smaller islands of the delta. In Mustasalmi, the species grows on the low-lying shores of the seaside. A small aquatic plant, the endangered water pygmyweed (*Crassula aquatica*), also thrives in the same places. Persicaria foliosa is a pioneer plant species that spreads on the exposed shore. It is a weak competitor against other plants. A natural disturbance to the habitat, such as flooding, grazing or ice erosion, is essential for its success. As a directive species, the protection of Persicaria foliosa is strong, and this has prevented some dredging and water system modification projects. Protection of the shore also benefits the entire community of organisms and the species that live here.ee:T541,**Persicaria foliosa** Mustasalmi is a shallow watercourse between the islands in Oulu River delta, where rare aquatic plants such as Persicaria foliosa and water pygmyweed grow. They thrive especially on the mudflats brought by the river and exposed by the land uplift. Persicaria foliosa also grows in sedge grass, i.e. grass formed by sedge plants in shallow water. The species is critically endangered (EN class) and specially protected (Habitats Directive species). In order to protect the Persicaria foliosa, a Natura area has been established in the delta of the Oulujoki River, which includes the eastern shore of Mustasaari and the smaller islands of the delta. In Mustasalmi, the species grows on the low-lying shores of the seaside. A small aquatic plant, the endangered water pygmyweed (*Crassula aquatica*), also thrives in the same places. Persicaria foliosa is a pioneer plant species that spreads on the exposed shore. It is a weak competitor against other plants. A natural disturbance to the habitat, such as flooding, grazing or ice erosion, is essential for its success. As a directive species, the protection of Persicaria foliosa is strong, and this has prevented some dredging and water system modification projects. Protection of the shore also benefits the entire community of organisms and the species that live here.ef:T6d4,**Aspen is a key species in nature** Aspen (Populus tremula), which belongs to the willow family, is the most important tree in Finland in terms of biodiversity. The abundance of companion species of aspen is incredible: about a thousand species, of which about 120 are dependent on aspen. Half a hundred of these species are endangered. What is behind the popularity of aspen? The trunk of aspen is not as acidic as that of other common forest trees in Finland, and especially the trunk of an old tree has grooves and cracks. This makes it an important substrate for polypores, lichens and mosses. The shoots, leaves and bark of aspen are nutritious and suitable for many forest dwellers. Of mammals, hares, moose, beavers and flying squirrels feast on them. Aspens in various stages of decay are home to half a thousand species of insects and other invertebrates, more than any other Finnish tree, with the exception of hardwoods. Being relatively soft, aspen is the most important hollow tree species in our forests. Hundreds of birds and mammals from flying squirrels to white-backed woodpeckers can nest in the holes hollowed out by the woodpecker during the tree's life cycle of up to 200 years,. About twenty bird species can nest in Finnish aspen, some even at the same time. At the age of 100, aspen can be 30 metres high and easily almost a metre thick. Aspen grows in grove-like or moist forests. A large aspen can have up to 250 kilometres of roots. Root shoots are its most important means of reproduction, because even though aspen can produce 50 million seeds a year, it is a stroke of luck if they hit the right place. The seeds do not have any reserve food and they germinate best after a forest fire. Thus aspen is a pioneer tree.f0:T6d4,**Aspen is a key species in nature** Aspen (Populus tremula), which belongs to the willow family, is the most important tree in Finland in terms of biodiversity. The abundance of companion species of aspen is incredible: about a thousand species, of which about 120 are dependent on aspen. Half a hundred of these species are endangered. What is behind the popularity of aspen? The trunk of aspen is not as acidic as that of other common forest trees in Finland, and especially the trunk of an old tree has grooves and cracks. This makes it an important substrate for polypores, lichens and mosses. The shoots, leaves and bark of aspen are nutritious and suitable for many forest dwellers. Of mammals, hares, moose, beavers and flying squirrels feast on them. Aspens in various stages of decay are home to half a thousand species of insects and other invertebrates, more than any other Finnish tree, with the exception of hardwoods. Being relatively soft, aspen is the most important hollow tree species in our forests. Hundreds of birds and mammals from flying squirrels to white-backed woodpeckers can nest in the holes hollowed out by the woodpecker during the tree's life cycle of up to 200 years,. About twenty bird species can nest in Finnish aspen, some even at the same time. At the age of 100, aspen can be 30 metres high and easily almost a metre thick. Aspen grows in grove-like or moist forests. A large aspen can have up to 250 kilometres of roots. Root shoots are its most important means of reproduction, because even though aspen can produce 50 million seeds a year, it is a stroke of luck if they hit the right place. The seeds do not have any reserve food and they germinate best after a forest fire. Thus aspen is a pioneer tree.f1:T9c6,**Human influence on Hietasaari nature** The effects of human activities on nature are both positive and harmful. Species such as wood anemones and common hepatica, which are not otherwise found in the wild on Hietasaari, have remained from the villa culture of Hietasaari. Of the species in allotments, e.g. sunflowers and berry bushes provide food for birds that stay for the winter in winter. The harmful effects of human activity, on the other hand, can be seen in the form of invasive species that take up living space from local species and in the form of various pollutants that hinder the natural functioning of animals. **Alien species. **An invasive alien species refers to a species that has spread outside its natural range with the help of humans and causes harm in a new environment. More attention has been paid to invasive alien species in the 2000s, and the Act on the Prevention of Alien Species entered into force in Finland in 2016. New species have been added to it later. The landowner is responsible for the prevention of invasive alien species. Everyone can ensure that their own activities do not spread invasive alien species. For example taking garden waste into the forest could spread the species. In public areas, you can organise invasive alien species control campaign if you ask for permission from the city. The most common invasive alien species plants in Oulu are Himalayan balsam, large-leaved lupine and false spiraea. In the grove-like forests of Hietasaari, the false spiraea has spread into large stands in some places. It has long been used as an ornamental shrub in the yards of villas. More information on invasive alien species here: [vieraslajit.fi](http://vieraslajit.fi). **Light and noise pollution. **In a growing city, the disturbance to nature caused by human activity is increasing. Industrial and commercial activities, housing and leisure activities produce noise, emissions and light pollution. However, nature is quite adaptable and a surprising number of organisms can live as a companion to humans. City foxes and deer live in Hietasaari, and from time to time birds of prey also nest there. However, the increasing movement of people in the area forces the most timid animals to move elsewhere. The southern parts of Hietasaari have previously been considered a quiet area (average noise level below 35 dB on a daily basis). But what will happen in the future of silence when human activity in the area is increasing all the time?f2:T9c6,**Human influence on Hietasaari nature** The effects of human activities on nature are both positive and harmful. Species such as wood anemones and common hepatica, which are not otherwise found in the wild on Hietasaari, have remained from the villa culture of Hietasaari. Of the species in allotments, e.g. sunflowers and berry bushes provide food for birds that stay for the winter in winter. The harmful effects of human activity, on the other hand, can be seen in the form of invasive species that take up living space from local species and in the form of various pollutants that hinder the natural functioning of animals. **Alien species. **An invasive alien species refers to a species that has spread outside its natural range with the help of humans and causes harm in a new environment. More attention has been paid to invasive alien species in the 2000s, and the Act on the Prevention of Alien Species entered into force in Finland in 2016. New species have been added to it later. The landowner is responsible for the prevention of invasive alien species. Everyone can ensure that their own activities do not spread invasive alien species. For example taking garden waste into the forest could spread the species. In public areas, you can organise invasive alien species control campaign if you ask for permission from the city. The most common invasive alien species plants in Oulu are Himalayan balsam, large-leaved lupine and false spiraea. In the grove-like forests of Hietasaari, the false spiraea has spread into large stands in some places. It has long been used as an ornamental shrub in the yards of villas. More information on invasive alien species here: [vieraslajit.fi](http://vieraslajit.fi). **Light and noise pollution. **In a growing city, the disturbance to nature caused by human activity is increasing. Industrial and commercial activities, housing and leisure activities produce noise, emissions and light pollution. However, nature is quite adaptable and a surprising number of organisms can live as a companion to humans. City foxes and deer live in Hietasaari, and from time to time birds of prey also nest there. However, the increasing movement of people in the area forces the most timid animals to move elsewhere. The southern parts of Hietasaari have previously been considered a quiet area (average noise level below 35 dB on a daily basis). But what will happen in the future of silence when human activity in the area is increasing all the time?f3:T556,**Grove forest** Hietasaari has a lot of groves. A grove is a type of forest where herbaceous plants predominate. The vegetation in the grove is often lush and multi-species. Eutrophication is caused by nutrient-rich soil. The trees often consist of deciduous trees, such as birches, aspens, alders and rowans. In the groves of Hietasaari, red currant and narrow buckler-fern are common. Common plants in the groves of Hietasaari include the red campion, dwarf cornel, wood millet, narrow buckler-fern, herb Paris, wood cranesbill and May lily. The eutrophication of the forests of Hietasaari is caused by the flooded Oulu river and the silt it brings. The forests have not yet used all the nutrients. However, the layer of soil is quite thin and there is fine sand underneath which gives the island its name Hietasaari ”The silt island”. Human activity in the early 1900s in the form of villa yards, patches of fields and meadows also partly explains the lush vegetation. At the height of Oulu, wood anemones and common hepatica do not grow naturally. However, they have been planted in the yards of villas more than 100 years ago. They have thrived quite well in the lush soil and milder maritime climate of Hietasaari. Wood anemones still grow in Prikipuisto, and there are common hepatica in a wider area in the grove forest in the direction of Kutteripolku.f4:T556,**Grove forest** Hietasaari has a lot of groves. A grove is a type of forest where herbaceous plants predominate. The vegetation in the grove is often lush and multi-species. Eutrophication is caused by nutrient-rich soil. The trees often consist of deciduous trees, such as birches, aspens, alders and rowans. In the groves of Hietasaari, red currant and narrow buckler-fern are common. Common plants in the groves of Hietasaari include the red campion, dwarf cornel, wood millet, narrow buckler-fern, herb Paris, wood cranesbill and May lily. The eutrophication of the forests of Hietasaari is caused by the flooded Oulu river and the silt it brings. The forests have not yet used all the nutrients. However, the layer of soil is quite thin and there is fine sand underneath which gives the island its name Hietasaari ”The silt island”. Human activity in the early 1900s in the form of villa yards, patches of fields and meadows also partly explains the lush vegetation. At the height of Oulu, wood anemones and common hepatica do not grow naturally. However, they have been planted in the yards of villas more than 100 years ago. They have thrived quite well in the lush soil and milder maritime climate of Hietasaari. Wood anemones still grow in Prikipuisto, and there are common hepatica in a wider area in the grove forest in the direction of Kutteripolku.f5:T9ed,**Pikinen Poloku – environmental art in Pikisaari, Oulu from June 10th to the end of September, 2026.** Pikinen Poloku returns in 2026 with new artworks and international guest artists. Pikinen Poloku is an environmental art path that circles the shores and forests of the Pikisaari island, also straying to the courtyard of the old wool factory Vanha Villatehdas. The new art pieces from invited artists or artists and groups that work in Pikisaari, are located in the island’s nature. Pikinen Poloku is a part of the Oulu2026 cultural programme and cultural climate change. We warmly welcome you to experience the art path at your own pace during the summer. The site-spesific artworks of the path can be found 24/7 until the end of September. The main path is wheelchair accessible. The length of the art path is less than one kilometer. Free entry. In addition to the environmental art exhibition, the path also hosts special events during the summer. All the events of Pikinen Poloku are compiled in the Oulu2026 event calendar at [**oulu2026.eu/en/events**](https://oulu2026.eu/en/events/) and can be found with the search words “Pikinen Poloku”. Read more about the events via Vanha Villatehdas's and Pikinen Poloku's social media accounts on Facebook: [**++fb.com/groups/pikinenpoloku++**](https://www.facebook.com/groups/pikinenpoloku) and on Instagram: [**++instagram.com/vanhavillatehdas++**](https://www.instagram.com/vanhavillatehdas/) The invited artists of Pikinen Poloku 2025 are Masami Aihara (Japan), Lucia Horňáková Černayová (Slovakia), Jaakko Pernu (Finland) and Jane Remm (Estonia). Other artists include Anni Arffman, Jari Huhta, Helena Kaikkonen, Leena Kangas, Helena Kankaansyrjä, Pirjo Lempeä, Sakari Matinlauri & Ari Järvinen, Karoliina Niemelä, Jyrki Poussu & Sirja-Erika Virpikari, Päivi Pussila, Lauri Rankka, Kari Södö and Raimo Törhönen. *Oulu is the European Capital of Culture for the year 2026. Pikinen Poloku is part of the Oulu2026 cultural program and cultural climate change.* *Pikinen Poloku is organized by Vanha Villatehdas ry. Pikinen Poloku thanks: Oulu2026, the City of Oulu, EU Japan Fest, Potential Toimitilat Oy, Sokeri-Jussin Kievari and Winebar Kurkela have sponsored the Pikinen Poloku environmental art path 2026 and its seminar. Our other supporters and sponsors are the Finnish Association for Nature Conservation Oulu Local Association, Hailuodon Panimo’s Mallassauna, QuetzalCoatl Production Oy, Banska Bystrica art academy (Slovakia) and Gleistein.* f6:T63a,**Masami Aihara (JPN): 水の三態: 水-Mizu・氷-Koori・湿-Shitsu / The Forms of Water: Water, Ice, Vapor.** Japanese visual artist **Masami Aihara**, born in 1961, lives on the Japanese island of Hokkaidō. Aihara is an internationally known artist whose works have been exhibited in Vietnam, Turkey, Canada, Greece and Russia. The artist has received several awards in his home country for his work to promote visual arts. Masami Aihara has had a longlasting relationship with Finland and Finnish artists for several decades. She was the first resident artist of Iin KulttuuriKauppila in 2006. Masami Aihara started her career in 1987 while studying at Tama Art University in Japan and has continued her mainly sculptural expression. Regardless of the material, she has expressed her works through a relationship with nature that springs from her inner self. Her long-term theme is "water", and she creates shapes based on his impressions of plants, people and sounds related to the theme. Since 1991, she has participated in international sculpture symposiums in Georgia, Greece, Vietnam, etc. In 1997, she opened a studio in Obihiro, Hokkaido, and has been involved in urban development, non-profit organization activities, and store design. She currently lives in Obihiro, Hokkaido and works on the Art Brut Obihiro exhibition and local gallery projects, focusing on creating sculptures. Her Language barrier workshop was organized in connection with Pikinen Poloku from June 11th to 15th. Pikinen Poloku – environmental art 10.6.–30.9.2026, Pikisaari Oulu. Photos Leena Kangas. f7:T63a,**Masami Aihara (JPN): 水の三態: 水-Mizu・氷-Koori・湿-Shitsu / The Forms of Water: Water, Ice, Vapor.** Japanese visual artist **Masami Aihara**, born in 1961, lives on the Japanese island of Hokkaidō. Aihara is an internationally known artist whose works have been exhibited in Vietnam, Turkey, Canada, Greece and Russia. The artist has received several awards in his home country for his work to promote visual arts. Masami Aihara has had a longlasting relationship with Finland and Finnish artists for several decades. She was the first resident artist of Iin KulttuuriKauppila in 2006. Masami Aihara started her career in 1987 while studying at Tama Art University in Japan and has continued her mainly sculptural expression. Regardless of the material, she has expressed her works through a relationship with nature that springs from her inner self. Her long-term theme is "water", and she creates shapes based on his impressions of plants, people and sounds related to the theme. Since 1991, she has participated in international sculpture symposiums in Georgia, Greece, Vietnam, etc. In 1997, she opened a studio in Obihiro, Hokkaido, and has been involved in urban development, non-profit organization activities, and store design. She currently lives in Obihiro, Hokkaido and works on the Art Brut Obihiro exhibition and local gallery projects, focusing on creating sculptures. Her Language barrier workshop was organized in connection with Pikinen Poloku from June 11th to 15th. Pikinen Poloku – environmental art 10.6.–30.9.2026, Pikisaari Oulu. Photos Leena Kangas. f8:T510,**Jaakko Pernu: Full Moon Apple.** **Jaakko Pernu** (b. 1958) is a Finnish sculptor and environmental artist who lives in Kälviä. He has worked with natural materials for 30 years – often on large scale sculptures. Recently, he has worked mostly abroad, creating several pieces focused on public places around Europe, Mexico, the United States and Canada. Several of Jaako's works can also be seen in Oulu. "My artworks usually play with contradictions or opposites: light combined with a large, external basic form combined with an internal random material, a transparent clear form combined with a solid structure, irony/humor combined with art, intuition with refined craftsmanship and so on. I especially like making place-related artworks. My working techniques are a direct extension of traditional Finnish practical methods, where natural materials have always been used in one way or another. I feel that my finished works can be part of the art world defined by galleries or museums, but they can also be seen by the so-called street person who may come across the works of art by chance. In that case, you could say that the ball of intuitive understanding has been thrown to the viewer." Pikinen Poloku – environmental art 10.6.–30.9.2026, Pikisaari Oulu. Photos Leena Kangas. f9:T510,**Jaakko Pernu: Full Moon Apple.** **Jaakko Pernu** (b. 1958) is a Finnish sculptor and environmental artist who lives in Kälviä. He has worked with natural materials for 30 years – often on large scale sculptures. Recently, he has worked mostly abroad, creating several pieces focused on public places around Europe, Mexico, the United States and Canada. Several of Jaako's works can also be seen in Oulu. "My artworks usually play with contradictions or opposites: light combined with a large, external basic form combined with an internal random material, a transparent clear form combined with a solid structure, irony/humor combined with art, intuition with refined craftsmanship and so on. I especially like making place-related artworks. My working techniques are a direct extension of traditional Finnish practical methods, where natural materials have always been used in one way or another. I feel that my finished works can be part of the art world defined by galleries or museums, but they can also be seen by the so-called street person who may come across the works of art by chance. In that case, you could say that the ball of intuitive understanding has been thrown to the viewer." Pikinen Poloku – environmental art 10.6.–30.9.2026, Pikisaari Oulu. Photos Leena Kangas. fa:T9ed,**Pikinen Poloku – environmental art in Pikisaari, Oulu from June 10th to the end of September, 2026.** Pikinen Poloku returns in 2026 with new artworks and international guest artists. Pikinen Poloku is an environmental art path that circles the shores and forests of the Pikisaari island, also straying to the courtyard of the old wool factory Vanha Villatehdas. The new art pieces from invited artists or artists and groups that work in Pikisaari, are located in the island’s nature. Pikinen Poloku is a part of the Oulu2026 cultural programme and cultural climate change. We warmly welcome you to experience the art path at your own pace during the summer. The site-spesific artworks of the path can be found 24/7 until the end of September. The main path is wheelchair accessible. The length of the art path is less than one kilometer. Free entry. In addition to the environmental art exhibition, the path also hosts special events during the summer. All the events of Pikinen Poloku are compiled in the Oulu2026 event calendar at [**oulu2026.eu/en/events**](https://oulu2026.eu/en/events/) and can be found with the search words “Pikinen Poloku”. Read more about the events via Vanha Villatehdas's and Pikinen Poloku's social media accounts on Facebook: [**++fb.com/groups/pikinenpoloku++**](https://www.facebook.com/groups/pikinenpoloku) and on Instagram: [**++instagram.com/vanhavillatehdas++**](https://www.instagram.com/vanhavillatehdas/) The invited artists of Pikinen Poloku 2025 are Masami Aihara (Japan), Lucia Horňáková Černayová (Slovakia), Jaakko Pernu (Finland) and Jane Remm (Estonia). Other artists include Anni Arffman, Jari Huhta, Helena Kaikkonen, Leena Kangas, Helena Kankaansyrjä, Pirjo Lempeä, Sakari Matinlauri & Ari Järvinen, Karoliina Niemelä, Jyrki Poussu & Sirja-Erika Virpikari, Päivi Pussila, Lauri Rankka, Kari Södö and Raimo Törhönen. *Oulu is the European Capital of Culture for the year 2026. Pikinen Poloku is part of the Oulu2026 cultural program and cultural climate change.* *Pikinen Poloku is organized by Vanha Villatehdas ry. Pikinen Poloku thanks: Oulu2026, the City of Oulu, EU Japan Fest, Potential Toimitilat Oy, Sokeri-Jussin Kievari and Winebar Kurkela have sponsored the Pikinen Poloku environmental art path 2026 and its seminar. Our other supporters and sponsors are the Finnish Association for Nature Conservation Oulu Local Association, Hailuodon Panimo’s Mallassauna, QuetzalCoatl Production Oy, Banska Bystrica art academy (Slovakia) and Gleistein.* fb:T619,An art walking route was created in Pyhäjärvi during the 2023-2024 school year, which runs through the Pyhäsalmi urban area with statues and monuments. In the first phase of the art walk, the route was created together with the ninth-grade optional group of visual arts and the Pyhäjärvi High School's visual arts KU2 group. The objects were photographed and their history and the stories behind them were learned. In the second phase, pictures of the statues and monuments were drawn and painted with the fifth-grade students of Ikonen School under the leadership of teacher Tiina Kumpulainen and with the ninth-grade optional group of visual arts at Salmi School under the leadership of teacher Suvi Ruotoistenmäki. The idea for the art walk came from a meeting of the Heittola Komu Family Council in autumn 2022. The meeting discussed ways to celebrate the centenary of the birth of the sculptor Väinö Komu, who was born in Pyhäjärvi, in 2028. The creation of the art walk is part of the preparations for the anniversary year. The art walk wanted to bring information and stories about the statues and monuments in the area to children and young people. At the same time, the information was also wanted to bring information to other Pyhäjärvi residents and visitors who were interested in the subject. By drawing and painting pictures, the aim was to bring the sites to life in a way that would be present today. The art walk also wanted to draw attention to noticing, appreciating, caring for and maintaining the statue areas all year round. fc:T5d9,In 1952, the Pyhäjärvi Society attached a bronze plaque to the wall of the old Tikkala, the municipal hall: Olli Tikka, a royal visitor, lived on this headland, who in 1552 acquired the rights to this lake and its shores for the peasants of Pyhäjärvi. Pyhäjärvi Society 1952. When the building was demolished to make way for the new office building, five foundation stones were lifted onto the truss and a slab was bolted to the top stone. However, it was stolen, and now it is carved into the stone: Olli Tikka 1552. Olli Tikka, the hero of the Pyhäjärvi parish, the ancestor of all the old families of Pyhäjärvi, came to Pyhäjärvi from South Savo either directly or via Jämsä. At that time, Olli and Jussi Tikka and men of the same name in Pyhäjärvi were tax collectors in Jämsä. The people of Jämsä went to the king to complain about the men who came to their lands, but Gustav Vasa ordered his governors to settle in the hinterland and protect the settlers. The dissatisfied Jämsä people burned the settlements of Pyhäjärvi and Kalajoki area in 1551. In 1552, Olli Tikka and Pekka Rautio received a decision from the king that secured the rights of the settlers, and the Jämsä people were sentenced to compensation. Olli Tikka was a hard-fisted advocate. According to the court records, he was involved in fights and the use of personal law, both as a defendant and as a plaintiff, for four decades. The picture shows a 9th grade student's version of the statue. fd:T5d9,In 1952, the Pyhäjärvi Society attached a bronze plaque to the wall of the old Tikkala, the municipal hall: Olli Tikka, a royal visitor, lived on this headland, who in 1552 acquired the rights to this lake and its shores for the peasants of Pyhäjärvi. Pyhäjärvi Society 1952. When the building was demolished to make way for the new office building, five foundation stones were lifted onto the truss and a slab was bolted to the top stone. However, it was stolen, and now it is carved into the stone: Olli Tikka 1552. Olli Tikka, the hero of the Pyhäjärvi parish, the ancestor of all the old families of Pyhäjärvi, came to Pyhäjärvi from South Savo either directly or via Jämsä. At that time, Olli and Jussi Tikka and men of the same name in Pyhäjärvi were tax collectors in Jämsä. The people of Jämsä went to the king to complain about the men who came to their lands, but Gustav Vasa ordered his governors to settle in the hinterland and protect the settlers. The dissatisfied Jämsä people burned the settlements of Pyhäjärvi and Kalajoki area in 1551. In 1552, Olli Tikka and Pekka Rautio received a decision from the king that secured the rights of the settlers, and the Jämsä people were sentenced to compensation. Olli Tikka was a hard-fisted advocate. According to the court records, he was involved in fights and the use of personal law, both as a defendant and as a plaintiff, for four decades. The picture shows a 9th grade student's version of the statue. fe:T426,Sculptor Väinö Komu (b.1928 – d.2013), who was born in Pyhäjärvi, completed the monument in 1991. The materials of the sculptures are bronze, red clay, wood and stone. The city of Pyhäjärvi commissioned Väinö to create a sculpture using ore from the Pyhäjärvi mine. Väinö selected the stones from a depth of a thousand meters. Väinö’s idea was immediately clear: the old division of the parish into three villages. The three boulders are placed on a cast concrete pedestal shaped like the base of a wooden plow, because he believed that the foundation of everything was the agricultural culture. Go to the monument on a beautiful summer day. Sit on the pedestal and look for traces of different work in the concrete and boulders and listen to the murmur of water gushing from the spring’s eye. If you look closely, you can see lines on the surface of the concrete that represent rows of grain or warps of fabric. Enjoy the unique atmosphere created by the monument. Photos: 5th grade and 9th grade student's interpretation of the statue. ff:T426,Sculptor Väinö Komu (b.1928 – d.2013), who was born in Pyhäjärvi, completed the monument in 1991. The materials of the sculptures are bronze, red clay, wood and stone. The city of Pyhäjärvi commissioned Väinö to create a sculpture using ore from the Pyhäjärvi mine. Väinö selected the stones from a depth of a thousand meters. Väinö’s idea was immediately clear: the old division of the parish into three villages. The three boulders are placed on a cast concrete pedestal shaped like the base of a wooden plow, because he believed that the foundation of everything was the agricultural culture. Go to the monument on a beautiful summer day. Sit on the pedestal and look for traces of different work in the concrete and boulders and listen to the murmur of water gushing from the spring’s eye. If you look closely, you can see lines on the surface of the concrete that represent rows of grain or warps of fabric. Enjoy the unique atmosphere created by the monument. Photos: 5th grade and 9th grade student's interpretation of the statue. 100:T425,Musicians and watercraft will travel the entire Pyhäjoki from Lake Pyhäjärvi to the sea 10.-14.7.2026. The five-day Soiva joki event will sail the entire river from Lake Pyhäjärvi to the sea. A group of international musicians and other artists, the Rapid Art Force, will play on a boat that will also stop in the villages along the river to perform. Village associations will organize their own events on the shore (including meals and pop-up cafes). Finally, at the confluence of the river and the sea, musicians will improvise a soundscape suitable for the location. At the same time, after a break of years, the Pyhäjoki canoeing event will be held. All citizens are encouraged to get out on the water in various boats or even stand-up paddleboards and even make music at the same time. The 166-kilometer journey will accommodate six municipalities connected by the river. At the same time, you can also explore the Jokikylä-Ruhkala mini art gallery. In co-operation with Jokikylä-Ruhkala village association, cultural services, sports services. 101:T425,Musicians and watercraft will travel the entire Pyhäjoki from Lake Pyhäjärvi to the sea 10.-14.7.2026. The five-day Soiva joki event will sail the entire river from Lake Pyhäjärvi to the sea. A group of international musicians and other artists, the Rapid Art Force, will play on a boat that will also stop in the villages along the river to perform. Village associations will organize their own events on the shore (including meals and pop-up cafes). Finally, at the confluence of the river and the sea, musicians will improvise a soundscape suitable for the location. At the same time, after a break of years, the Pyhäjoki canoeing event will be held. All citizens are encouraged to get out on the water in various boats or even stand-up paddleboards and even make music at the same time. The 166-kilometer journey will accommodate six municipalities connected by the river. At the same time, you can also explore the Jokikylä-Ruhkala mini art gallery. In co-operation with Jokikylä-Ruhkala village association, cultural services, sports services. 102:T619,An art walking route was created in Pyhäjärvi during the 2023-2024 school year, which runs through the Pyhäsalmi urban area with statues and monuments. In the first phase of the art walk, the route was created together with the ninth-grade optional group of visual arts and the Pyhäjärvi High School's visual arts KU2 group. The objects were photographed and their history and the stories behind them were learned. In the second phase, pictures of the statues and monuments were drawn and painted with the fifth-grade students of Ikonen School under the leadership of teacher Tiina Kumpulainen and with the ninth-grade optional group of visual arts at Salmi School under the leadership of teacher Suvi Ruotoistenmäki. The idea for the art walk came from a meeting of the Heittola Komu Family Council in autumn 2022. The meeting discussed ways to celebrate the centenary of the birth of the sculptor Väinö Komu, who was born in Pyhäjärvi, in 2028. The creation of the art walk is part of the preparations for the anniversary year. The art walk wanted to bring information and stories about the statues and monuments in the area to children and young people. At the same time, the information was also wanted to bring information to other Pyhäjärvi residents and visitors who were interested in the subject. By drawing and painting pictures, the aim was to bring the sites to life in a way that would be present today. The art walk also wanted to draw attention to noticing, appreciating, caring for and maintaining the statue areas all year round. 103:T19ca,## Welcome to the route of the bell towers and Pauper Statues! ### ### Info: - There are 11 bell towers and 21 Pauper Statues on the route. - The bell towers can be admired from outside - visits inside the towers are usually not possible without the parish's own guide. - Some of the Pauper Statues are located outside, some indoors. - There is no recommended order of tour on the route **Check out the Art Program of** **From** **Church to Church** \*\*route \*\*[**here!**](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd) ### ### **Bell towers** **Along with wooden churches, churchyard bell towers are a distinctive Finnish building type which, like churches, has a long history from the Middle Ages to the 20th century.** The bell towers we know today are the result of a long development from simple, structural element hut-like bell towers with a modest canopy. The number of bell towers separate from the church building in Finland is exceptionally large. Their stylistic development has also been different from that in Sweden, and they display many of the stylistic subtleties of folk architecture masters. There are also clear regional differences in the types of bell towers across Finland, and their architecture is influenced by both the East and the West. In addition to earlier simple wooden bell towers and Gothic-inspired solutions, **three** **dominant main types can be distinguished in the towers:** **Ostrobothnian, southwestern Finnish and eastern Finnish**, all of which appear in different variations. What they have in common is a general shape that tapers in stages towards the top and is structured by curved roofs, a substructure that is built directly on the ground, and upper parts with a frame and board structure, which conceal scaffolds for hanging the bells. **The** **Ostrobothnian-style bell tower**, also called the Ostrobothnian Renaissance bell tower, is thought to have spread from Southern and Central Ostrobothnia to Northern Ostrobothnia at the beginning of the 18th century. In an Ostrobothnian bell tower the lowest floor and the bell room are square or short and rectangular, while the topmost lantern tower is octagonal, sometimes topped with a skillfully decorated flagpole with dragon banners. In an Ostrobothnian bell tower, the lowest floor almost always contains a passage leading to the churchyard and side chambers. **There is a total of 32 bell towers in the churchyards of Northern Ostrobothnia**, 21 of which are from the 18th century and most of which are Ostrobothnian Renaissance bell towers. - There are eight bell towers from the 19th century, of which the Himanka, Kalajoki, Haapajärvi, Reisjärvi and Kärsämäki bell towers represent classicism and empire in style. - The style of the Pulkkila and Pyhäjärvi bell towers is neo-Gothic. - Bell towers were also erected in connection with 20th-century churches in Hailuoto and Ii, the latest tower was built in Ylivieska in 2021. The same master builders who built the churches can be found among the builders of the bell towers. From the late 18th century the design was transferred to trained architects, but for a long time the builders were self-taught. ### **Pauper Statues** ### **Pauper statue, church man, bell tower man, wooden man** **– a dear child has many names.** The Pauper Statue is usually a painted wooden statue attached to the church wall or bell tower, with a hole in the chest where you can put money. Some have a canopy built for them to protect them from the rain, while others stand at the mercy of the rain and the scorching sun. Many have a painted Bible verse in their hand or on the canopy urging them to help the poor. Many are depicted as war invalids, with a broken leg or leaning on a cane. **The** **Pauper** **Statues** **are** **a** **unique** **phenomenon; a** **similar** **mass** **of** **benefactors** **cannot** **be** **found** **anywhere** **else** **in** **the** **world.** The predecessors of the Pauper Statues were wooden logs that had a carved hole to put money into (offerstock in Swedish), which the Church of Sweden ordered in 1343 to be placed in churches. The papal logs decorated with images of saints were replaced by undecorated pauper logs after the Reformation. The proceeds from the logs and later the Pauper Statues were given to the poor relief. The Church Act of 1686 stipulated that parishes were obliged to take care of their poor. There are Pauper Statues in Finland on the outside walls of Lutheran church buildings. Sweden has a lesser amount of the statues. **There are about 145 of** **Pauper Statues** **left in Finland, most of which are found in Ostrobothnia.** - The statue group is predominantly men, only one woman Pauper Statue has survived and can be found in Soini. It is thought that the Pauper Statues were referenced from the ship figureheads. There was a lot of shipbuilding in Ostrobothnia, and it is possible that their sculptors also made the first Pauper Statues. - The oldest surviving Pauper Statue in Finland is either Bartimeus from Hauho or “Prince Brave” from Raahe, both from the late 17th century. - Most of the Pauper Statues date from the 19th century. The number of Pauper Statues increased after the Finnish War of 1808–1809. There were more people in need than ever: those injured in the war, soldiers’ widows and orphans. The northernmost Pauper Statue is found in Haukipudas. - There are 21 Pauper Statues in Northern Ostrobothnia, the youngest in Oulunsalo from 2021. The Pauper Statues have often been victims of robbery and abuse, and their care has been neglected. Some of the statues have been donated to museums, such as Haapavesi’s Pauper Statue to the National Museum of Finland in the 1930s. The statue stood for a long time in the Seurasaari Open-Air Museum on the wall of the Karuna Church's bell tower in a side-walled canopy, and today it can be found preserved inside the tower. A copy of the Pauper Statue made in the 1950s burned down with the Haapavesi church. The Pauper Statues’ redemption began in the early 2000s when a book about the statues by architect Kaija Santaholma was published. It was followed up when the Save the Pauper Statues Association organized a Pauper Statue exhibition at Kerimäki Church in the summer of 2013. The church had collected 42 Pauper Statues from all over Finland. This made the parishes realize the value of their statues and begin restoration work to save this valuable folk art form. 104:T858,## Haapajärvi bell tower The Haapajärvi bell tower was built earlier than the church. It was completed in 1812 and its master builder was Niilo Koskela. It is recorded in the minutes of the Kalajoki church council that a more skilled builder than Koskela doesn’t exist in the whole country. Although the bell tower follows the Ostrobothnian type it shows Empire style features, for example in the door's pediment and semi-circular windows. The church was renovated in 1851. The cross church was completed in 1802 and was renovated in the 1880s by the plans of the provincial architect F.W. Lüchow. The Pauper Statue was located on the wall of the church in the 1830s, and for some time it was stored under the church’s floor. In the 1960s it found its place in the Local Heritage Museum, and in 2002 the Pauper Statue was moved to the vestibule of the church's north cross. ## Haapajärvi Pauper Statue The chubby-cheeked Pauper Statue sculpted by Reisjärvi church builder Niilo Koskela dates from the 19th century. The Pauper Statue was robbed in the mid-19th century along with the church's wine storage. The thieves carried the statue to the lake shore and filled its belly with wine. The vicar Anders Holmström was angry about this and put the statue under the church’s floor. It was not until the 1960s that the statue, which had fallen into poor condition, was returned to its place when a local teacher Aarne Ojala thoroughly restored it. The Pauper Statue is wearing a black tailcoat, light trousers, black shoes and a church hat. Under the coat is a vest and under that a collar is decorated with stars. The statue is a bit reminiscent of Rautio's Pauper Statue, maybe even Kalajoki's. ## Haapajärvi church is part of the Roadside Churches network: - Roadside churches are free and open rest areas on summer routes - Open **1.6. - 31.7.** Mon - Fri at 12 - 16, Sundays at 10 - 12 *Image credits: * - The Finnish Heritage Agency / Historical Picture Collection (1930s). - Haapajärvi parish. 105:T858,## Haapajärvi bell tower The Haapajärvi bell tower was built earlier than the church. It was completed in 1812 and its master builder was Niilo Koskela. It is recorded in the minutes of the Kalajoki church council that a more skilled builder than Koskela doesn’t exist in the whole country. Although the bell tower follows the Ostrobothnian type it shows Empire style features, for example in the door's pediment and semi-circular windows. The church was renovated in 1851. The cross church was completed in 1802 and was renovated in the 1880s by the plans of the provincial architect F.W. Lüchow. The Pauper Statue was located on the wall of the church in the 1830s, and for some time it was stored under the church’s floor. In the 1960s it found its place in the Local Heritage Museum, and in 2002 the Pauper Statue was moved to the vestibule of the church's north cross. ## Haapajärvi Pauper Statue The chubby-cheeked Pauper Statue sculpted by Reisjärvi church builder Niilo Koskela dates from the 19th century. The Pauper Statue was robbed in the mid-19th century along with the church's wine storage. The thieves carried the statue to the lake shore and filled its belly with wine. The vicar Anders Holmström was angry about this and put the statue under the church’s floor. It was not until the 1960s that the statue, which had fallen into poor condition, was returned to its place when a local teacher Aarne Ojala thoroughly restored it. The Pauper Statue is wearing a black tailcoat, light trousers, black shoes and a church hat. Under the coat is a vest and under that a collar is decorated with stars. The statue is a bit reminiscent of Rautio's Pauper Statue, maybe even Kalajoki's. ## Haapajärvi church is part of the Roadside Churches network: - Roadside churches are free and open rest areas on summer routes - Open **1.6. - 31.7.** Mon - Fri at 12 - 16, Sundays at 10 - 12 *Image credits: * - The Finnish Heritage Agency / Historical Picture Collection (1930s). - Haapajärvi parish. 106:T619,## Merijärvi bell tower The Merijärvi bell tower differs in shape from other 18th-century Ostrobothnian bell towers. The Swedish-style two-jointed tower widens evenly downwards from its lower part. The bell tower was designed by Sven Westman from Stockholm in 1796 and was built in 1799 under the leadership of Johan Blomström from Kalajoki. Originally the drawings for the church and the bell tower were drawn up by Simon Silvén, a church builder from Kalajoki, but the drawings were rejected by the Stockholm Intendant's Office, which submitted new drawings in their place. Silvén, however, served as the church's master builder. ## Merijärvi Pauper Statue Kirkon seinustalla katoksen alla seisoo veikeä, viiksekäs, pujopartainen, koppalakkinen ukko. Hänellä on huolella veistetty pystykauluksinen, viisinappinen hännystakki, liivi ja paita, lahkeensuissa halkio ja myös viisi nappiparia. Ukko on ollut olemassa ainakin jo 1835. Kirkon palon jälkeen ukon kunnosti Väinö Kalapudas. On the church wall under the canopy stands a jolly, bearded Pauper Statue with a mustache and a peaked hat. He has a carefully carved stand-up collar, a tailcoat with five buttons, a waistcoat and shirt and slits on the pant legs with five pairs of buttons as well. The Pauper Statue has existed since at least 1835. After the church burned down, the statue was restored by Väinö Kalapudas. _Image credits:_ - Hannu Puurunen (1981), The Finnish Heritage Agency / Architectural History Collection. - Wikimedia Commons 2024. 107:T619,## Merijärvi bell tower The Merijärvi bell tower differs in shape from other 18th-century Ostrobothnian bell towers. The Swedish-style two-jointed tower widens evenly downwards from its lower part. The bell tower was designed by Sven Westman from Stockholm in 1796 and was built in 1799 under the leadership of Johan Blomström from Kalajoki. Originally the drawings for the church and the bell tower were drawn up by Simon Silvén, a church builder from Kalajoki, but the drawings were rejected by the Stockholm Intendant's Office, which submitted new drawings in their place. Silvén, however, served as the church's master builder. ## Merijärvi Pauper Statue Kirkon seinustalla katoksen alla seisoo veikeä, viiksekäs, pujopartainen, koppalakkinen ukko. Hänellä on huolella veistetty pystykauluksinen, viisinappinen hännystakki, liivi ja paita, lahkeensuissa halkio ja myös viisi nappiparia. Ukko on ollut olemassa ainakin jo 1835. Kirkon palon jälkeen ukon kunnosti Väinö Kalapudas. On the church wall under the canopy stands a jolly, bearded Pauper Statue with a mustache and a peaked hat. He has a carefully carved stand-up collar, a tailcoat with five buttons, a waistcoat and shirt and slits on the pant legs with five pairs of buttons as well. The Pauper Statue has existed since at least 1835. After the church burned down, the statue was restored by Väinö Kalapudas. _Image credits:_ - Hannu Puurunen (1981), The Finnish Heritage Agency / Architectural History Collection. - Wikimedia Commons 2024. 108:T9e4,## St. Olaf’s Church of Saloinen bell tower The bell tower next to the church is a well-known and recognized specialty of neoclassical wooden architecture, which appears in all publications dealing with late 18th-century architecture in both Finland and Sweden. The starting point for the bell tower was a personal drawing by **King Gustav III**, based on which the final drawing was prepared by the Office of the Chief Intendant. The bell tower, which was attached to the old church that burned down in 1930, was built under the leadership of **Jaakko** **Rijf** in 1786-87. The architecture of the bell tower is characterized by Doric columns with their parts belonging to the pediment and frieze. On both sides of the sound openings are Doric columns, which are accompanied by triglyphs and mutule belonging to the column system. The initially open space was boarded up, and the bell hatches were probably added as early as the 1820s. On the wall of the bell tower stands a Pauper Statue, sculpted by **Abraham** **Tervaluoto** in 1853. Next to the heroes' graves is a bronze statue of a soldier made by **Ensio Seppänen** and a cross from 1971. ## Saloinen Pauper Statue Saloinen’s pauper log (wooden logs that had a carved hole to put money into, _offerstock_ in Swedish) is mentioned in the accounts of the poorhouse in 1733. The Pauper Statue is mentioned in 1853 when Abraham Tervaluoto carved it. Information about the statue can be found until 1866. At first it was by the road near the church, later on the wall of the bell tower. The wooden church in Saloinen burned down in 1930 but the bell tower was saved. Eventually the Pauper Statue was put into storage due to robberies. It was donated to the Saloinen Local Heritage Museum in 1967. Woodworker Valtteri Hyväri repaired it the following year. In 2009 the Pauper Statue returned to his original role on the bell tower’s wall. The front of the statue and his legs have been renovated, the brim of his hat is loose and flat. The four nails on the front of the new coat are factory-made, and the wood used for the renovation is new. The old man is wearing a dark grey coat, pants and black shoes. He has carved sideburns, a beard, and a mustache attached with nails under his nose, from which the hair has worn off. _Image credits:_ - Esa Mikkola (2023), The Finnish Heritage Agency / The Cultural Environment Collection. - Black and white photos: Raahe Museum / Raahe Museum picture collection. - MKFI / Wikimedia Commons (2013) 109:T9e4,## St. Olaf’s Church of Saloinen bell tower The bell tower next to the church is a well-known and recognized specialty of neoclassical wooden architecture, which appears in all publications dealing with late 18th-century architecture in both Finland and Sweden. The starting point for the bell tower was a personal drawing by **King Gustav III**, based on which the final drawing was prepared by the Office of the Chief Intendant. The bell tower, which was attached to the old church that burned down in 1930, was built under the leadership of **Jaakko** **Rijf** in 1786-87. The architecture of the bell tower is characterized by Doric columns with their parts belonging to the pediment and frieze. On both sides of the sound openings are Doric columns, which are accompanied by triglyphs and mutule belonging to the column system. The initially open space was boarded up, and the bell hatches were probably added as early as the 1820s. On the wall of the bell tower stands a Pauper Statue, sculpted by **Abraham** **Tervaluoto** in 1853. Next to the heroes' graves is a bronze statue of a soldier made by **Ensio Seppänen** and a cross from 1971. ## Saloinen Pauper Statue Saloinen’s pauper log (wooden logs that had a carved hole to put money into, _offerstock_ in Swedish) is mentioned in the accounts of the poorhouse in 1733. The Pauper Statue is mentioned in 1853 when Abraham Tervaluoto carved it. Information about the statue can be found until 1866. At first it was by the road near the church, later on the wall of the bell tower. The wooden church in Saloinen burned down in 1930 but the bell tower was saved. Eventually the Pauper Statue was put into storage due to robberies. It was donated to the Saloinen Local Heritage Museum in 1967. Woodworker Valtteri Hyväri repaired it the following year. In 2009 the Pauper Statue returned to his original role on the bell tower’s wall. The front of the statue and his legs have been renovated, the brim of his hat is loose and flat. The four nails on the front of the new coat are factory-made, and the wood used for the renovation is new. The old man is wearing a dark grey coat, pants and black shoes. He has carved sideburns, a beard, and a mustache attached with nails under his nose, from which the hair has worn off. _Image credits:_ - Esa Mikkola (2023), The Finnish Heritage Agency / The Cultural Environment Collection. - Black and white photos: Raahe Museum / Raahe Museum picture collection. - MKFI / Wikimedia Commons (2013) 10a:T52a,## Kalajoki bell tower The large Kalajoki bell tower representing classicism belonged to a wooden church built in 1815 after the Finnish War, both of which were designed by the architect A.W. Arppe of the Intendant's Office and built by Heikki Kuorikoski. The church burned down in 1869, but the bell tower was spared. The tower was originally lower than it is today, but it was raised to its current three-aisled height in 1858 according to the plans of the provincial architect Oldenburg and Engel's successor, the head of the Intendant's Office, architect E.B. Lohrman. The Pauper Statue, or the bell tower’s Lord as the locals call him, on the wall of the bell tower was made by a sculptor from Reisjärvi in 1815. ## Kalajoki Pauper Statue A stocky Pauper Statue, looking like a cartridge, stands under a canopy on the wall with a biblical verse written on the canopy. The Pauper Statue was made in 1815 by a sculptor from Reisjärvi. The collar of the tailcoat appears to be fur, there are slits at the pant legs, he has a cane in his hand and a church hat on his head. The statue is tall, the second largest of the Pauper Statues. _Image credits:_ - Vaivaisukko: Estormiz / Wikimedia Commons (2011). - Black and white photo: Central Archive for Finnish Business Records (1931). 10b:T52a,## Kalajoki bell tower The large Kalajoki bell tower representing classicism belonged to a wooden church built in 1815 after the Finnish War, both of which were designed by the architect A.W. Arppe of the Intendant's Office and built by Heikki Kuorikoski. The church burned down in 1869, but the bell tower was spared. The tower was originally lower than it is today, but it was raised to its current three-aisled height in 1858 according to the plans of the provincial architect Oldenburg and Engel's successor, the head of the Intendant's Office, architect E.B. Lohrman. The Pauper Statue, or the bell tower’s Lord as the locals call him, on the wall of the bell tower was made by a sculptor from Reisjärvi in 1815. ## Kalajoki Pauper Statue A stocky Pauper Statue, looking like a cartridge, stands under a canopy on the wall with a biblical verse written on the canopy. The Pauper Statue was made in 1815 by a sculptor from Reisjärvi. The collar of the tailcoat appears to be fur, there are slits at the pant legs, he has a cane in his hand and a church hat on his head. The statue is tall, the second largest of the Pauper Statues. _Image credits:_ - Vaivaisukko: Estormiz / Wikimedia Commons (2011). - Black and white photo: Central Archive for Finnish Business Records (1931). 10c:T6ad,## Oulainen bell tower ## The Oulainen bell tower is the only surviving church-related building built by Matti Jylkä from Kalajoki. The Ostrobothnian-style bell tower was completed in 1758 on the south side of the church. Matti Jylkä is known to have built two churches and two bell towers. The Oulainen bell tower is the earliest of his works. Five years earlier he oversaw large-scale renovations of the Kalajoki Church. He led both the construction of the Toholampi church and bell tower and the construction of the Kärsämäki church, both sites completed in 1765. In Kärsämäki the actual work was apparently led by Matti Jylkkä's son Simo, following his father's instructions and under his supervision. At the end of 1776, Jylkkä was leading the construction inspection of his hometown Kalajoki’s church, and in addition, he was a trustee in the town’s administration. ## Oulainen Pauper Statue Oulainen Pauper Statue is a strange one among the Pauper Statues. Apparently made of cement and attached to a wooden board, the statue stands on the wall of the bell tower under a canopy. It was found in the attic of an apartment building in the 1950s. In the 1980s, it was placed on the bell tower’s wall. There is no information about the creator or origin of the Pauper Statue. The sentence written on the plate is in Swedish. The statue has a wooden leg and half of his right hand is missing. The statue has a long grey coat, medium-length hair and bushy eyebrows. _Image credits:_ - Wikimedia Commons (2023) - Martti Jokinen (2002), The Finnish Heritage Agency / Architectural History Collection. - Central Archive for Finnish Business Records (1931). 10d:T6ad,## Oulainen bell tower ## The Oulainen bell tower is the only surviving church-related building built by Matti Jylkä from Kalajoki. The Ostrobothnian-style bell tower was completed in 1758 on the south side of the church. Matti Jylkä is known to have built two churches and two bell towers. The Oulainen bell tower is the earliest of his works. Five years earlier he oversaw large-scale renovations of the Kalajoki Church. He led both the construction of the Toholampi church and bell tower and the construction of the Kärsämäki church, both sites completed in 1765. In Kärsämäki the actual work was apparently led by Matti Jylkkä's son Simo, following his father's instructions and under his supervision. At the end of 1776, Jylkkä was leading the construction inspection of his hometown Kalajoki’s church, and in addition, he was a trustee in the town’s administration. ## Oulainen Pauper Statue Oulainen Pauper Statue is a strange one among the Pauper Statues. Apparently made of cement and attached to a wooden board, the statue stands on the wall of the bell tower under a canopy. It was found in the attic of an apartment building in the 1950s. In the 1980s, it was placed on the bell tower’s wall. There is no information about the creator or origin of the Pauper Statue. The sentence written on the plate is in Swedish. The statue has a wooden leg and half of his right hand is missing. The statue has a long grey coat, medium-length hair and bushy eyebrows. _Image credits:_ - Wikimedia Commons (2023) - Martti Jokinen (2002), The Finnish Heritage Agency / Architectural History Collection. - Central Archive for Finnish Business Records (1931). 10e:T42f,## Pyhäjoki Pauper Statue Lightning set fire to the wooden church in Pyhäjoki in 1974, but the Pauper Statue attached to the main door was saved. Today it is attached to the wall of the new church under a canopy. On the metal-plated front of the canopy is a sentence written in a fractured script: *“The poor shall not be deprived of their land; therefore I command you and say: You shall always open your hand to your brother, the needy and the poor in your land.”* Deuteronomy 15:11. There are also two exhortation sentences on the back wall. In the 1910s, Russian soldiers had shot the Pauper Statue which is why he has been given sheet metal armor for his chest and arms. The Pauper Statue has a long black coat with six pairs of buttons, gently curled black hair, and a full beard. His eyes, eyebrows and eyelashes are also black. The hat that once stood on the ground next to the old man's feet had disappeared over time. The statue was sculpted in 1855 by the Swedish soldier Kalle Närki. *Image credits:* - Wikimedia Commons (2025) 10f:T42f,## Pyhäjoki Pauper Statue Lightning set fire to the wooden church in Pyhäjoki in 1974, but the Pauper Statue attached to the main door was saved. Today it is attached to the wall of the new church under a canopy. On the metal-plated front of the canopy is a sentence written in a fractured script: *“The poor shall not be deprived of their land; therefore I command you and say: You shall always open your hand to your brother, the needy and the poor in your land.”* Deuteronomy 15:11. There are also two exhortation sentences on the back wall. In the 1910s, Russian soldiers had shot the Pauper Statue which is why he has been given sheet metal armor for his chest and arms. The Pauper Statue has a long black coat with six pairs of buttons, gently curled black hair, and a full beard. His eyes, eyebrows and eyelashes are also black. The hat that once stood on the ground next to the old man's feet had disappeared over time. The statue was sculpted in 1855 by the Swedish soldier Kalle Närki. *Image credits:* - Wikimedia Commons (2025) 110:T432,## Kärsämäki bell tower Next to the Empire-style cruciform church designed by C. L. Engel in the Intendant's Office in 1828 is a bell tower designed by E. B. Lohrman in 1841. The church and the bell tower were completed at the same time in 1842, with Jaakko Koski as the master builder. The bridge connecting the church and the bell tower is unique. ## Kärsämäki Pauper Statue A broad-shouldered, bearded Pauper Statue, that has been moved to the church museum in the bell tower, stands under a canopy. The statue has a short blue coat and a peaked cap. His right arm is cut off at the wrist. The man closely resembles the Merijärvi Pauper Statue. ## Kärsämäki church is part of the Roadside Churches network: - Roadside churches are **free** **and open** **rest** **areas** **on summer** **routes** - Open **8.6.-31.7.2026**, Mon-Fri at 11-16, closed on midsummer's eve 19.6.2026. *Image credits:* - Central Archive for Finnish Business Records. - Kärsämäki parish. - Photos of the Pauper Statue: Lotta Puurula (2025). 111:T432,## Kärsämäki bell tower Next to the Empire-style cruciform church designed by C. L. Engel in the Intendant's Office in 1828 is a bell tower designed by E. B. Lohrman in 1841. The church and the bell tower were completed at the same time in 1842, with Jaakko Koski as the master builder. The bridge connecting the church and the bell tower is unique. ## Kärsämäki Pauper Statue A broad-shouldered, bearded Pauper Statue, that has been moved to the church museum in the bell tower, stands under a canopy. The statue has a short blue coat and a peaked cap. His right arm is cut off at the wrist. The man closely resembles the Merijärvi Pauper Statue. ## Kärsämäki church is part of the Roadside Churches network: - Roadside churches are **free** **and open** **rest** **areas** **on summer** **routes** - Open **8.6.-31.7.2026**, Mon-Fri at 11-16, closed on midsummer's eve 19.6.2026. *Image credits:* - Central Archive for Finnish Business Records. - Kärsämäki parish. - Photos of the Pauper Statue: Lotta Puurula (2025). 112:T19ca,## Welcome to the route of the bell towers and Pauper Statues! ### ### Info: - There are 11 bell towers and 21 Pauper Statues on the route. - The bell towers can be admired from outside - visits inside the towers are usually not possible without the parish's own guide. - Some of the Pauper Statues are located outside, some indoors. - There is no recommended order of tour on the route **Check out the Art Program of** **From** **Church to Church** \*\*route \*\*[**here!**](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd) ### ### **Bell towers** **Along with wooden churches, churchyard bell towers are a distinctive Finnish building type which, like churches, has a long history from the Middle Ages to the 20th century.** The bell towers we know today are the result of a long development from simple, structural element hut-like bell towers with a modest canopy. The number of bell towers separate from the church building in Finland is exceptionally large. Their stylistic development has also been different from that in Sweden, and they display many of the stylistic subtleties of folk architecture masters. There are also clear regional differences in the types of bell towers across Finland, and their architecture is influenced by both the East and the West. In addition to earlier simple wooden bell towers and Gothic-inspired solutions, **three** **dominant main types can be distinguished in the towers:** **Ostrobothnian, southwestern Finnish and eastern Finnish**, all of which appear in different variations. What they have in common is a general shape that tapers in stages towards the top and is structured by curved roofs, a substructure that is built directly on the ground, and upper parts with a frame and board structure, which conceal scaffolds for hanging the bells. **The** **Ostrobothnian-style bell tower**, also called the Ostrobothnian Renaissance bell tower, is thought to have spread from Southern and Central Ostrobothnia to Northern Ostrobothnia at the beginning of the 18th century. In an Ostrobothnian bell tower the lowest floor and the bell room are square or short and rectangular, while the topmost lantern tower is octagonal, sometimes topped with a skillfully decorated flagpole with dragon banners. In an Ostrobothnian bell tower, the lowest floor almost always contains a passage leading to the churchyard and side chambers. **There is a total of 32 bell towers in the churchyards of Northern Ostrobothnia**, 21 of which are from the 18th century and most of which are Ostrobothnian Renaissance bell towers. - There are eight bell towers from the 19th century, of which the Himanka, Kalajoki, Haapajärvi, Reisjärvi and Kärsämäki bell towers represent classicism and empire in style. - The style of the Pulkkila and Pyhäjärvi bell towers is neo-Gothic. - Bell towers were also erected in connection with 20th-century churches in Hailuoto and Ii, the latest tower was built in Ylivieska in 2021. The same master builders who built the churches can be found among the builders of the bell towers. From the late 18th century the design was transferred to trained architects, but for a long time the builders were self-taught. ### **Pauper Statues** ### **Pauper statue, church man, bell tower man, wooden man** **– a dear child has many names.** The Pauper Statue is usually a painted wooden statue attached to the church wall or bell tower, with a hole in the chest where you can put money. Some have a canopy built for them to protect them from the rain, while others stand at the mercy of the rain and the scorching sun. Many have a painted Bible verse in their hand or on the canopy urging them to help the poor. Many are depicted as war invalids, with a broken leg or leaning on a cane. **The** **Pauper** **Statues** **are** **a** **unique** **phenomenon; a** **similar** **mass** **of** **benefactors** **cannot** **be** **found** **anywhere** **else** **in** **the** **world.** The predecessors of the Pauper Statues were wooden logs that had a carved hole to put money into (offerstock in Swedish), which the Church of Sweden ordered in 1343 to be placed in churches. The papal logs decorated with images of saints were replaced by undecorated pauper logs after the Reformation. The proceeds from the logs and later the Pauper Statues were given to the poor relief. The Church Act of 1686 stipulated that parishes were obliged to take care of their poor. There are Pauper Statues in Finland on the outside walls of Lutheran church buildings. Sweden has a lesser amount of the statues. **There are about 145 of** **Pauper Statues** **left in Finland, most of which are found in Ostrobothnia.** - The statue group is predominantly men, only one woman Pauper Statue has survived and can be found in Soini. It is thought that the Pauper Statues were referenced from the ship figureheads. There was a lot of shipbuilding in Ostrobothnia, and it is possible that their sculptors also made the first Pauper Statues. - The oldest surviving Pauper Statue in Finland is either Bartimeus from Hauho or “Prince Brave” from Raahe, both from the late 17th century. - Most of the Pauper Statues date from the 19th century. The number of Pauper Statues increased after the Finnish War of 1808–1809. There were more people in need than ever: those injured in the war, soldiers’ widows and orphans. The northernmost Pauper Statue is found in Haukipudas. - There are 21 Pauper Statues in Northern Ostrobothnia, the youngest in Oulunsalo from 2021. The Pauper Statues have often been victims of robbery and abuse, and their care has been neglected. Some of the statues have been donated to museums, such as Haapavesi’s Pauper Statue to the National Museum of Finland in the 1930s. The statue stood for a long time in the Seurasaari Open-Air Museum on the wall of the Karuna Church's bell tower in a side-walled canopy, and today it can be found preserved inside the tower. A copy of the Pauper Statue made in the 1950s burned down with the Haapavesi church. The Pauper Statues’ redemption began in the early 2000s when a book about the statues by architect Kaija Santaholma was published. It was followed up when the Save the Pauper Statues Association organized a Pauper Statue exhibition at Kerimäki Church in the summer of 2013. The church had collected 42 Pauper Statues from all over Finland. This made the parishes realize the value of their statues and begin restoration work to save this valuable folk art form. 113:T5b6,## Welcome to Kalajoki and its fascinating parish history... There has been a Christian settlement along the Kalajoki river since the 13th century. The first mention of the Kalajoki parish can be found in documents from 1525, where it is said that a chapel church had been built in the village of Tynkä in Kalajoki. At that time the parish covered the entire Kalajokilaakso, all the way to Haapajärvi and Reisjärvi. The large mother parish split into parts in the 19th century, when the dependent parishes became independent one after another. The mother parish church did not last very long in Tynkä and the next one was built closer to the mouth of the river in Pitkäsenkylä (see the route point Kalajoki II Church monument). ## On this route you can explore: - the locations of Kalajoki's former churches and their monuments - the former and the current vicarage - all four current churches: Kalajoki Church, Rautio Church, Himanka Church, and Kalla Church. Kalla Church is located about 18 km from the mainland, on the island of Maakalla. You can visit the church by sailing to the island in the summer on the historic Galeas ship Ansio. Read more [++here++](https://kaljaasiansio.fi/). **Check** **out** **the** **Art** **Program of** **From** **Church to Church** \*\*route \*\*[**here!**](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd) 114:Tec8,## Himanka Church Himanka was founded as a sermon hall in Lohtaja in the 18th century, received chapel rights in 1846 and became an independent parish in 1906. Today, Himanka is part of the Kalajoki parish. **Himanka** **Church** **is in** **a prominent location near the historic marketplace of** **Raumankari, at the mouth of** **Lestijoki.** The old marketplace of Raumankari forms the old core of the Himanka village. The buildings are densely located along two streets and the old Ostrobothnia coastal road. A truss bridge built on the stone chests of the old road still exists. The oldest residential buildings in Raumankari date from the early 19th century. There is a row of sheds where fishing nets are stored on the village's common land in Piispanranta. Initially the church was planned to be built in the village of Parkaa in Rautila, near the houses of Parkkihauta, but the project never came to pass. Today there is a memorial on the site. Himanka Church, designed by **Jacob** **Rijf** in 1794 and built together with his brother **Carl** **Rijf**, is an isosceles, internally beveled **cruciform church** with an octagonal tower base rising from the center of the cross. The church was renovated to its current neo-Gothic appearance in 1897 when the interior of the church was also renovated, except for the pulpit on the northeast side. The original exterior architecture of the church is best shown in a pencil drawing made by architect Armas Lindgren in 1896. A separate, wooden bell tower was built in 1823 under the leadership of the Central Ostrobothnian church builder **Niilo Koskela, also known as** **Pyörte** **(Pyörret),** and the tower has been raised later. Around the church is an old cemetery with old monuments and heroes' graves. The newer cemetery that is still in use is located on the other side of the highway. The church's altarpiece *Jesus on the Cross* was painted by **Johan Gustav Hedman** in 1845. The Pauper Statue is from 1827. **The** **Rijf** **family of church builders, Thomas** **Rijf** **(1726-1803) and his sons Jacob** **Rijf** **(1753-1808) and Carl** **Rijf** **(1756-1801), born in** **Pietarsaari, were key influences on church architecture at the end of the 18th century.** Jacob Rijf was the first Finn to study at the School of Architecture at the Stockholm Academy of Fine Arts. He studied there from 1783 to 1784 under the guidance of renowned Swedish architects Carl Fredrik Adelcranz and Olof Tempelman. Jacob Rijf designed churches in both Finland and Sweden, one of his most beautiful works being the bell tower of Kälviä Church. The Kungsholm church renovation plans from 1808 were Jacob Rijf's last work. He died of a severe fever in the middle of the tower construction work in Stockholm, nearly simultaneously with his son who was also involved in the construction work. Jacob Rijf also prepared new drawings for the main bridge in Kalajoki, which was destroyed in the Finnish War. The stone arch bridge was replaced with a new one in 1881. The construction work was supervised by **Anton** **Lankila** (1832–1916), who had been apprenticed to the church builder Mikko Karjanlahti (1820–1894). This so-called “Old bridge” was demolished in 1972, when it was replaced by the current concrete bridge. ## Himanka church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest stops** **on your summer** **road trips** - Opening hours for summer 2026 will be updated soon on the Tiekirkot website *Image* *credits:* - *1: Kalajoki* *parish* - *2-4: Lotta Puurula (2025)* - *5:* *Central Archive for* *Finnish* *Business Records.* - *6:* *P.O.Welin* */* *The* *Finnish* *Heritage* *Agency* *(1973)* 115:Tec8,## Himanka Church Himanka was founded as a sermon hall in Lohtaja in the 18th century, received chapel rights in 1846 and became an independent parish in 1906. Today, Himanka is part of the Kalajoki parish. **Himanka** **Church** **is in** **a prominent location near the historic marketplace of** **Raumankari, at the mouth of** **Lestijoki.** The old marketplace of Raumankari forms the old core of the Himanka village. The buildings are densely located along two streets and the old Ostrobothnia coastal road. A truss bridge built on the stone chests of the old road still exists. The oldest residential buildings in Raumankari date from the early 19th century. There is a row of sheds where fishing nets are stored on the village's common land in Piispanranta. Initially the church was planned to be built in the village of Parkaa in Rautila, near the houses of Parkkihauta, but the project never came to pass. Today there is a memorial on the site. Himanka Church, designed by **Jacob** **Rijf** in 1794 and built together with his brother **Carl** **Rijf**, is an isosceles, internally beveled **cruciform church** with an octagonal tower base rising from the center of the cross. The church was renovated to its current neo-Gothic appearance in 1897 when the interior of the church was also renovated, except for the pulpit on the northeast side. The original exterior architecture of the church is best shown in a pencil drawing made by architect Armas Lindgren in 1896. A separate, wooden bell tower was built in 1823 under the leadership of the Central Ostrobothnian church builder **Niilo Koskela, also known as** **Pyörte** **(Pyörret),** and the tower has been raised later. Around the church is an old cemetery with old monuments and heroes' graves. The newer cemetery that is still in use is located on the other side of the highway. The church's altarpiece *Jesus on the Cross* was painted by **Johan Gustav Hedman** in 1845. The Pauper Statue is from 1827. **The** **Rijf** **family of church builders, Thomas** **Rijf** **(1726-1803) and his sons Jacob** **Rijf** **(1753-1808) and Carl** **Rijf** **(1756-1801), born in** **Pietarsaari, were key influences on church architecture at the end of the 18th century.** Jacob Rijf was the first Finn to study at the School of Architecture at the Stockholm Academy of Fine Arts. He studied there from 1783 to 1784 under the guidance of renowned Swedish architects Carl Fredrik Adelcranz and Olof Tempelman. Jacob Rijf designed churches in both Finland and Sweden, one of his most beautiful works being the bell tower of Kälviä Church. The Kungsholm church renovation plans from 1808 were Jacob Rijf's last work. He died of a severe fever in the middle of the tower construction work in Stockholm, nearly simultaneously with his son who was also involved in the construction work. Jacob Rijf also prepared new drawings for the main bridge in Kalajoki, which was destroyed in the Finnish War. The stone arch bridge was replaced with a new one in 1881. The construction work was supervised by **Anton** **Lankila** (1832–1916), who had been apprenticed to the church builder Mikko Karjanlahti (1820–1894). This so-called “Old bridge” was demolished in 1972, when it was replaced by the current concrete bridge. ## Himanka church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest stops** **on your summer** **road trips** - Opening hours for summer 2026 will be updated soon on the Tiekirkot website *Image* *credits:* - *1: Kalajoki* *parish* - *2-4: Lotta Puurula (2025)* - *5:* *Central Archive for* *Finnish* *Business Records.* - *6:* *P.O.Welin* */* *The* *Finnish* *Heritage* *Agency* *(1973)* 116:Tb9b,## Kalla church **The** **Kallankari** **Islands** **are** **located** **in** **the** **outer** **archipelago** **of Kalajoki,** **off** **the** **Rahja** **archipelago,** **twenty** **kilometers** **from** **the** **mainland.** The barren and almost treeless outer islands of Maa- and Ulkokalla (Kallankari Islands) rose from the sea around the 15th century and gradually became the most important fishing, seal hunting and seafaring base in the open sea between Kokkola and Oulu. Unlike the other islands in the Rahja archipelago, Kallankari Islands were located on the Swedish king's common land and everyone had the right to fish there. They gathered on the Maakalla Island in mid-July and stayed there until September. Since hundreds of fishermen and hunters from a wide area gathered on the island, order was needed to regulate the life of the Islands community. Sweden’s king granted the Kallankari Islands limited local government with port councils and harbour rights as early as 1669, and in 1771 the Swedish King Adolf Fredrik established the harbour order of the Kallankari Islands (*Hamina* *Ordning* in Swedish), which is still in force today. The Islands council meets every summer to decide on island matters under the leadership of the hamina master. **A** **small** **chapel** **was** **also** **built** **in Maakalla in 1680** **so that the** **fishermen** **could fulfill their obligation to attend church.** The current octagonal basilica church was completed in 1780 according to the plans drawn by the church builder Simon Silvén and under his leadership. The church has a steep, three-pitched shingled roof, from the crest of which rises a flagpole covered with shingle. The church hall covered by a barrel vault ceiling is unpainted, only the pulpit and choir stalls have sparse coloring. On the doorpost of the church is a Pauper Statue, made by the carpenter Ville Orelli from Plassi. There are numerous small fishermen’s huts around the small wooden church in Maakalla, and next to the church is the archaic vicarage from the 1780s. There is also a bell tower next to the church. Completely treeless Ulkokalla was reclaimed for fishing in 1776 and by 1824 there were 16 boat crews fishing in Ulkokalla. Since 1856 Ulkokalla has served as a lighthouse island and the current, now decommissioned lighthouse (A.H. Dahlström) dates from 1871. A meteorological observation station was established on the island in 1882. Old fishermen huts have also been preserved around the lighthouse in Ulkokalla. ## How to visit Maakalla? - Discover the Galeas ship Ansio cruise selection [++here!++ ](https://kaljaasiansio.fi/) - Kiira and Bon Marin ships [++here++](https://maakallaan.fi/in-english/). - **Kalla** **church** **is open** **during** **cruises!** *Image* *credits:* - *1-2: Kalajoki* *parish.* - *3-4: Lotta Puurula (2025).* - *5-6: Pekka Kyytinen/The* *Finnish* *Heritage* *Agency* *(1970).* 117:Tb9b,## Kalla church **The** **Kallankari** **Islands** **are** **located** **in** **the** **outer** **archipelago** **of Kalajoki,** **off** **the** **Rahja** **archipelago,** **twenty** **kilometers** **from** **the** **mainland.** The barren and almost treeless outer islands of Maa- and Ulkokalla (Kallankari Islands) rose from the sea around the 15th century and gradually became the most important fishing, seal hunting and seafaring base in the open sea between Kokkola and Oulu. Unlike the other islands in the Rahja archipelago, Kallankari Islands were located on the Swedish king's common land and everyone had the right to fish there. They gathered on the Maakalla Island in mid-July and stayed there until September. Since hundreds of fishermen and hunters from a wide area gathered on the island, order was needed to regulate the life of the Islands community. Sweden’s king granted the Kallankari Islands limited local government with port councils and harbour rights as early as 1669, and in 1771 the Swedish King Adolf Fredrik established the harbour order of the Kallankari Islands (*Hamina* *Ordning* in Swedish), which is still in force today. The Islands council meets every summer to decide on island matters under the leadership of the hamina master. **A** **small** **chapel** **was** **also** **built** **in Maakalla in 1680** **so that the** **fishermen** **could fulfill their obligation to attend church.** The current octagonal basilica church was completed in 1780 according to the plans drawn by the church builder Simon Silvén and under his leadership. The church has a steep, three-pitched shingled roof, from the crest of which rises a flagpole covered with shingle. The church hall covered by a barrel vault ceiling is unpainted, only the pulpit and choir stalls have sparse coloring. On the doorpost of the church is a Pauper Statue, made by the carpenter Ville Orelli from Plassi. There are numerous small fishermen’s huts around the small wooden church in Maakalla, and next to the church is the archaic vicarage from the 1780s. There is also a bell tower next to the church. Completely treeless Ulkokalla was reclaimed for fishing in 1776 and by 1824 there were 16 boat crews fishing in Ulkokalla. Since 1856 Ulkokalla has served as a lighthouse island and the current, now decommissioned lighthouse (A.H. Dahlström) dates from 1871. A meteorological observation station was established on the island in 1882. Old fishermen huts have also been preserved around the lighthouse in Ulkokalla. ## How to visit Maakalla? - Discover the Galeas ship Ansio cruise selection [++here!++ ](https://kaljaasiansio.fi/) - Kiira and Bon Marin ships [++here++](https://maakallaan.fi/in-english/). - **Kalla** **church** **is open** **during** **cruises!** *Image* *credits:* - *1-2: Kalajoki* *parish.* - *3-4: Lotta Puurula (2025).* - *5-6: Pekka Kyytinen/The* *Finnish* *Heritage* *Agency* *(1970).* 118:T6e1,## **Monument** **to** **the** **first** **church** **of** **Kalajoki,** **built** **in** **1525-1555** ## **Kalajoki is 500** **years** **old** **already!** The first chapel church in Kalajoki was built in Tynkä around **1525**, near Jaakola's house. Next to the Simi bridge on the east side of the Vääräjoki river is a **monument** **to** **the** **first** **church** **in Kalajoki.** Five houses in Tynkä were the largest in Kalajoki at the time. One of the owners, Mikko Erkinpoika Tynkä, was called Iso-Mikko (Big Mikko in English). He was a farmer, merchant and shipowner. Traces of brickwork were later found during sewer excavations on the grounds of the Jaakola house, which may have been the remains of the church's wine cellar. Next to the Simi bridge on the east side of the Vääräjoki river is the Kalliola residential building, where the painter Vilho Niemi lived. On the property is a **monument** **to** **the** **first** **church** **in Kalajoki**, which was erected on the site in 1957. ## History of Kalajoki and Kalajoki parish: There has been a Christian settlement along the Kalajoki river since the 13th century. The first mention of the Kalajoki parish can be found in documents from 1525, where it is said that a chapel church had been built in the village of Tynkä in Kalajoki. At that time the parish covered the entire Kalajokilaakso, all the way to Haapajärvi and Reisjärvi. The large mother parish split into parts in the 19th century, when the dependent parishes became independent one after another. The mother parish church did not last very long in Tynkä and the next one was built closer to the mouth of the river in Pitkäsenkylä (see the route point Kalajoki II Church monument). 119:T6e1,## **Monument** **to** **the** **first** **church** **of** **Kalajoki,** **built** **in** **1525-1555** ## **Kalajoki is 500** **years** **old** **already!** The first chapel church in Kalajoki was built in Tynkä around **1525**, near Jaakola's house. Next to the Simi bridge on the east side of the Vääräjoki river is a **monument** **to** **the** **first** **church** **in Kalajoki.** Five houses in Tynkä were the largest in Kalajoki at the time. One of the owners, Mikko Erkinpoika Tynkä, was called Iso-Mikko (Big Mikko in English). He was a farmer, merchant and shipowner. Traces of brickwork were later found during sewer excavations on the grounds of the Jaakola house, which may have been the remains of the church's wine cellar. Next to the Simi bridge on the east side of the Vääräjoki river is the Kalliola residential building, where the painter Vilho Niemi lived. On the property is a **monument** **to** **the** **first** **church** **in Kalajoki**, which was erected on the site in 1957. ## History of Kalajoki and Kalajoki parish: There has been a Christian settlement along the Kalajoki river since the 13th century. The first mention of the Kalajoki parish can be found in documents from 1525, where it is said that a chapel church had been built in the village of Tynkä in Kalajoki. At that time the parish covered the entire Kalajokilaakso, all the way to Haapajärvi and Reisjärvi. The large mother parish split into parts in the 19th century, when the dependent parishes became independent one after another. The mother parish church did not last very long in Tynkä and the next one was built closer to the mouth of the river in Pitkäsenkylä (see the route point Kalajoki II Church monument). 11a:T560,## **Priest’s** **rock** **or** **”Priest’s** **murder** **rock"** **from** **1555.** It is said that a vicar was murdered on the rock near the Tavasti house, on the banks of Vääräjoki river. ## Background of the story: The village of Tynkä is named after the rich and influential land merchant Mikko Erkinpoika Tynkä who lived there in the 1500s. Perhaps this influential family of merchants also had an influence on why the first church of Kalajoki was built in Tynkä in 1525 on the banks of Vääräjoki where the locals’ houses also stood. (Location of the first church in Kalajoki: near Siminsilta, see the route ahead). At that time, vicars collected taxes for the Swedish kingdom. As a result, they were constantly in conflict with farmers and peasants. **In 1555, Niku Erkinpoika Tynkä** from Tynkä killed the third vicar of Kalajoki **Mikael** **Tavastius** in a fit of anger. Niku had to settle his crime by paying a fine of 13 marks and 8 örtugs (a mediaval currency in Finland and Sweden) to the crown. It is suspected that the influential merchant Mikko Tynkä played a role in ordering the punishment as well, since Niku Erkinpoika only had to pay a fine for the murder. The Priest’s murder rock can still be seen in Tynkä. It can be found from the wide part of the river in Tavasti, below the rapids on the south side. 11b:T560,## **Priest’s** **rock** **or** **”Priest’s** **murder** **rock"** **from** **1555.** It is said that a vicar was murdered on the rock near the Tavasti house, on the banks of Vääräjoki river. ## Background of the story: The village of Tynkä is named after the rich and influential land merchant Mikko Erkinpoika Tynkä who lived there in the 1500s. Perhaps this influential family of merchants also had an influence on why the first church of Kalajoki was built in Tynkä in 1525 on the banks of Vääräjoki where the locals’ houses also stood. (Location of the first church in Kalajoki: near Siminsilta, see the route ahead). At that time, vicars collected taxes for the Swedish kingdom. As a result, they were constantly in conflict with farmers and peasants. **In 1555, Niku Erkinpoika Tynkä** from Tynkä killed the third vicar of Kalajoki **Mikael** **Tavastius** in a fit of anger. Niku had to settle his crime by paying a fine of 13 marks and 8 örtugs (a mediaval currency in Finland and Sweden) to the crown. It is suspected that the influential merchant Mikko Tynkä played a role in ordering the punishment as well, since Niku Erkinpoika only had to pay a fine for the murder. The Priest’s murder rock can still be seen in Tynkä. It can be found from the wide part of the river in Tavasti, below the rapids on the south side. 11c:Tbfb,## Kalajoki Church **Kalajoki** **became independent as its own parish from the chapel of Salo (Saloinen) in 1540.** The current church in Kalajoki is the seventh in the parish. The previous wooden church, designed by architect A.W. Arppe and built by Heikki Kuorikoski in 1815, burned down in 1869, but the church's bell tower was saved. The current brick church was originally designed by the provincial architect F.W. Lüchow. The church was a three-part basilica church with a west tower and in the neo-Gothic style. **This church was also destroyed by fire in February 1930.** **The church was rebuilt on the surviving walls and consecrated in 1931**. The church was renovated in the spirit of 1920s classicism inside and out, and the design was made by architect **W.G. Palmqvist**. The church acquired an altarpiece in 1887, *The Resurrection of Christ*, from **Adolf von Becker**, and later in 1908, the paintings *The Return of the Prodigal Son* and *The Good Shepherd* by artist **T.G. Tuhkanen.** The lead glass windows in the chancel were donated by the "former Kalajoki residents" in 1929. The windows are the work of the Salomo Wuorio painting studio and were designed and painted by **Gunnar Forsström**, a skilled glass art painter. Two of the stained glass windows are on the subject of "Matthew and Mark" and "Luke and John". The symbols of the apostles are also depicted in the paintings. The third lead glass work is without paintings. The church also has valuable brass chandeliers and candelabra, some of which are the work of the well-known brass foundry family **Helander** from Kalajoki. In 1995, the church received its own votive ship for its 470th anniversary. The ship was built by **Tomi** **Isopahkala** and is a miniature model of the barque boat *Kalaja*, which was built in Rahja in 1874. The Pauper Statue on the wall of the bell tower, or ‘bell tower’s lord’ as the locals call him, was made by a sculptor from Reisjärvi in 1815. The church is surrounded by a cemetery which has exceptionally fine and large grave monuments for a rural municipality, including well-known dignitaries and families. The most famous grave is perhaps the grave of the Finnish war hero, Count and Lieutenant **Wilhelm von Schwerin**, who was wounded in the Battle of Oravainen and died in Kalajoki. In front of the main door are the graves of heroes and a monument designed by **Ilmari Wirkkala.** The more recent cemetery is located a little further away in the Vuorenkallio area. ## Kalajoki church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Opening hours: **22.6.-2.8.2026** Mon-Fri klo 12-15, Sundays after the service to 14:00. *Image* *credits:* - *1-3: Kalajoki* *parish* */ Eveliina Pylväs* - *4-5: 1930. Photos* *of the burnt church: "The history of* *Kalajoki* *and Rautio" (1980).* - *6-8:* *Ruins of the burnt church:* *Central Archive for* *Finnish* *Business Records.* 11d:Tbfb,## Kalajoki Church **Kalajoki** **became independent as its own parish from the chapel of Salo (Saloinen) in 1540.** The current church in Kalajoki is the seventh in the parish. The previous wooden church, designed by architect A.W. Arppe and built by Heikki Kuorikoski in 1815, burned down in 1869, but the church's bell tower was saved. The current brick church was originally designed by the provincial architect F.W. Lüchow. The church was a three-part basilica church with a west tower and in the neo-Gothic style. **This church was also destroyed by fire in February 1930.** **The church was rebuilt on the surviving walls and consecrated in 1931**. The church was renovated in the spirit of 1920s classicism inside and out, and the design was made by architect **W.G. Palmqvist**. The church acquired an altarpiece in 1887, *The Resurrection of Christ*, from **Adolf von Becker**, and later in 1908, the paintings *The Return of the Prodigal Son* and *The Good Shepherd* by artist **T.G. Tuhkanen.** The lead glass windows in the chancel were donated by the "former Kalajoki residents" in 1929. The windows are the work of the Salomo Wuorio painting studio and were designed and painted by **Gunnar Forsström**, a skilled glass art painter. Two of the stained glass windows are on the subject of "Matthew and Mark" and "Luke and John". The symbols of the apostles are also depicted in the paintings. The third lead glass work is without paintings. The church also has valuable brass chandeliers and candelabra, some of which are the work of the well-known brass foundry family **Helander** from Kalajoki. In 1995, the church received its own votive ship for its 470th anniversary. The ship was built by **Tomi** **Isopahkala** and is a miniature model of the barque boat *Kalaja*, which was built in Rahja in 1874. The Pauper Statue on the wall of the bell tower, or ‘bell tower’s lord’ as the locals call him, was made by a sculptor from Reisjärvi in 1815. The church is surrounded by a cemetery which has exceptionally fine and large grave monuments for a rural municipality, including well-known dignitaries and families. The most famous grave is perhaps the grave of the Finnish war hero, Count and Lieutenant **Wilhelm von Schwerin**, who was wounded in the Battle of Oravainen and died in Kalajoki. In front of the main door are the graves of heroes and a monument designed by **Ilmari Wirkkala.** The more recent cemetery is located a little further away in the Vuorenkallio area. ## Kalajoki church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Opening hours: **22.6.-2.8.2026** Mon-Fri klo 12-15, Sundays after the service to 14:00. *Image* *credits:* - *1-3: Kalajoki* *parish* */ Eveliina Pylväs* - *4-5: 1930. Photos* *of the burnt church: "The history of* *Kalajoki* *and Rautio" (1980).* - *6-8:* *Ruins of the burnt church:* *Central Archive for* *Finnish* *Business Records.* 11e:T6fc,## Rautio church **The** **beautiful** **wooden** **church** **in Rautio is a** **cruciform** **church,** **meaning** **its** **ground** **plan** **is in** **the** **shape** **of a cross.** **The** **church** **is** **over** **200** **years** **old.** The construction of the church was led by the famous Kalajoki church builder **Simon** **Matinpoika** **Jylkkä** **(Silven)** and it was completed in 1800. The construction of Rautio church was his last work before he drowned in the Kalajoki river. Later, the church's interior and roof were raised by almost a meter, and a tower that was 23 meters tall was built. The elevations were made in 1881–1884. The church's altarpiece is called "*The Good Shepherd*". It was painted by **Aina Håkansson** in 1939. Rautio-based decorative sculptor **Eino** **Takkunen** inscribed the inscription under the altarpiece in old letters: "I am the good shepherd. The good shepherd gives his life for the sheep." The current pulpit was made by local carpenter **Reijo Niemelä**. The church's organ gallery, or organ loft, was built in 1938. At that time the church got a pipe organ with foot pedals. 30 years later the Kemiö parish donated their old organ to Rautio. The current organ dates from 1975. It was originally built by Hans Heinrich with 8 organ stops. During the renovation in 2008, the number of organ stops increased to 13. Rautio was a chapel parish from 1804 and an independent parish from 1921 to 1973. Currently the Rautio dependent parish is part of the Kalajoki parish. ## Opening hours: - Visit during events - read more on the church's own website. - Open by appointment also. *Image* *credits:* - *1: Kalajoki* *parish/Eveliina Pylväs* - *2:* *Central Archive for* *Finnish* *Business Records.* 11f:T6fc,## Rautio church **The** **beautiful** **wooden** **church** **in Rautio is a** **cruciform** **church,** **meaning** **its** **ground** **plan** **is in** **the** **shape** **of a cross.** **The** **church** **is** **over** **200** **years** **old.** The construction of the church was led by the famous Kalajoki church builder **Simon** **Matinpoika** **Jylkkä** **(Silven)** and it was completed in 1800. The construction of Rautio church was his last work before he drowned in the Kalajoki river. Later, the church's interior and roof were raised by almost a meter, and a tower that was 23 meters tall was built. The elevations were made in 1881–1884. The church's altarpiece is called "*The Good Shepherd*". It was painted by **Aina Håkansson** in 1939. Rautio-based decorative sculptor **Eino** **Takkunen** inscribed the inscription under the altarpiece in old letters: "I am the good shepherd. The good shepherd gives his life for the sheep." The current pulpit was made by local carpenter **Reijo Niemelä**. The church's organ gallery, or organ loft, was built in 1938. At that time the church got a pipe organ with foot pedals. 30 years later the Kemiö parish donated their old organ to Rautio. The current organ dates from 1975. It was originally built by Hans Heinrich with 8 organ stops. During the renovation in 2008, the number of organ stops increased to 13. Rautio was a chapel parish from 1804 and an independent parish from 1921 to 1973. Currently the Rautio dependent parish is part of the Kalajoki parish. ## Opening hours: - Visit during events - read more on the church's own website. - Open by appointment also. *Image* *credits:* - *1: Kalajoki* *parish/Eveliina Pylväs* - *2:* *Central Archive for* *Finnish* *Business Records.* 120:T670,## **Monument to the second church** **of** **Kalajoki** **from 1556** **The second church in** **Kalajoki** was built around the 1550s in present-day Pitkäsenkylä, near the Mantila house on the banks of the Luutaoja river. The church was short-lived. The monument was erected in 1961. The adjacent **Mantila** **farm** probably served as the vicarage of the vicar Gregorius Henrikinpoika. At the turn of the 17th century Mantila became the private property of the **vicar and** **delegate** **of parliament,** **Ljungo** **Tuomaanpoika** **(d. 1611).** The current main building of Mantila dates to the 1800s. **It is certain that at least Gustav II Adolf stayed in** **Mantila** as a guest of Margareta Niilontytär, the widow of Ljungo, in 1614. Gustav II Adolf was King of Sweden from 1611 to 1632. The conquerer king, nicknamed the “Lion of the North”, was one of the greatest commanders of the armed forces in history. Ljungo's ally **Duke Charles** **(Karl IX)** may also have stopped in Mantila when traveling through Kalajoki to Sweden in 1602. Charles was one of the sons of Gustav Vasa. Karl IX was the ruler of Sweden from 1599 to 1611, officially king from 1604. The monument to the second church in Kalajoki was unveiled in 1961. The memorial stone reads: To the hardworking laborers here near Kalajoki’s second church and on the edge of the graves, the message of grace and peace was proclaimed in times of unrest of 1556-1597. We have come to the fruits of the labor of others JOH 4:38. *Photos:* *Black and white photo,* *Kalajoki* *local history society.* *Colour* *photos,* *Sari* *Alajoki.* 121:T670,## **Monument to the second church** **of** **Kalajoki** **from 1556** **The second church in** **Kalajoki** was built around the 1550s in present-day Pitkäsenkylä, near the Mantila house on the banks of the Luutaoja river. The church was short-lived. The monument was erected in 1961. The adjacent **Mantila** **farm** probably served as the vicarage of the vicar Gregorius Henrikinpoika. At the turn of the 17th century Mantila became the private property of the **vicar and** **delegate** **of parliament,** **Ljungo** **Tuomaanpoika** **(d. 1611).** The current main building of Mantila dates to the 1800s. **It is certain that at least Gustav II Adolf stayed in** **Mantila** as a guest of Margareta Niilontytär, the widow of Ljungo, in 1614. Gustav II Adolf was King of Sweden from 1611 to 1632. The conquerer king, nicknamed the “Lion of the North”, was one of the greatest commanders of the armed forces in history. Ljungo's ally **Duke Charles** **(Karl IX)** may also have stopped in Mantila when traveling through Kalajoki to Sweden in 1602. Charles was one of the sons of Gustav Vasa. Karl IX was the ruler of Sweden from 1599 to 1611, officially king from 1604. The monument to the second church in Kalajoki was unveiled in 1961. The memorial stone reads: To the hardworking laborers here near Kalajoki’s second church and on the edge of the graves, the message of grace and peace was proclaimed in times of unrest of 1556-1597. We have come to the fruits of the labor of others JOH 4:38. *Photos:* *Black and white photo,* *Kalajoki* *local history society.* *Colour* *photos,* *Sari* *Alajoki.* 122:T7a3,## Jokela vicarage **The** **beautiful** **Jokela** **vicarage** **reflected** **the** **prosperity** **of** **the** **coastal** **parish** **of** **Ostrobothnia. It** **still** **holds** **a** **prominent** **position in** **the** **river** **landscape** **today.** The mansard-roofed main building of the Kalajoki vicarage, completed in 1802, is one of the few Gustavian vicarage buildings in our country. The vicarage is located on a site inherited from the 17th century, on the banks of the Kalajoki river at the beginning of the road leading to the Plassi marketplace. The building has a shingle roof and a glass porch at the front, built at the end of the 19th century. The floor plan follows the Karolingian central hall type, expanded with pairs of chambers. The vicarage has also been visited by notable guests: Russian Emperor Alexander I in 1819. A fire broke out in the vicarage on Easter 2011 and the interior had to be completely rebuilt. The beautiful ceiling paintings in the hall were discovered during the reconstruction. There are visible cannonball marks in the office space upstairs. In the yard there are outbuildings on both sides of the main building: the farmhand’s quarters and the bakehouse. The farmhand’s quarters has the Malmberg room, named in memory of the revivalist leader Nils Gustav Malmberg, who served as an assistant priest in Kalajoki. The farmhand’s quarters has also served as the Mannerheim League for Child Welfare maternity and child health clinic. **Currently the vicarage serves as the parish registry.** Next to the vicarage in Pappilanpuisto is the **monument to the third church of** **Kalajoki** designed by Ilmari Virkkala, which depicts the vicar of Kalajoki (1592-1610), Ljungo Tuomaanpoika, a delegate to Parliament and a Finnish translator of the common law. ## **Opening** **hours:** - Mon-Wed 9-14 - Fri 9-14 _Image_ _credits: Kalajoki_ _parish._ 123:T7a3,## Jokela vicarage **The** **beautiful** **Jokela** **vicarage** **reflected** **the** **prosperity** **of** **the** **coastal** **parish** **of** **Ostrobothnia. It** **still** **holds** **a** **prominent** **position in** **the** **river** **landscape** **today.** The mansard-roofed main building of the Kalajoki vicarage, completed in 1802, is one of the few Gustavian vicarage buildings in our country. The vicarage is located on a site inherited from the 17th century, on the banks of the Kalajoki river at the beginning of the road leading to the Plassi marketplace. The building has a shingle roof and a glass porch at the front, built at the end of the 19th century. The floor plan follows the Karolingian central hall type, expanded with pairs of chambers. The vicarage has also been visited by notable guests: Russian Emperor Alexander I in 1819. A fire broke out in the vicarage on Easter 2011 and the interior had to be completely rebuilt. The beautiful ceiling paintings in the hall were discovered during the reconstruction. There are visible cannonball marks in the office space upstairs. In the yard there are outbuildings on both sides of the main building: the farmhand’s quarters and the bakehouse. The farmhand’s quarters has the Malmberg room, named in memory of the revivalist leader Nils Gustav Malmberg, who served as an assistant priest in Kalajoki. The farmhand’s quarters has also served as the Mannerheim League for Child Welfare maternity and child health clinic. **Currently the vicarage serves as the parish registry.** Next to the vicarage in Pappilanpuisto is the **monument to the third church of** **Kalajoki** designed by Ilmari Virkkala, which depicts the vicar of Kalajoki (1592-1610), Ljungo Tuomaanpoika, a delegate to Parliament and a Finnish translator of the common law. ## **Opening** **hours:** - Mon-Wed 9-14 - Fri 9-14 _Image_ _credits: Kalajoki_ _parish._ 124:T5b6,## Welcome to Kalajoki and its fascinating parish history... There has been a Christian settlement along the Kalajoki river since the 13th century. The first mention of the Kalajoki parish can be found in documents from 1525, where it is said that a chapel church had been built in the village of Tynkä in Kalajoki. At that time the parish covered the entire Kalajokilaakso, all the way to Haapajärvi and Reisjärvi. The large mother parish split into parts in the 19th century, when the dependent parishes became independent one after another. The mother parish church did not last very long in Tynkä and the next one was built closer to the mouth of the river in Pitkäsenkylä (see the route point Kalajoki II Church monument). ## On this route you can explore: - the locations of Kalajoki's former churches and their monuments - the former and the current vicarage - all four current churches: Kalajoki Church, Rautio Church, Himanka Church, and Kalla Church. Kalla Church is located about 18 km from the mainland, on the island of Maakalla. You can visit the church by sailing to the island in the summer on the historic Galeas ship Ansio. Read more [++here++](https://kaljaasiansio.fi/). **Check** **out** **the** **Art** **Program of** **From** **Church to Church** \*\*route \*\*[**here!**](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd) 125:T9d4,## Welcome to the modern and special churches! **Check** **out** **the** **Art** **Program of** **From** **Church to Church** **route** [++**here!**++ ](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd) **Finland** **has** **been** **described** **as a** **superpower** **of** **modern** **architecture.** **This** **is** **also** **reflected** **in** **church** **architecture;** **there** **is no** **other** **country in Europe** **with** **such** **a** **magnificent** **collection** **of 20th-century** **church** **buildings** **as Finland.** Many foreign researchers and enthusiasts of modern architecture travel to Finland to see the churches specifically. Towards the end of the 20th century monumental church building also declined in Finland and some modern churches have even been demolished. On the other hand, in the 21st century small-scale chapels based on handcraft and wood construction have sprung up in several locations. Northern Ostrobothnia also has churches representing 20th century architecture, although they are in the minority in the region. Many of the newer churches were built after the old churches were destroyed, mostly by fire, and the new churches were made multi-purpose with parish halls and community facilities. Oulu's district churches also feature diverse modern church buildings, built to meet the needs of the growing city. The Ylivieska church, completed in 2021, on the other hand represents the latest in monumental church construction. The church construction project received a lot of attention and recognition. **The** **routes** **modern** **and** **special** **churches:** - Kärsämäki Shingle Church - Haapavesi church - Christ’s Transfiguration Church Nivala - Ylivieska church - Alavieska burl wood church - Pyhäjoki church - Kempele Holy Trinity Church - Oulu St. Thomas church - Vaala church ## In this collection we will explore not only modern churches but also island churches and their special features. **Island** **churches** **on** **the** **route:** - Church of Kalla - Hailuoto church - Turkansaari church ## Info: - There is no recommended order for the route, so visit the churches at your own pace and in an order that suits you the best. - You can visit the church in Maakalla during the summer, by sailing aboard the historic Galeas ship Ansio for example. Read more [++here++](https://kaljaasiansio.fi/). 126:Tb9b,## Kalla church **The** **Kallankari** **Islands** **are** **located** **in** **the** **outer** **archipelago** **of Kalajoki,** **off** **the** **Rahja** **archipelago,** **twenty** **kilometers** **from** **the** **mainland.** The barren and almost treeless outer islands of Maa- and Ulkokalla (Kallankari Islands) rose from the sea around the 15th century and gradually became the most important fishing, seal hunting and seafaring base in the open sea between Kokkola and Oulu. Unlike the other islands in the Rahja archipelago, Kallankari Islands were located on the Swedish king's common land and everyone had the right to fish there. They gathered on the Maakalla Island in mid-July and stayed there until September. Since hundreds of fishermen and hunters from a wide area gathered on the island, order was needed to regulate the life of the Islands community. Sweden’s king granted the Kallankari Islands limited local government with port councils and harbour rights as early as 1669, and in 1771 the Swedish King Adolf Fredrik established the harbour order of the Kallankari Islands (*Hamina* *Ordning* in Swedish), which is still in force today. The Islands council meets every summer to decide on island matters under the leadership of the hamina master. **A** **small** **chapel** **was** **also** **built** **in Maakalla in 1680** **so that the** **fishermen** **could fulfill their obligation to attend church.** The current octagonal basilica church was completed in 1780 according to the plans drawn by the church builder Simon Silvén and under his leadership. The church has a steep, three-pitched shingled roof, from the crest of which rises a flagpole covered with shingle. The church hall covered by a barrel vault ceiling is unpainted, only the pulpit and choir stalls have sparse coloring. On the doorpost of the church is a Pauper Statue, made by the carpenter Ville Orelli from Plassi. There are numerous small fishermen’s huts around the small wooden church in Maakalla, and next to the church is the archaic vicarage from the 1780s. There is also a bell tower next to the church. Completely treeless Ulkokalla was reclaimed for fishing in 1776 and by 1824 there were 16 boat crews fishing in Ulkokalla. Since 1856 Ulkokalla has served as a lighthouse island and the current, now decommissioned lighthouse (A.H. Dahlström) dates from 1871. A meteorological observation station was established on the island in 1882. Old fishermen huts have also been preserved around the lighthouse in Ulkokalla. ## How to visit Maakalla? - Discover the Galeas ship Ansio cruise selection [++here!++ ](https://kaljaasiansio.fi/) - Kiira and Bon Marin ships [++here++](https://maakallaan.fi/in-english/). - **Kalla** **church** **is open** **during** **cruises!** *Image* *credits:* - *1-2: Kalajoki* *parish.* - *3-4: Lotta Puurula (2025).* - *5-6: Pekka Kyytinen/The* *Finnish* *Heritage* *Agency* *(1970).* 127:Tb9b,## Kalla church **The** **Kallankari** **Islands** **are** **located** **in** **the** **outer** **archipelago** **of Kalajoki,** **off** **the** **Rahja** **archipelago,** **twenty** **kilometers** **from** **the** **mainland.** The barren and almost treeless outer islands of Maa- and Ulkokalla (Kallankari Islands) rose from the sea around the 15th century and gradually became the most important fishing, seal hunting and seafaring base in the open sea between Kokkola and Oulu. Unlike the other islands in the Rahja archipelago, Kallankari Islands were located on the Swedish king's common land and everyone had the right to fish there. They gathered on the Maakalla Island in mid-July and stayed there until September. Since hundreds of fishermen and hunters from a wide area gathered on the island, order was needed to regulate the life of the Islands community. Sweden’s king granted the Kallankari Islands limited local government with port councils and harbour rights as early as 1669, and in 1771 the Swedish King Adolf Fredrik established the harbour order of the Kallankari Islands (*Hamina* *Ordning* in Swedish), which is still in force today. The Islands council meets every summer to decide on island matters under the leadership of the hamina master. **A** **small** **chapel** **was** **also** **built** **in Maakalla in 1680** **so that the** **fishermen** **could fulfill their obligation to attend church.** The current octagonal basilica church was completed in 1780 according to the plans drawn by the church builder Simon Silvén and under his leadership. The church has a steep, three-pitched shingled roof, from the crest of which rises a flagpole covered with shingle. The church hall covered by a barrel vault ceiling is unpainted, only the pulpit and choir stalls have sparse coloring. On the doorpost of the church is a Pauper Statue, made by the carpenter Ville Orelli from Plassi. There are numerous small fishermen’s huts around the small wooden church in Maakalla, and next to the church is the archaic vicarage from the 1780s. There is also a bell tower next to the church. Completely treeless Ulkokalla was reclaimed for fishing in 1776 and by 1824 there were 16 boat crews fishing in Ulkokalla. Since 1856 Ulkokalla has served as a lighthouse island and the current, now decommissioned lighthouse (A.H. Dahlström) dates from 1871. A meteorological observation station was established on the island in 1882. Old fishermen huts have also been preserved around the lighthouse in Ulkokalla. ## How to visit Maakalla? - Discover the Galeas ship Ansio cruise selection [++here!++ ](https://kaljaasiansio.fi/) - Kiira and Bon Marin ships [++here++](https://maakallaan.fi/in-english/). - **Kalla** **church** **is open** **during** **cruises!** *Image* *credits:* - *1-2: Kalajoki* *parish.* - *3-4: Lotta Puurula (2025).* - *5-6: Pekka Kyytinen/The* *Finnish* *Heritage* *Agency* *(1970).* 128:T527,## Christ’s Transfiguration Church Nivala **Orthodox** **church** **buildings** **often** **follow** **a** **traditional** **architectural** **style,** **regardless** **of** **the** **time** **of** **construction.** So does the Orthodox Church in Karvoskylä, Nivala, which was completed as a tsasouna (prayer room) in 1961 and opened the following year. The wooden church was designed by **Ilmari Ahonen**. The prayer room was one of the last Orthodox sanctuaries of the reconstruction period to be built at the expense of the country. In 2001 the church was expanded by widening it on both the right and left sides. The drawings were prepared by Ylivieska city architect Pekka Taskinen. In 2005, the altar extension was completed, which made it necessary to build a new iconostasis. It was completed in the summer of 2007. **Metropolitan** **Panteleimon** **of Oulu** **consecrated** **the** **prayer** **room** **as a** **church** **in 2007.** **Karvoskylä** **Church** **has** **been** **the** **westernmost** **sanctuary** **of** **the** **Kuopio** **parish.** ## Opening hours: - Tours by arrangement with the church manager. - Visit during church services - follow the Kuopio Orthodox Parish's event calendar. *Image* *credits:* - *1-2: Martti* *Markoff* */ Ortodoksi.net* 129:T527,## Christ’s Transfiguration Church Nivala **Orthodox** **church** **buildings** **often** **follow** **a** **traditional** **architectural** **style,** **regardless** **of** **the** **time** **of** **construction.** So does the Orthodox Church in Karvoskylä, Nivala, which was completed as a tsasouna (prayer room) in 1961 and opened the following year. The wooden church was designed by **Ilmari Ahonen**. The prayer room was one of the last Orthodox sanctuaries of the reconstruction period to be built at the expense of the country. In 2001 the church was expanded by widening it on both the right and left sides. The drawings were prepared by Ylivieska city architect Pekka Taskinen. In 2005, the altar extension was completed, which made it necessary to build a new iconostasis. It was completed in the summer of 2007. **Metropolitan** **Panteleimon** **of Oulu** **consecrated** **the** **prayer** **room** **as a** **church** **in 2007.** **Karvoskylä** **Church** **has** **been** **the** **westernmost** **sanctuary** **of** **the** **Kuopio** **parish.** ## Opening hours: - Tours by arrangement with the church manager. - Visit during church services - follow the Kuopio Orthodox Parish's event calendar. *Image* *credits:* - *1-2: Martti* *Markoff* */ Ortodoksi.net* 12a:T4ec,## Vaala church Säräisniemi became the chapel of the Paltamo parish in 1779. The parish of Säräisniemi became a parish in 1864, until it changed from Säräisniemi to the new Vaala town parish in 1955 the previous year. Today, the Vaala parish belongs to the Muhos parish. **The** **Vaala** **parish** **has** **two** **churches.** Vaala church is right next to the urban area. The Säräisniemi church, built in 1781, is about 15 kilometers from Vaala. The Vaala church was originally designed by architect **Dag Englund** as a towerless brick basilica church which was built in 1960–1961. **The** **church** **hall** **is in** **the** **style** **of** **the** **simplified** **architecture** **of** **the** **1960s.** The church was expanded in 1988 according to plans by architect **Matti** **Leiber** into a parish center, which includes a parish hall, a vicar's office, children's and youth work facilities and offices. A bell tower was also added to the building. There is a wooden cross on the altar. ## Opening hours: - Visit during events - read more on the church's own website. _Image_ _credits:_ - _1: Vaala_ _parish._ - _2:_ _The_ _Finnish_ _Heritage_ _Agency_ _/_ _The_ _Press Photo Archive JOKA_ _(1961)_ 12b:T4ec,## Vaala church Säräisniemi became the chapel of the Paltamo parish in 1779. The parish of Säräisniemi became a parish in 1864, until it changed from Säräisniemi to the new Vaala town parish in 1955 the previous year. Today, the Vaala parish belongs to the Muhos parish. **The** **Vaala** **parish** **has** **two** **churches.** Vaala church is right next to the urban area. The Säräisniemi church, built in 1781, is about 15 kilometers from Vaala. The Vaala church was originally designed by architect **Dag Englund** as a towerless brick basilica church which was built in 1960–1961. **The** **church** **hall** **is in** **the** **style** **of** **the** **simplified** **architecture** **of** **the** **1960s.** The church was expanded in 1988 according to plans by architect **Matti** **Leiber** into a parish center, which includes a parish hall, a vicar's office, children's and youth work facilities and offices. A bell tower was also added to the building. There is a wooden cross on the altar. ## Opening hours: - Visit during events - read more on the church's own website. _Image_ _credits:_ - _1: Vaala_ _parish._ - _2:_ _The_ _Finnish_ _Heritage_ _Agency_ _/_ _The_ _Press Photo Archive JOKA_ _(1961)_ 12c:T706,## Kärsämäki Shingle Church Kärsämäki Shingle Church is located near the site of Kärsämäki's first church, built in 1765 and demolished in 1841, on the shore of Pyhäjoki. **The** **result** **of** **the** **unique** **construction** **project** **was** **a** **modern** **church** **building,** **erected** **using** **18th-century** **construction** **and** **work** **methods.** The project was a collaboration between the Kärsämäki parish and the Department of Architecture of the University of Oulu. The Shingle Church consists of a log “heart” and a black tarred shingle-covered “coat” surrounding it. The church design competition was won by architect **Anssi** **Lassila’s** work *Kärsämäki* *cantata*. The church was built between 2000 and 2004 using both volunteer and paid labor. All work was done by hand using a saw, axe, and chisel. The wrought iron parts were made by blacksmiths, 70,000 nails alone were forged. The main funding came from the European Union. **Today** **the** **church** **is** **one** **of** **the** **town's** **most** **significant** **attractions. It** **has** **received** **widespread** **publicity** **both** **in Finland and** **abroad.** Church services and other events are held there during the summer, as well as the annual music festival Music in the Shingle Church. ## Opening hours: - Visit during events - read more on the Kärsämäki parish website. - Follow current information on the Paanukirko Support Association Facebook page. - **Sunday service at 10 in Paanukirkko during July 2026!** *Image* *credits:* - *1-2: Kärsämäki* *parish* *and* *Visit* *Kärsämäki.* - *3: Lotta Puurula (2025)* - *4-5: Mikko* *Mannberg* */* *The* *Finnish* *Heritage* *Agency* *(2022)* 12d:T706,## Kärsämäki Shingle Church Kärsämäki Shingle Church is located near the site of Kärsämäki's first church, built in 1765 and demolished in 1841, on the shore of Pyhäjoki. **The** **result** **of** **the** **unique** **construction** **project** **was** **a** **modern** **church** **building,** **erected** **using** **18th-century** **construction** **and** **work** **methods.** The project was a collaboration between the Kärsämäki parish and the Department of Architecture of the University of Oulu. The Shingle Church consists of a log “heart” and a black tarred shingle-covered “coat” surrounding it. The church design competition was won by architect **Anssi** **Lassila’s** work *Kärsämäki* *cantata*. The church was built between 2000 and 2004 using both volunteer and paid labor. All work was done by hand using a saw, axe, and chisel. The wrought iron parts were made by blacksmiths, 70,000 nails alone were forged. The main funding came from the European Union. **Today** **the** **church** **is** **one** **of** **the** **town's** **most** **significant** **attractions. It** **has** **received** **widespread** **publicity** **both** **in Finland and** **abroad.** Church services and other events are held there during the summer, as well as the annual music festival Music in the Shingle Church. ## Opening hours: - Visit during events - read more on the Kärsämäki parish website. - Follow current information on the Paanukirko Support Association Facebook page. - **Sunday service at 10 in Paanukirkko during July 2026!** *Image* *credits:* - *1-2: Kärsämäki* *parish* *and* *Visit* *Kärsämäki.* - *3: Lotta Puurula (2025)* - *4-5: Mikko* *Mannberg* */* *The* *Finnish* *Heritage* *Agency* *(2022)* 12e:T7fa,## Oulu St. Thomas Church St. Thomas' Church is a Tuira parish church in the Puolivälikangas district of Oulu. The church is one of thirteen churches in the joint parishes of Oulu. **The** **church** **including two parish halls, built in 1974-1975, was designed by architect Juha** **Leiviskä** **(1936-2023) and** **is** **considered** **to be** **one of his main works.** The church is influenced by wooden churches built in the 17th–18th centuries and late Baroque churches from southern Germany. The walls are clad with smooth red bricks and the wooden lattice used in them are white-painted boards. The church's interior design uses a lot of wood, the general tone is light, and the light directed into the church plays a key role in creating the atmosphere of the space. **Leiviskä** **has** **described** **the** **church** **as a** **sonata** **where** **the** **final** **climax,** **the** **high** **point, is at** **the** **end** **and** **the** **architecture** **of** **the** **church** **is a** **process** **of** **arrival,** **finding** **the** **goal, and** **enlightenment.** Juha Leiviskä mainly designed all the furniture, ceiling lamps and pendant lights for the church himself. Custom-made lights became Leiviskä's trademark later. The building's lounge spaces open to the sheltered courtyards, where activities can be expanded into during the summer. The natural trees and undergrowth in the yard have been kept as untouched as possible. The undeveloped forest area is next to the church, and was originally intended to house buildings that were part of the construction plan. The church premises feature the work _Elämän seppele (Wreath_ _of Life_ in English_)_ which includes an altarpiece and nine other paintings by artist **Hannu Väisänen**. He has also designed the church textiles. ## Opening hours: - The church is open by appointment on weekdays. - Visit during events - read more on the church's own website. _Image_ _credits:_ - _1-2: Oulu_ _parishes._ 12f:T7fa,## Oulu St. Thomas Church St. Thomas' Church is a Tuira parish church in the Puolivälikangas district of Oulu. The church is one of thirteen churches in the joint parishes of Oulu. **The** **church** **including two parish halls, built in 1974-1975, was designed by architect Juha** **Leiviskä** **(1936-2023) and** **is** **considered** **to be** **one of his main works.** The church is influenced by wooden churches built in the 17th–18th centuries and late Baroque churches from southern Germany. The walls are clad with smooth red bricks and the wooden lattice used in them are white-painted boards. The church's interior design uses a lot of wood, the general tone is light, and the light directed into the church plays a key role in creating the atmosphere of the space. **Leiviskä** **has** **described** **the** **church** **as a** **sonata** **where** **the** **final** **climax,** **the** **high** **point, is at** **the** **end** **and** **the** **architecture** **of** **the** **church** **is a** **process** **of** **arrival,** **finding** **the** **goal, and** **enlightenment.** Juha Leiviskä mainly designed all the furniture, ceiling lamps and pendant lights for the church himself. Custom-made lights became Leiviskä's trademark later. The building's lounge spaces open to the sheltered courtyards, where activities can be expanded into during the summer. The natural trees and undergrowth in the yard have been kept as untouched as possible. The undeveloped forest area is next to the church, and was originally intended to house buildings that were part of the construction plan. The church premises feature the work _Elämän seppele (Wreath_ _of Life_ in English_)_ which includes an altarpiece and nine other paintings by artist **Hannu Väisänen**. He has also designed the church textiles. ## Opening hours: - The church is open by appointment on weekdays. - Visit during events - read more on the church's own website. _Image_ _credits:_ - _1-2: Oulu_ _parishes._ 130:T8bc,## Haapavesi church The Haapavesi parish became independent from the Pyhäjoki mother parish in 1863. Parish activity had already existed in the 17th century, when the first chapel was built. **The current church in** **Haapavesi** **was built in 1981 near the third church** **that** **burned down.** The building is a parish community centre which consists of a church, a parish hall, a parish registry, and group facilities. **The** **church,** **dedicated** **to** **the** **King of** **Glory,** **was** **opened** **on** **Advent** **1984.** The parish community centre was designed by the Turku-based A**rchitecture** **firm** **Laiho, Pulkkinen & Raunio.** The church hall is a wide basilica with two aisles divided by a colonnade. The adjacent parish hall can be connected to the church hall with a movable wall, making the space three-aisled. The church features a large artwork made of crystals, symbolizing the 150th anniversary of the Haapavesi parish. The work, titled *"Light* *is a* *Gift* *from* *Heaven"* won a competition organized to celebrate the anniversary. The work was designed by honorary arts professor **Pekka Jylhä** and was unveiled in the church during Advent 2013. Parishioners were also able to purchase a piece of the artwork for their homes. The idea was that the crystal of the artwork would always remind them of their home church and of light, shadow, reflection, and human life. The old church that burned down in Haapavesi was an equal-nave cruciform church. Its first drawings were made by the master builder Simon Silvén from Kalajoki in 1781. However, the drawings were changed by the superintendent's office in Stockholm. The church was built by Sigfrid Silvasti who was also from Kalajoki, and it was completed in 1784. The bell tower next to the church from 1751 survived the fire and can still be found in the churchyard. ## Opening hours: - Visit during events - read more on the church's own website. *Image* *credits:* - *1-2: Haapavesi* *parish.* - *3:* *The* *Finnish* *Heritage* *Agency* */* *Historical* *Picture* *Collection* *(1940-luku)* - *4:* *The* *Finnish* *Heritage* *Agency* */* *Historical* *Picture* *Collection* *(1926)* 131:T8bc,## Haapavesi church The Haapavesi parish became independent from the Pyhäjoki mother parish in 1863. Parish activity had already existed in the 17th century, when the first chapel was built. **The current church in** **Haapavesi** **was built in 1981 near the third church** **that** **burned down.** The building is a parish community centre which consists of a church, a parish hall, a parish registry, and group facilities. **The** **church,** **dedicated** **to** **the** **King of** **Glory,** **was** **opened** **on** **Advent** **1984.** The parish community centre was designed by the Turku-based A**rchitecture** **firm** **Laiho, Pulkkinen & Raunio.** The church hall is a wide basilica with two aisles divided by a colonnade. The adjacent parish hall can be connected to the church hall with a movable wall, making the space three-aisled. The church features a large artwork made of crystals, symbolizing the 150th anniversary of the Haapavesi parish. The work, titled *"Light* *is a* *Gift* *from* *Heaven"* won a competition organized to celebrate the anniversary. The work was designed by honorary arts professor **Pekka Jylhä** and was unveiled in the church during Advent 2013. Parishioners were also able to purchase a piece of the artwork for their homes. The idea was that the crystal of the artwork would always remind them of their home church and of light, shadow, reflection, and human life. The old church that burned down in Haapavesi was an equal-nave cruciform church. Its first drawings were made by the master builder Simon Silvén from Kalajoki in 1781. However, the drawings were changed by the superintendent's office in Stockholm. The church was built by Sigfrid Silvasti who was also from Kalajoki, and it was completed in 1784. The bell tower next to the church from 1751 survived the fire and can still be found in the churchyard. ## Opening hours: - Visit during events - read more on the church's own website. *Image* *credits:* - *1-2: Haapavesi* *parish.* - *3:* *The* *Finnish* *Heritage* *Agency* */* *Historical* *Picture* *Collection* *(1940-luku)* - *4:* *The* *Finnish* *Heritage* *Agency* */* *Historical* *Picture* *Collection* *(1926)* 132:T78b,## Turkansaari Church **Turkansaari** **Church** **was** **built** **as a** **prayer** **house in** **Turkansaari** **in 1694,** **when** **the** **island** **was** **a** **bustling** **marketplace** **by** **the** **Oulujoki** **river.** The island lost its status as a trading post and the marketplace ceased to exist in the 18th century. The church, which had been unused for a long time, was demolished and sold as a warehouse for fishermen in the Oulu Raati Island in1814. The founder of the Turkansaari Open Air Museum, **Östen Elfving** from Oulujoki, bought the church in the early 1920s and moved it back to its original location on Turkansaari in the winter of 1922. Since no information about the original interior had survived, Turkansaari Church had to be built using other similar small churches from the late 17th century as references. The entrance door, the base of the hymn board, parts of the altar and vertical support pillars come from the demolished Markkina Church in Enontekiö. The reference for the pulpit was taken from the old church in Sodankylä. Elfving was assisted in reassembling the church by the writer and folklore collector **Samuli Paulaharju**. **The** **Turkansaari** **prayer** **room** **was** **consecrated** **as a** **church** **in 1925**. Moving the church to Turkansaari was the beginning of the current Open Air museum area. - **Read** **more** **from** **Kaleva's** **article** "Erikoisesta karttalöydöstä Suomen toiseksi vanhimmaksi ulkomuseoksi – Turkansaari nousi autioituneelle markkinapaikalle" (Jarno Mällinen, 22.6.2018). ## Opening hours: - Visit the Turkanasaari Museum website [++here++](https://turkansaari.fi/en/). - Open during the summer with museum’s opening hours. _Image_ _credits:_ - _1:_ _Turkansaari_ _Open Air_ _Museum._ - _2: Wikimedia_ _commons._ 133:T78b,## Turkansaari Church **Turkansaari** **Church** **was** **built** **as a** **prayer** **house in** **Turkansaari** **in 1694,** **when** **the** **island** **was** **a** **bustling** **marketplace** **by** **the** **Oulujoki** **river.** The island lost its status as a trading post and the marketplace ceased to exist in the 18th century. The church, which had been unused for a long time, was demolished and sold as a warehouse for fishermen in the Oulu Raati Island in1814. The founder of the Turkansaari Open Air Museum, **Östen Elfving** from Oulujoki, bought the church in the early 1920s and moved it back to its original location on Turkansaari in the winter of 1922. Since no information about the original interior had survived, Turkansaari Church had to be built using other similar small churches from the late 17th century as references. The entrance door, the base of the hymn board, parts of the altar and vertical support pillars come from the demolished Markkina Church in Enontekiö. The reference for the pulpit was taken from the old church in Sodankylä. Elfving was assisted in reassembling the church by the writer and folklore collector **Samuli Paulaharju**. **The** **Turkansaari** **prayer** **room** **was** **consecrated** **as a** **church** **in 1925**. Moving the church to Turkansaari was the beginning of the current Open Air museum area. - **Read** **more** **from** **Kaleva's** **article** "Erikoisesta karttalöydöstä Suomen toiseksi vanhimmaksi ulkomuseoksi – Turkansaari nousi autioituneelle markkinapaikalle" (Jarno Mällinen, 22.6.2018). ## Opening hours: - Visit the Turkanasaari Museum website [++here++](https://turkansaari.fi/en/). - Open during the summer with museum’s opening hours. _Image_ _credits:_ - _1:_ _Turkansaari_ _Open Air_ _Museum._ - _2: Wikimedia_ _commons._ 134:Tbb9,## Ylivieska church – Holy Trinity Church, Ylivieska **The** **Holy** **Trinity** **Church in Ylivieska** **was** **completed** **in 2021** **to** **replace** **the** **old** **church** **which** **was** **destroyed** **by** **arson** **five** **years** **earlier.** The church is located next to the memorial church built on the site of the ruins of the previous church. The Ylivieska parish organized a public architectural competition to build a new church. The award committee selected the proposal “Trinitas” by the **Architecture** **firm** **K2S** as the winner. The shape and front of the building are reminiscent of a medieval grey stone church, but its light brick surface and openings make it contemporary. The interior is dominated by warm wooden frame surfaces. According to the committee the view from the building's lobby onto the ruins of the burnt church creates a successful relationship between the old and the new. The church foyer houses the parish living room, which is a café-style meeting place. It leads to the parish hall Maria, the club room, and the church hall. **In** **the** **same** **year** **the** **church** **building** **was** **completed, it** **was** **nominated** **for** **the** **Finlandia** **Prize** **for Architecture.** Chief designer Kimmo Lintula also designed the baptismal table, benches and altar table for the church. The church textiles were designed by Silja van der Meer. The 40-meter-high bell tower was also designed by K2S. The bell tower, which is approximately the height of the old church tower, is made of steel, has a surface cladding of Cor-Ten steel and weighs approximately 31.5 tons. The tower was manufactured in an engineering workshop, brought to the churchyard by special transport and erected in 2021. **The** **previous** **church** **in Ylivieska** **was** **completed** **in 1786 and** **was** **completely** **destroyed** **by** **arson** **in** **March** **2016.** The church was a cruciform church with a gable end tower and its master builder was Pekka Raudaskoski. The church received its neo-Gothic form during the renovation of 1892, which was designed by Julius Basilier. The gable tower dates from this renovation. The church museum was located on the third floor of the church. The church's altarpiece was *the* *Crucifixion* painted by Sigurd Wettenhovi-Aspa in 1897. ## Ylivieska church is part of the Roadside Churches network: - Roadside churches are **free** **and open** **rest** **areas** **on summer** **routes** - Open during summer 2026 Mon-Fri at 10-16. - Book a guided tour inside the church: p. 044 7118 616 or e-mail: ylivieska.kirkkoherranvirasto@evl.fi *Image* *credits:* - *1: Ylivieska* *parish.* - *2:* *Rave* *Rakennus.* - *3: Iivari Leiviskä /* *The* *Finnish* *Heritage* *Agency* *(1908)* - *4: Veljekset karhumäki /* *The* *Finnish* *Heritage* *Agency* *(1932-1934)* - *5: Nils Cleve /* *The* *Finnish* *Heritage* *Agency* *(1950)* 135:Tbb9,## Ylivieska church – Holy Trinity Church, Ylivieska **The** **Holy** **Trinity** **Church in Ylivieska** **was** **completed** **in 2021** **to** **replace** **the** **old** **church** **which** **was** **destroyed** **by** **arson** **five** **years** **earlier.** The church is located next to the memorial church built on the site of the ruins of the previous church. The Ylivieska parish organized a public architectural competition to build a new church. The award committee selected the proposal “Trinitas” by the **Architecture** **firm** **K2S** as the winner. The shape and front of the building are reminiscent of a medieval grey stone church, but its light brick surface and openings make it contemporary. The interior is dominated by warm wooden frame surfaces. According to the committee the view from the building's lobby onto the ruins of the burnt church creates a successful relationship between the old and the new. The church foyer houses the parish living room, which is a café-style meeting place. It leads to the parish hall Maria, the club room, and the church hall. **In** **the** **same** **year** **the** **church** **building** **was** **completed, it** **was** **nominated** **for** **the** **Finlandia** **Prize** **for Architecture.** Chief designer Kimmo Lintula also designed the baptismal table, benches and altar table for the church. The church textiles were designed by Silja van der Meer. The 40-meter-high bell tower was also designed by K2S. The bell tower, which is approximately the height of the old church tower, is made of steel, has a surface cladding of Cor-Ten steel and weighs approximately 31.5 tons. The tower was manufactured in an engineering workshop, brought to the churchyard by special transport and erected in 2021. **The** **previous** **church** **in Ylivieska** **was** **completed** **in 1786 and** **was** **completely** **destroyed** **by** **arson** **in** **March** **2016.** The church was a cruciform church with a gable end tower and its master builder was Pekka Raudaskoski. The church received its neo-Gothic form during the renovation of 1892, which was designed by Julius Basilier. The gable tower dates from this renovation. The church museum was located on the third floor of the church. The church's altarpiece was *the* *Crucifixion* painted by Sigurd Wettenhovi-Aspa in 1897. ## Ylivieska church is part of the Roadside Churches network: - Roadside churches are **free** **and open** **rest** **areas** **on summer** **routes** - Open during summer 2026 Mon-Fri at 10-16. - Book a guided tour inside the church: p. 044 7118 616 or e-mail: ylivieska.kirkkoherranvirasto@evl.fi *Image* *credits:* - *1: Ylivieska* *parish.* - *2:* *Rave* *Rakennus.* - *3: Iivari Leiviskä /* *The* *Finnish* *Heritage* *Agency* *(1908)* - *4: Veljekset karhumäki /* *The* *Finnish* *Heritage* *Agency* *(1932-1934)* - *5: Nils Cleve /* *The* *Finnish* *Heritage* *Agency* *(1950)* 136:T498,## Welcome to the only burl wood church in Finland! **This** **specialty** **is** **located** **in** **the** **Linnakallio** **holiday** **village** **in Alavieska.** The church was built during winter 2008–2009 and consecrated in 2009. The church is log-framed, but a huge amount of burl wood imported from Russian Karelia has been used in its decoration. The church has seating for about 100 people, some of which are in the church balcony. The church has a pedal organ and electricity, but no heating. The church is located next to the main building of Linnakallio and in the summer a small bridge and a walking path lead there. The church is available for celebrations, such as weddings and baptisms. The burl wood church is also suitable for various excursion devotions and as a shelter for solitary contemplatives, as well as for parish’s events. The church receives many visitors every year - its uniqueness has aroused widespread interest since its opening. **Read** **more** **about** **visiting** **and** **see** **pictures** **on** **Linnakallio's** **own** **website!** _Photo:_ _Visit_ _Finland._ _Text_ _sources: Linnakallio._ 137:T498,## Welcome to the only burl wood church in Finland! **This** **specialty** **is** **located** **in** **the** **Linnakallio** **holiday** **village** **in Alavieska.** The church was built during winter 2008–2009 and consecrated in 2009. The church is log-framed, but a huge amount of burl wood imported from Russian Karelia has been used in its decoration. The church has seating for about 100 people, some of which are in the church balcony. The church has a pedal organ and electricity, but no heating. The church is located next to the main building of Linnakallio and in the summer a small bridge and a walking path lead there. The church is available for celebrations, such as weddings and baptisms. The burl wood church is also suitable for various excursion devotions and as a shelter for solitary contemplatives, as well as for parish’s events. The church receives many visitors every year - its uniqueness has aroused widespread interest since its opening. **Read** **more** **about** **visiting** **and** **see** **pictures** **on** **Linnakallio's** **own** **website!** _Photo:_ _Visit_ _Finland._ _Text_ _sources: Linnakallio._ 138:Taf9,## Pyhäjoki Church **Pyhäjoki was first mentioned in documents as an independent parish in 1573, and it is one of the old** **mother parishes** **of Ostrobothnia. It once included the entire Pyhäjoki Valley from the borders of Savo to Lake** **Pyhäjärvi.** The first church in Pyhäjoki was completed in 1586. The old church was in the old cemetery of Pyhäjoki near the church tower built in 1739, designed by Simo Knup, which still stands to this day. Next to it is a monument to the old church. The old church was demolished after the new one was completed in the 1850s. The new Empire-style cruciform church with a large central dome was completed in 1844 according to the drawings of **C. L. Engel.** It was possibly the best preserved of Engel's wooden buildings. **The** **church** **was** **restored** **in** **1969,** **but** **was** **destroyed** **in a** **fire** **caused** **by** **lightning** **in 1974.** The church's valuable furnishings were almost completely saved, and some of them are on display in the current church and in the Annala Local History Museum. \*\*The current modern-style church in Pyhäjoki was completed in 1977 and was designed by the winner of an architectural competition, KSOY from Tampere. \*\* The church has an almost square layout. The roof rises steeply above the altar to over 20 meters. The chancel is bathed in strong light from a high south window. On the wall of the church hall is a large brick relief by sculptor **Kari Juva** (1939-2014) called *The* *Ten* *Virgins*. Kari Juva spent his childhood and youth in Pyhäjoki and Raahe and his works can be found in both places. He is also buried in Pyhäjoki. The chandeliers and baptismal font from the old church are placed in the church's chancel. One of the candlesticks contains a text from the donor about the times of the Great Wrath. The altarpiece "Jesus in Gethsemane" painted by **Konstantin** **Lagerstam** was saved from the church fire, as was the Pauper Statue standing next to the main door of the church. The churchyard and cemetery form a large, unified park in the middle of the town center. The area is a pleasant resting place with old pine trees, a log cabin telling the story of the church fire, and flower plantings. All new buildings in the churchyard were designed by the same architectural firm KSOY. ## Pyhäjoki church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Open on weekdays at 10 - 19, **22.6. - 7.8.2026** *Image* *credits:* - *1: Pyhäjoki* *parish.* - *2:* *Pyhäjoki* *Municipality.* - *3-4:* *Central Archive for* *Finnish* *Business Records.* - *5: Pekka Kärki / The* *Finnish* *Heritage* *Agency (1969).* 139:Taf9,## Pyhäjoki Church **Pyhäjoki was first mentioned in documents as an independent parish in 1573, and it is one of the old** **mother parishes** **of Ostrobothnia. It once included the entire Pyhäjoki Valley from the borders of Savo to Lake** **Pyhäjärvi.** The first church in Pyhäjoki was completed in 1586. The old church was in the old cemetery of Pyhäjoki near the church tower built in 1739, designed by Simo Knup, which still stands to this day. Next to it is a monument to the old church. The old church was demolished after the new one was completed in the 1850s. The new Empire-style cruciform church with a large central dome was completed in 1844 according to the drawings of **C. L. Engel.** It was possibly the best preserved of Engel's wooden buildings. **The** **church** **was** **restored** **in** **1969,** **but** **was** **destroyed** **in a** **fire** **caused** **by** **lightning** **in 1974.** The church's valuable furnishings were almost completely saved, and some of them are on display in the current church and in the Annala Local History Museum. \*\*The current modern-style church in Pyhäjoki was completed in 1977 and was designed by the winner of an architectural competition, KSOY from Tampere. \*\* The church has an almost square layout. The roof rises steeply above the altar to over 20 meters. The chancel is bathed in strong light from a high south window. On the wall of the church hall is a large brick relief by sculptor **Kari Juva** (1939-2014) called *The* *Ten* *Virgins*. Kari Juva spent his childhood and youth in Pyhäjoki and Raahe and his works can be found in both places. He is also buried in Pyhäjoki. The chandeliers and baptismal font from the old church are placed in the church's chancel. One of the candlesticks contains a text from the donor about the times of the Great Wrath. The altarpiece "Jesus in Gethsemane" painted by **Konstantin** **Lagerstam** was saved from the church fire, as was the Pauper Statue standing next to the main door of the church. The churchyard and cemetery form a large, unified park in the middle of the town center. The area is a pleasant resting place with old pine trees, a log cabin telling the story of the church fire, and flower plantings. All new buildings in the churchyard were designed by the same architectural firm KSOY. ## Pyhäjoki church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Open on weekdays at 10 - 19, **22.6. - 7.8.2026** *Image* *credits:* - *1: Pyhäjoki* *parish.* - *2:* *Pyhäjoki* *Municipality.* - *3-4:* *Central Archive for* *Finnish* *Business Records.* - *5: Pekka Kärki / The* *Finnish* *Heritage* *Agency (1969).* 13a:Tb26,## Hailuoto church **Hailuoto's** **new church was completed in** **1972,** **and** **it** **was designed by architect Irma Aaltonen and** **Professor** **Matti Aaltonen.** The steep-roofed, goahti hut-like church is built of reinforced concrete elements. Both end walls of the frame room are made of glass, from which light falls from the west onto the church balcony and the church hall below, and from the east onto the altar. When completed, the church was the most advanced prefabricated church in Scandinavia. On both sides of the main building are rectangular wing buildings with flat roofs, the entrance and museum premises to the north and the sacristy to the south. The church was expanded in 2001 according to the plans by architect Tuomo Juola. The spire of the bell tower, symbolizing a fisherman's crook (a tool for breaking ice) reaches the height of almost 25 meters. **The** **old** **church** **built** **in 1620** **was** **the** **oldest** **wooden** **church** **in** **use** **in** **Finland.** It was destroyed by fire in summer 1968. The fire started in the bell tower which was built in 1760, located on the west side of the church. The old church was a buttressed church with a west tower, and its interior contained paintings by church painter **Mikael** **Toppelius**. During the renovation work carried out in 1901, the paintings had been covered and partially destroyed. The church was restored again in 1964–1966, when the old wall paintings were brought to light. The entryway and hall of the current church contain artifacts saved from the fire of the old church, the most notable of which are the statues of apostles and saints dating back to the 15th century, a history painting done by Mikael Toppelius from 1756, the door of the old church, and an offering chest. **The** **church** **hall** **displays** **a** **restored** **18th-century** **pulpit** **with** **decorative** **paintings** **by** **Toppelius.** Behind the old pine trees is an old cemetery that is close to nature. At the end of it, towards the church, you can see the stairs and stone foundation of the old Hailuoto church, which was completed in 1620. The foundation with its wooden crosses and pine benches has served as a summer church. ## Opening hours: - Tourist groups can visit the church and the parish's interesting history by appointment. - Visit during events - read more on the church's own website. _Image_ _credits:_ - _1: Hailuoto_ _parish._ - _2: P.O. Wellin /_ _he_ _Finnish_ _Heritage_ _Agency_ _(1989)_ - _3:_ _The_ _Finnish_ _Heritage_ _Agency_ _/_ _Historical_ _Picture_ _Collection_ _(1930)_ - _4: "Hailuodon vanhan kirkon ja kellotapulin tulipalo" Kalevi Dahl /_ _he_ _Finnish_ _Heritage_ _Agency_ _(1968)_ - _5: Samuli Paulaharju /_ _he_ _Finnish_ _Heritage_ _Agency_ _(1913)_ 13b:Tb26,## Hailuoto church **Hailuoto's** **new church was completed in** **1972,** **and** **it** **was designed by architect Irma Aaltonen and** **Professor** **Matti Aaltonen.** The steep-roofed, goahti hut-like church is built of reinforced concrete elements. Both end walls of the frame room are made of glass, from which light falls from the west onto the church balcony and the church hall below, and from the east onto the altar. When completed, the church was the most advanced prefabricated church in Scandinavia. On both sides of the main building are rectangular wing buildings with flat roofs, the entrance and museum premises to the north and the sacristy to the south. The church was expanded in 2001 according to the plans by architect Tuomo Juola. The spire of the bell tower, symbolizing a fisherman's crook (a tool for breaking ice) reaches the height of almost 25 meters. **The** **old** **church** **built** **in 1620** **was** **the** **oldest** **wooden** **church** **in** **use** **in** **Finland.** It was destroyed by fire in summer 1968. The fire started in the bell tower which was built in 1760, located on the west side of the church. The old church was a buttressed church with a west tower, and its interior contained paintings by church painter **Mikael** **Toppelius**. During the renovation work carried out in 1901, the paintings had been covered and partially destroyed. The church was restored again in 1964–1966, when the old wall paintings were brought to light. The entryway and hall of the current church contain artifacts saved from the fire of the old church, the most notable of which are the statues of apostles and saints dating back to the 15th century, a history painting done by Mikael Toppelius from 1756, the door of the old church, and an offering chest. **The** **church** **hall** **displays** **a** **restored** **18th-century** **pulpit** **with** **decorative** **paintings** **by** **Toppelius.** Behind the old pine trees is an old cemetery that is close to nature. At the end of it, towards the church, you can see the stairs and stone foundation of the old Hailuoto church, which was completed in 1620. The foundation with its wooden crosses and pine benches has served as a summer church. ## Opening hours: - Tourist groups can visit the church and the parish's interesting history by appointment. - Visit during events - read more on the church's own website. _Image_ _credits:_ - _1: Hailuoto_ _parish._ - _2: P.O. Wellin /_ _he_ _Finnish_ _Heritage_ _Agency_ _(1989)_ - _3:_ _The_ _Finnish_ _Heritage_ _Agency_ _/_ _Historical_ _Picture_ _Collection_ _(1930)_ - _4: "Hailuodon vanhan kirkon ja kellotapulin tulipalo" Kalevi Dahl /_ _he_ _Finnish_ _Heritage_ _Agency_ _(1968)_ - _5: Samuli Paulaharju /_ _he_ _Finnish_ _Heritage_ _Agency_ _(1913)_ 13c:T9d4,## Welcome to the modern and special churches! **Check** **out** **the** **Art** **Program of** **From** **Church to Church** **route** [++**here!**++ ](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd) **Finland** **has** **been** **described** **as a** **superpower** **of** **modern** **architecture.** **This** **is** **also** **reflected** **in** **church** **architecture;** **there** **is no** **other** **country in Europe** **with** **such** **a** **magnificent** **collection** **of 20th-century** **church** **buildings** **as Finland.** Many foreign researchers and enthusiasts of modern architecture travel to Finland to see the churches specifically. Towards the end of the 20th century monumental church building also declined in Finland and some modern churches have even been demolished. On the other hand, in the 21st century small-scale chapels based on handcraft and wood construction have sprung up in several locations. Northern Ostrobothnia also has churches representing 20th century architecture, although they are in the minority in the region. Many of the newer churches were built after the old churches were destroyed, mostly by fire, and the new churches were made multi-purpose with parish halls and community facilities. Oulu's district churches also feature diverse modern church buildings, built to meet the needs of the growing city. The Ylivieska church, completed in 2021, on the other hand represents the latest in monumental church construction. The church construction project received a lot of attention and recognition. **The** **routes** **modern** **and** **special** **churches:** - Kärsämäki Shingle Church - Haapavesi church - Christ’s Transfiguration Church Nivala - Ylivieska church - Alavieska burl wood church - Pyhäjoki church - Kempele Holy Trinity Church - Oulu St. Thomas church - Vaala church ## In this collection we will explore not only modern churches but also island churches and their special features. **Island** **churches** **on** **the** **route:** - Church of Kalla - Hailuoto church - Turkansaari church ## Info: - There is no recommended order for the route, so visit the churches at your own pace and in an order that suits you the best. - You can visit the church in Maakalla during the summer, by sailing aboard the historic Galeas ship Ansio for example. Read more [++here++](https://kaljaasiansio.fi/). 13d:Te37,## Art and atmosphere... _Route_ _recommendation: Kuivaniemi - Haukipudas - Kiiminki - Kempele - Rantsila - Pulkkila - Piippola - Paavola - Revonlahti - Siikajoki_ **Check** **out** **the** **art** **program** **of** **the** **Church to Church** **route** [**here!**](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd) **The churches of Northern Ostrobothnia still contain a wealth of works by early church painters, even though some of the churches have burned down and some of the paintings have been destroyed or later covered up.** The tradition of church painting had been ongoing since the Middle Ages, but in the 18th century a new flourishing period began in church art, culminating in the art of **Mikael Toppelius.** Alongside altarpieces, paintings made directly on log walls with glue paint appeared. The paintings were inspired by illustrations in Bibles and devotional books, and especially copperplate drawings by Rubens. Church painters often also did other interior and decorative painting, including portraits. Many of the early church painters received their training in Stockholm or under the guidance of more experienced painters. In addition to Toppelius, several church painters were active in Northern Ostrobothnia, the best known being **Lars Gallenius **(1658-1753) from Oulu,** Erik Westzynthius the Elder **(born in Raahe in 1711) and **the Younger** (1743-1787), **Thomas Kiempe** (1752-1812, Merijärvi and Rautio churches) and **Emanuel Granberg** from Vihanti (1773-1854, Paltaniemi, Vihanni and Muhos churches). ## MIKAEL TOPPELIUS **Mikael** **Toppelius** **(1734-1821),** **born and died in Oulu, was the most famous and notable Finnish church painter and the last representative of the** **Ostrobothnian** **church painting tradition, whose career lasted over 70 years.** During his career, he painted decorative paintings for dozens of churches in Ostrobothnia and Northern Savo. Toppelius was the grandfather of the writer **Zachris Topelius**. It is said that Toppelius' father, Kristoffer Toppelius, was captured by Russian Cossacks at the age of seven during the Great War and taken to St. Petersburg, from where he managed to escape and return by ship to Stockholm. Z. Topelius' story _The Birch and the Star_ is based on this story. Toppelius began his career as a painter as a young man around 1848, decorating the Iisalmi church. He received his real training in Stockholm while being a student of Sweden's most prominent decorative painter, the court painter **Johan Pasch**. Under his leadership, Toppelius participated in the painting decoration of the Royal Palace Church in Stockholm, among other things. In Stockholm, he adopted the light color scale of the Rococo, but he also used darker and heavier Baroque colors in his works. Toppelius got his subjects from the pictorial tradition of the Italian Renaissance and the realistic art of the Netherlands. He also got his inspiration from Bible illustrations and prayer books, as well as Rubens' graphics. In his portraits, he often painted folk-like features, for which he got inspiration from the people he met. Toppelius' paintings have been in about 40 churches in Finland, some of which have burned down, such as the Hailuoto Church that was destroyed in 1968, where Toppelius painted the church's pulpit and railing (1756). Toppelius also painted some portraits, mainly of priests, including Anders Chydenius (1800). **Discover** **Toppelius' impressive church paintings and the history of Finnish art on this route!** 13e:T898,## Kiiminki Church **The** **dependent** **parish** **of** **Alakiiminki** **was** **not** **established** **until** **1781,** **although** **the** **church** **had** **already** **been** **completed** **in 1760.** Kiiminki became an independent parish by decision of the Grand Senate in 1858. **The** **church** **is** **thought** **to** **have** **been** **designed** **by** **Matti Honka and is** **one** **of** **the** **best** **preserved** **18th-century** **cruciform** **churches** **in Finland.** The gently rising shingle roof of the 20-angled church follows the ground shape. The church hall is supported by barrel vaults. The church's bell tower was built by the Kiiminki master builder **Pentti (Bengt) Paso** in 1777. **Kiimingi** **church** **and** **its** **surroundings** **are** **included** **in** **the** **Finnish** **Heritage** **Agency’s** **list** **of** **nationally** **significant** **built** **cultural** **environments.** The oil painting Jesus on the Cross by **Mikael** **Toppelius** was donated to the church. Toppelius also painted the altar wall of the church and decorated the pulpit with images of the apostles. The paintings on the pulpit have been destroyed. The dating of the paintings is uncertain, but it is likely that Toppelius painted the paintings after painting the Haukiputaa church, possibly in the 1780s. For the altar wall, Toppelius painted a triptych decorated with rococo frames with distemper, with the subjects of the Brazen Serpent, Gethsemane and Jesus on the cross. On the left side of the triptych, _Moses_ _holds_ _the_ _Tablets_ _of_ _the_ _Law_ and on the right, _the_ _High_ _Priest Aaron_ _holds_ _an_ _incense_ _vessel_. The light and airy brushstrokes of the altarpiece reveal Chinese influences from the end of the century. ## Opening hours: - The church is open by appointment on weekdays. _Image_ _credits:_ - _1: Oulu_ _parishes, Kiiminki_ _parish._ - _2:_ _The_ _Finnish_ _Heritage_ _Agency_ _/_ _The_ _Picture_ _Collections_ _(1899)_ - _3: Marja-Terttu_ _Knapas_ _/_ _The_ _Finnish_ _Heritage_ _Agency_ _(1972)_ - _4: Martti Jokinen /_ _The_ _Finnish_ _Heritage_ _Agency_ _(1997)_ 13f:T898,## Kiiminki Church **The** **dependent** **parish** **of** **Alakiiminki** **was** **not** **established** **until** **1781,** **although** **the** **church** **had** **already** **been** **completed** **in 1760.** Kiiminki became an independent parish by decision of the Grand Senate in 1858. **The** **church** **is** **thought** **to** **have** **been** **designed** **by** **Matti Honka and is** **one** **of** **the** **best** **preserved** **18th-century** **cruciform** **churches** **in Finland.** The gently rising shingle roof of the 20-angled church follows the ground shape. The church hall is supported by barrel vaults. The church's bell tower was built by the Kiiminki master builder **Pentti (Bengt) Paso** in 1777. **Kiimingi** **church** **and** **its** **surroundings** **are** **included** **in** **the** **Finnish** **Heritage** **Agency’s** **list** **of** **nationally** **significant** **built** **cultural** **environments.** The oil painting Jesus on the Cross by **Mikael** **Toppelius** was donated to the church. Toppelius also painted the altar wall of the church and decorated the pulpit with images of the apostles. The paintings on the pulpit have been destroyed. The dating of the paintings is uncertain, but it is likely that Toppelius painted the paintings after painting the Haukiputaa church, possibly in the 1780s. For the altar wall, Toppelius painted a triptych decorated with rococo frames with distemper, with the subjects of the Brazen Serpent, Gethsemane and Jesus on the cross. On the left side of the triptych, _Moses_ _holds_ _the_ _Tablets_ _of_ _the_ _Law_ and on the right, _the_ _High_ _Priest Aaron_ _holds_ _an_ _incense_ _vessel_. The light and airy brushstrokes of the altarpiece reveal Chinese influences from the end of the century. ## Opening hours: - The church is open by appointment on weekdays. _Image_ _credits:_ - _1: Oulu_ _parishes, Kiiminki_ _parish._ - _2:_ _The_ _Finnish_ _Heritage_ _Agency_ _/_ _The_ _Picture_ _Collections_ _(1899)_ - _3: Marja-Terttu_ _Knapas_ _/_ _The_ _Finnish_ _Heritage_ _Agency_ _(1972)_ - _4: Martti Jokinen /_ _The_ _Finnish_ _Heritage_ _Agency_ _(1997)_ 140:T5ff,## Piippola Church Piippola church is a wooden cruciform church. Its construction began even before the establishment of the chapel parish. \*\*After several years of work the church was completed under the leadership of Simo Jylkä in 1770. The church was consecrated on New Year's Day 1771, when the church was named Magdalena Church after the then Crown Princess. \*\* The church was originally built so large that all the parishioners could fit into the church at the same time – there were 600 seats. Piippola Church has undergone more than a dozen major renovations. In 1888, the church's gently arched doors and windows were given a Gothic shape. The exterior also changed significantly, which is why the church is not always believed to be the work of Simo Jylkkä. During the renovations of 1999–2000, the paintings by **Mikael** **Toppelius** in the pulpit were restored to their original 1779 appearance. In 2004, the decorations of the echo ceiling were added to the pulpit: an octagonal decorative part with a lamb with a flag, an hourglass with a stand, and a wooden rooster. **There is also a church museum in the** **church** **tower.** *Text* *source: Siikalatva* *Parish.* ## Opening hours: - Visit the church during events - read more on the church's website. *Image* *credits:* - *1: Siikalatva* *parish* */ Pauli Ylikoski ja Petri Valoaho.* - *2:* *Central Archive for* *Finnish* *Business Records.* - *3:* *Central Archive for* *Finnish* *Business Records* *(1931)* 141:T5ff,## Piippola Church Piippola church is a wooden cruciform church. Its construction began even before the establishment of the chapel parish. \*\*After several years of work the church was completed under the leadership of Simo Jylkä in 1770. The church was consecrated on New Year's Day 1771, when the church was named Magdalena Church after the then Crown Princess. \*\* The church was originally built so large that all the parishioners could fit into the church at the same time – there were 600 seats. Piippola Church has undergone more than a dozen major renovations. In 1888, the church's gently arched doors and windows were given a Gothic shape. The exterior also changed significantly, which is why the church is not always believed to be the work of Simo Jylkkä. During the renovations of 1999–2000, the paintings by **Mikael** **Toppelius** in the pulpit were restored to their original 1779 appearance. In 2004, the decorations of the echo ceiling were added to the pulpit: an octagonal decorative part with a lamb with a flag, an hourglass with a stand, and a wooden rooster. **There is also a church museum in the** **church** **tower.** *Text* *source: Siikalatva* *Parish.* ## Opening hours: - Visit the church during events - read more on the church's website. *Image* *credits:* - *1: Siikalatva* *parish* */ Pauli Ylikoski ja Petri Valoaho.* - *2:* *Central Archive for* *Finnish* *Business Records.* - *3:* *Central Archive for* *Finnish* *Business Records* *(1931)* 142:T578,## Pulkkila Church **The current** **Pulkkila** **church’s** **style is a rare combination of national romanticism and Art Nouveau.** The isosceles cruciform church was designed by **Josef** **Stenbäck** and was completed in 1908. The church's separate bell tower was built when the previous church was still in use in 1843. It was designed by **Carl Ludvig Engel** at the Finnish Intendant's Office. The first church was probably built in Pulkkila as early as 1671. The second church was built by Jaakko Suonperä in 1768–1769. The style of the church designed by Suonperä was a typical Ostrobothnian cruciform church. The altarpiece on display in the current church, painted by **Mikael** **Toppelius** in 1770, was completed for the previous church completed in 1769. The pulpit, also painted by Toppelius (1770), completed for the same church, has been moved to the Raahe Museum. ## Pulkkila church is part of the Tiekirkot (Roadside Churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Open** 22.6. -10.7.2026** Mon-Fri at 9-15 *Image* *credits:* - *1: Siikalatva* *parish.* - *2:* *Central Archive for* *Finnish* *Business Records.* - *3:* *The* *Finnish* *Heritage* *Agency* */* *The* *Press Photo Archive JOKA* *(1962)* - *4:* *Central Archive for* *Finnish* *Business Records* *(1931)* 143:T578,## Pulkkila Church **The current** **Pulkkila** **church’s** **style is a rare combination of national romanticism and Art Nouveau.** The isosceles cruciform church was designed by **Josef** **Stenbäck** and was completed in 1908. The church's separate bell tower was built when the previous church was still in use in 1843. It was designed by **Carl Ludvig Engel** at the Finnish Intendant's Office. The first church was probably built in Pulkkila as early as 1671. The second church was built by Jaakko Suonperä in 1768–1769. The style of the church designed by Suonperä was a typical Ostrobothnian cruciform church. The altarpiece on display in the current church, painted by **Mikael** **Toppelius** in 1770, was completed for the previous church completed in 1769. The pulpit, also painted by Toppelius (1770), completed for the same church, has been moved to the Raahe Museum. ## Pulkkila church is part of the Tiekirkot (Roadside Churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Open** 22.6. -10.7.2026** Mon-Fri at 9-15 *Image* *credits:* - *1: Siikalatva* *parish.* - *2:* *Central Archive for* *Finnish* *Business Records.* - *3:* *The* *Finnish* *Heritage* *Agency* */* *The* *Press Photo Archive JOKA* *(1962)* - *4:* *Central Archive for* *Finnish* *Business Records* *(1931)* 144:T7e2,## Kuivaniemi Church **The** **Kuivaniemi Church in** **the** **Ii** **parish** **was** **completed** **in 1872 and** **was** **the** **third** **in** **the** **parish. /** **rural** **municipality.** It had been designed 20 years earlier by the German-born architect **Ernst B.** **Lohrmann.** He served as the head of the Finnish Intendant's Office after Carl Ludvig Engel and later as the director general of the General Board of Public Buildings. He also created the system of county architects in Finland. During Lohrmann's time, Finnish architecture underwent a stylistic shift from neoclassicism to revival styles, a style also represented by Kuivaniemi Church. **The** **church** **contains** **artifacts** **from** **the** **previous** **church,** **including** **two** **paintings** **by** **Toppelius** **from** **1800:** _The_ _Savior_ _Carrying_ _the_ _Cross and_ _The_ _Savior_ _on_ _the_ _Cross._ Kuivaniemen kirkon alttaritaulun _Jeesus tyynnyttää myrskyn_ on maalannut paikkakuntalainen taiteilija **Iivari** **Halttu** 1941. Alkuperäinen alttaritaulu – seinään maalattu risti, jonka keskellä on ruusu – on uuden taulun takana. Kirkon saarnatuolin kupeessa olevan puureliefin "Jeesus ristillä" on tehnyt kuivaniemeläinen kalastaja ja taiteilija **Väinö** **Rousu.** The Kuivaniemi church altarpiece, _Jesus_ _Calms_ _the_ _Storm_, was painted by local artist **Iivari** **Halttu** in 1941. The original altarpiece – a cross painted on the wall with a rose in the middle – is behind the new painting. The wooden relief "Jesus on the Cross" next to the church pulpit was made by local fisherman and artist Väinö Rousu. ## ## Opening hours - Open by appointment tel. 040 848 0078 - Visit during events - read more on the church's own website. _Image_ _credits:_ - _1: Ii_ _parish._ - _2: Armas Lindgren /_ _The_ _Finnish_ _Heritage_ _Agency_ _(1896)_ - _3:_ _The_ _Finnish_ _Heritage_ _Agency_ _/_ _The_ _Press Photo Archive JOKA (1962)_ 145:T7e2,## Kuivaniemi Church **The** **Kuivaniemi Church in** **the** **Ii** **parish** **was** **completed** **in 1872 and** **was** **the** **third** **in** **the** **parish. /** **rural** **municipality.** It had been designed 20 years earlier by the German-born architect **Ernst B.** **Lohrmann.** He served as the head of the Finnish Intendant's Office after Carl Ludvig Engel and later as the director general of the General Board of Public Buildings. He also created the system of county architects in Finland. During Lohrmann's time, Finnish architecture underwent a stylistic shift from neoclassicism to revival styles, a style also represented by Kuivaniemi Church. **The** **church** **contains** **artifacts** **from** **the** **previous** **church,** **including** **two** **paintings** **by** **Toppelius** **from** **1800:** _The_ _Savior_ _Carrying_ _the_ _Cross and_ _The_ _Savior_ _on_ _the_ _Cross._ Kuivaniemen kirkon alttaritaulun _Jeesus tyynnyttää myrskyn_ on maalannut paikkakuntalainen taiteilija **Iivari** **Halttu** 1941. Alkuperäinen alttaritaulu – seinään maalattu risti, jonka keskellä on ruusu – on uuden taulun takana. Kirkon saarnatuolin kupeessa olevan puureliefin "Jeesus ristillä" on tehnyt kuivaniemeläinen kalastaja ja taiteilija **Väinö** **Rousu.** The Kuivaniemi church altarpiece, _Jesus_ _Calms_ _the_ _Storm_, was painted by local artist **Iivari** **Halttu** in 1941. The original altarpiece – a cross painted on the wall with a rose in the middle – is behind the new painting. The wooden relief "Jesus on the Cross" next to the church pulpit was made by local fisherman and artist Väinö Rousu. ## ## Opening hours - Open by appointment tel. 040 848 0078 - Visit during events - read more on the church's own website. _Image_ _credits:_ - _1: Ii_ _parish._ - _2: Armas Lindgren /_ _The_ _Finnish_ _Heritage_ _Agency_ _(1896)_ - _3:_ _The_ _Finnish_ _Heritage_ _Agency_ _/_ _The_ _Press Photo Archive JOKA (1962)_ 146:Tbe6,## Haukipudas Church The Haukipudas Chapel, founded in the 1630s as part of a large mother parish that had already emerged in the Middle Ages, became independent in 1873. **The** **Haukipudas** **church,** **designed** **by** **church** **builder** **Matti Honka and** **built** **under** **the** **leadership** **of Jaakko Suonperä,** **was** **completed** **in 1764.** The church, located near the mouth of the Kiiminkijoki River, is a *cruciform* *church* with a gabled exterior. Its current Art Nouveau-style exterior dates from a renovation carried out in 1902, in which vestibules were added to the ends of the cross arms and over which the flats of the new tiled roof were extended. The churchyard fence is joined by a three-storey Ostrobothnian Renaissance bell tower, built under the direction of master builder Heikki Väänänen in 1751. On the wall of the bell tower is a poor box, which is a copy of the original. The old poor box has been transferred to the Museum of Northern Ostrobothnia in poor condition. In the immediate vicinity of the church and the local history museum there is an old cemetery, which is mainly managed as a park forest. ## **The** **interior** **walls** **and** **vaults** **of Haukipudas** **church** **contain** **the** **largest** **collection** **of** **Toppelius's** **church** **art.** Toppelius began painting the church in 1774, and the last of them, the large *Last* *Judgement* on the north wall, was completed five years later. Themes based on the New and Old Testaments can be found throughout the church's whitewashed log walls and vaults. The paintings are accompanied by biblical texts and the names of the wealthy landowners who donated the paintings. All the wall and ceiling paintings were done by Toppelius with distemper. Only the paintings depicting the evangelists on the pulpit were done with oil paint. There were originally 33 wall and ceiling paintings, of which seven have since been destroyed. Toppelius has placed the ceiling paintings in contrasting pairs so that the New Testament subject is opposite the Old Testament example of the subject. The last painting to be completed was the magnificent painting of the Last Judgment on the north cross of the church, covering the entire wall. \*\*Some art historians have considered this to be the most significant product of Finnish Baroque art. \*\* ## Haukipudas church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer roadtrips - Open **8.6.–31.7.2026**, Mon–Thu at 12–18, Fridays at 12–17. Closed on midsummer's eve. - There is café open at the bell tower. *Image* *credits:* - *1: Haukipudas* *parish* */ Juho Alatalo. Studio Ilpo Okkonen.* - *2:* *The* *Finnish* *Heritage* *Agency* */* *The* *Picture* *Collections* *(1896).* - *3: Samuli* *Paulaharju* */* *The* *Finnish* *Heritage* *Agency* *(1913).* - *4-5: Martti Jokinen /* *The* *Finnish* *Heritage* *Agency* *(2000).* 147:Tbe6,## Haukipudas Church The Haukipudas Chapel, founded in the 1630s as part of a large mother parish that had already emerged in the Middle Ages, became independent in 1873. **The** **Haukipudas** **church,** **designed** **by** **church** **builder** **Matti Honka and** **built** **under** **the** **leadership** **of Jaakko Suonperä,** **was** **completed** **in 1764.** The church, located near the mouth of the Kiiminkijoki River, is a *cruciform* *church* with a gabled exterior. Its current Art Nouveau-style exterior dates from a renovation carried out in 1902, in which vestibules were added to the ends of the cross arms and over which the flats of the new tiled roof were extended. The churchyard fence is joined by a three-storey Ostrobothnian Renaissance bell tower, built under the direction of master builder Heikki Väänänen in 1751. On the wall of the bell tower is a poor box, which is a copy of the original. The old poor box has been transferred to the Museum of Northern Ostrobothnia in poor condition. In the immediate vicinity of the church and the local history museum there is an old cemetery, which is mainly managed as a park forest. ## **The** **interior** **walls** **and** **vaults** **of Haukipudas** **church** **contain** **the** **largest** **collection** **of** **Toppelius's** **church** **art.** Toppelius began painting the church in 1774, and the last of them, the large *Last* *Judgement* on the north wall, was completed five years later. Themes based on the New and Old Testaments can be found throughout the church's whitewashed log walls and vaults. The paintings are accompanied by biblical texts and the names of the wealthy landowners who donated the paintings. All the wall and ceiling paintings were done by Toppelius with distemper. Only the paintings depicting the evangelists on the pulpit were done with oil paint. There were originally 33 wall and ceiling paintings, of which seven have since been destroyed. Toppelius has placed the ceiling paintings in contrasting pairs so that the New Testament subject is opposite the Old Testament example of the subject. The last painting to be completed was the magnificent painting of the Last Judgment on the north cross of the church, covering the entire wall. \*\*Some art historians have considered this to be the most significant product of Finnish Baroque art. \*\* ## Haukipudas church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer roadtrips - Open **8.6.–31.7.2026**, Mon–Thu at 12–18, Fridays at 12–17. Closed on midsummer's eve. - There is café open at the bell tower. *Image* *credits:* - *1: Haukipudas* *parish* */ Juho Alatalo. Studio Ilpo Okkonen.* - *2:* *The* *Finnish* *Heritage* *Agency* */* *The* *Picture* *Collections* *(1896).* - *3: Samuli* *Paulaharju* */* *The* *Finnish* *Heritage* *Agency* *(1913).* - *4-5: Martti Jokinen /* *The* *Finnish* *Heritage* *Agency* *(2000).* 148:T945,## Kempele Old Church **Kempele Church is** **one** **of** **the** **oldest** **churches** **in Finland.** Kempele was founded as a chapel in Liminka in 1688 and the parish church was built under the leadership of **Matti Härmä**, a church builder from Ängeslevä in Liminka,\*\* in 1689-1691. \*\* The buttressed church with a west tower is one of the smallest of its type, with only one pair of pillars. To the north of the church is the sacristy and to the south is the former armory, which currently serves as a bridal room. The church's 26-meter-high tower once served as a navigation aid for sailors. The Ostrobothnian Renaissance bell tower with a through aisle was built under the leadership of master builder **Heikki Väänänen** in 1768-1769. There is a cemetery around the church, the oldest graves of which date back to the late 18th century. There are about 150 older graves in the vaults under the church. Wealthy landowners and other notable people were buried in the church. Burial in the church ended in 1796. **On** **the** **walls** **and in** **the** **vault** **are** **paintings** **by** **Mikael** **Toppelius** **from** **1785 to 1795.** Among them, *the* *Annunciation* on the north wall and the *Descent* *from* *the* *Cross* on the west wall are the most beautiful ecclesiastical works of art of the 18th century. The Descent from the Cross was influenced by copperplate drawings of a similar work by Rubens. On the altar wall are the *Crucifixion* and the *Resurrection*, above the altar window is the *Holy* *Trinity*. On the south wall are depicted the *Jacob* *wrestling* *with* *the* *Angel* and *Samuel* *anointing* *David*. Toppelius also painted the evangelists in the pulpit. The pentagonal pulpit basket is supported by a wooden sculpture depicting St. Christopher. The church walls and vaults also feature paintings by church painter **Emanuel** **Granberg**. ## Kempele Old Church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Open **8.6.-30.7.2026,** Mon-Thu klo 11-16 *Image* *credits:* - *1: Kempele* *parish* */ Seppo Sivonen.* - *2-3: Central Archive for* *Finnish* *Business Records.* - *4-5:* *The* *Finnish* *Heritage* *Agency* */* *The* *Press Photo Archive JOKA (1961).* 149:T945,## Kempele Old Church **Kempele Church is** **one** **of** **the** **oldest** **churches** **in Finland.** Kempele was founded as a chapel in Liminka in 1688 and the parish church was built under the leadership of **Matti Härmä**, a church builder from Ängeslevä in Liminka,\*\* in 1689-1691. \*\* The buttressed church with a west tower is one of the smallest of its type, with only one pair of pillars. To the north of the church is the sacristy and to the south is the former armory, which currently serves as a bridal room. The church's 26-meter-high tower once served as a navigation aid for sailors. The Ostrobothnian Renaissance bell tower with a through aisle was built under the leadership of master builder **Heikki Väänänen** in 1768-1769. There is a cemetery around the church, the oldest graves of which date back to the late 18th century. There are about 150 older graves in the vaults under the church. Wealthy landowners and other notable people were buried in the church. Burial in the church ended in 1796. **On** **the** **walls** **and in** **the** **vault** **are** **paintings** **by** **Mikael** **Toppelius** **from** **1785 to 1795.** Among them, *the* *Annunciation* on the north wall and the *Descent* *from* *the* *Cross* on the west wall are the most beautiful ecclesiastical works of art of the 18th century. The Descent from the Cross was influenced by copperplate drawings of a similar work by Rubens. On the altar wall are the *Crucifixion* and the *Resurrection*, above the altar window is the *Holy* *Trinity*. On the south wall are depicted the *Jacob* *wrestling* *with* *the* *Angel* and *Samuel* *anointing* *David*. Toppelius also painted the evangelists in the pulpit. The pentagonal pulpit basket is supported by a wooden sculpture depicting St. Christopher. The church walls and vaults also feature paintings by church painter **Emanuel** **Granberg**. ## Kempele Old Church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Open **8.6.-30.7.2026,** Mon-Thu klo 11-16 *Image* *credits:* - *1: Kempele* *parish* */ Seppo Sivonen.* - *2-3: Central Archive for* *Finnish* *Business Records.* - *4-5:* *The* *Finnish* *Heritage* *Agency* */* *The* *Press Photo Archive JOKA (1961).* 14a:T878,## Siikajoki Church ## **Siikajoki** **parish** **was** **founded** **as a** **chapel** **of Salo** **parish** **in 1590.** Today, Siikajoki parish is part of Raahe parish. The first church in the parish was burned down by the Russians in 1591. A second church was built on the site of the current church in 1600. **The** **current** **cruciform** **church,** **built** **in 1701, is** **one** **of** **the** **oldest** **cruciform** **churches** **in** **Ostrobothnia.** The church was renovated in 1765, when Jaakko Suonperä also built a pulpit in the church. **The** **church** **received** **its** **current** **appearance** **in 1852,** **designed** **by** **Oulu** **County** **Architect Johan** **Oldenburg.** At that time, a square-shaped tower rising from the wide attic section was added to the church. The outer walls were equipped with Empire-style lining. The church was also expanded by building a new sacristy section as an extension of the eastern cross. The tongue-and-groove paneling of the church hall walls and vault dates from the 20th century. In 1771–1772, **Mikael** **Toppelius** painted the altarpiece _Jesus in Gethsemane_ and the painting above it, the _Pierced by the_ _Spear._ The painted decoration of the pulpit, Christ and the Four Evangelists, by **Jaakko** **Suonperä**, depicting the evangelists, is also by Toppelius. The Ostrobothnian Renaissance bell tower on the south side of the church was built in 1765. **During** **the** **Finnish** **War,** **the** **Battle of** **Siikajoki** **took** **place** **on 18th** **April** **1808 on** **the** **field** **between** **the** **church,** **the** **river** **and** **the** **rectory.** Near the church is a cemetery with a monument for the soldiers who fell in the battle. The old road that connected the coastal towns to Oulu is alongside/next to the church. ## Opening hours: - Visit the church during events - read more on the church's website. _Image_ _credits:_ - _1: Raahe_ _parish._ - _2-3: Central Archive for_ _Finnish_ _Business Records (1926)._ - _4: E. Härö /_ _The_ _Finnish_ _Heritage_ _Agency (1971)._ 14b:T878,## Siikajoki Church ## **Siikajoki** **parish** **was** **founded** **as a** **chapel** **of Salo** **parish** **in 1590.** Today, Siikajoki parish is part of Raahe parish. The first church in the parish was burned down by the Russians in 1591. A second church was built on the site of the current church in 1600. **The** **current** **cruciform** **church,** **built** **in 1701, is** **one** **of** **the** **oldest** **cruciform** **churches** **in** **Ostrobothnia.** The church was renovated in 1765, when Jaakko Suonperä also built a pulpit in the church. **The** **church** **received** **its** **current** **appearance** **in 1852,** **designed** **by** **Oulu** **County** **Architect Johan** **Oldenburg.** At that time, a square-shaped tower rising from the wide attic section was added to the church. The outer walls were equipped with Empire-style lining. The church was also expanded by building a new sacristy section as an extension of the eastern cross. The tongue-and-groove paneling of the church hall walls and vault dates from the 20th century. In 1771–1772, **Mikael** **Toppelius** painted the altarpiece _Jesus in Gethsemane_ and the painting above it, the _Pierced by the_ _Spear._ The painted decoration of the pulpit, Christ and the Four Evangelists, by **Jaakko** **Suonperä**, depicting the evangelists, is also by Toppelius. The Ostrobothnian Renaissance bell tower on the south side of the church was built in 1765. **During** **the** **Finnish** **War,** **the** **Battle of** **Siikajoki** **took** **place** **on 18th** **April** **1808 on** **the** **field** **between** **the** **church,** **the** **river** **and** **the** **rectory.** Near the church is a cemetery with a monument for the soldiers who fell in the battle. The old road that connected the coastal towns to Oulu is alongside/next to the church. ## Opening hours: - Visit the church during events - read more on the church's website. _Image_ _credits:_ - _1: Raahe_ _parish._ - _2-3: Central Archive for_ _Finnish_ _Business Records (1926)._ - _4: E. Härö /_ _The_ _Finnish_ _Heritage_ _Agency (1971)._ 14c:T836,## Rantsila Church Rantsila, founded as a chapel of Saloinen in 1671, was transferred to the Siikajoki parish in 1689. The parish became independent in 1873. **The equal-nave** **cruciform church** **of** **Rantsila** **which is currently part of the** **Siikalatva** **parish** **was designed and built in 1785 by Simon Silven from** **Kalajoki.** The church's current exterior and interior design are the result of an Art Nouveau renovation accomplished at the turn of the 19th and 20th centuries, which was carried out by architect Josef Stenbäck. The church was renovated in 1983 according to a plan drawn up by architect Jorma Teppo. The Ostrobothnian Renaissance tower on the west side of the church is older than the church. The churchyard also includes an old morgue called the "attic". In front of the church square is a memorial statue of **Christfried** **Ganander**, who served as chaplain of Rantsila from 1775 to 1785 and was known as a collector of folklore and a pioneer in the study of religion and folk culture. **The church** **contains** **many paintings by Mikael** **Toppelius:** the altarpiece is a triptych painted by Toppelius depicting _Jesus on the cross_ in the center, _Gethsemane_ on the left, and _Jesus rising from the tomb_ on the right. The painting, completed in 1788, is considered one of Toppelius's best works. Toppelius also decorated the Baroque pulpit carved by Johan Kangas from Hailuoto in 1794, which is painted with images of Christ, the Virgin Mary and the evangelists with their symbols. Toppelius placed images of Adam, Eve, Aaron and Moses on the wall of the stair railing. ## Opening hours: - Visit the church during events - read more on the church's website. _Image_ _credits:_ - _1: Siikalatva_ _parish._ - _2:_ _The Finnish Heritage Agency_ _/ Historical Picture Collection_ _(1890-1910)_ - _3:_ _The Finnish Heritage Agency_ _/_ _Architectural History Collection._ - _4: Marja-Terttu_ _Knapas_ _/_ _The Finnish Heritage Agency_ _(1981)_ - _5: Hannu Puurunen /_ _The Finnish Heritage Agency_ _(1974)_ 14d:T836,## Rantsila Church Rantsila, founded as a chapel of Saloinen in 1671, was transferred to the Siikajoki parish in 1689. The parish became independent in 1873. **The equal-nave** **cruciform church** **of** **Rantsila** **which is currently part of the** **Siikalatva** **parish** **was designed and built in 1785 by Simon Silven from** **Kalajoki.** The church's current exterior and interior design are the result of an Art Nouveau renovation accomplished at the turn of the 19th and 20th centuries, which was carried out by architect Josef Stenbäck. The church was renovated in 1983 according to a plan drawn up by architect Jorma Teppo. The Ostrobothnian Renaissance tower on the west side of the church is older than the church. The churchyard also includes an old morgue called the "attic". In front of the church square is a memorial statue of **Christfried** **Ganander**, who served as chaplain of Rantsila from 1775 to 1785 and was known as a collector of folklore and a pioneer in the study of religion and folk culture. **The church** **contains** **many paintings by Mikael** **Toppelius:** the altarpiece is a triptych painted by Toppelius depicting _Jesus on the cross_ in the center, _Gethsemane_ on the left, and _Jesus rising from the tomb_ on the right. The painting, completed in 1788, is considered one of Toppelius's best works. Toppelius also decorated the Baroque pulpit carved by Johan Kangas from Hailuoto in 1794, which is painted with images of Christ, the Virgin Mary and the evangelists with their symbols. Toppelius placed images of Adam, Eve, Aaron and Moses on the wall of the stair railing. ## Opening hours: - Visit the church during events - read more on the church's website. _Image_ _credits:_ - _1: Siikalatva_ _parish._ - _2:_ _The Finnish Heritage Agency_ _/ Historical Picture Collection_ _(1890-1910)_ - _3:_ _The Finnish Heritage Agency_ _/_ _Architectural History Collection._ - _4: Marja-Terttu_ _Knapas_ _/_ _The Finnish Heritage Agency_ _(1981)_ - _5: Hannu Puurunen /_ _The Finnish Heritage Agency_ _(1974)_ 14e:T69b,## Paavola Church **The cross-shaped church of Paavola was consecrated in 1756. It was named after the Swedish princess Sofia Albertina.** The construction work was carried out by master builder Matti Honka from Kokkola. The details of the church have been given their current appearance since the renovation carried out in 1856 under the leadership of Johan Oldenburg. The new church was probably built on the site of the old Pehkola church, which was completed in 1691. The Ostrobothnian-style Renaissance bell tower was completed in 1759. **In 1765, Mikael Toppelius painted an altarpiece and 21 other paintings for the church. ** Angered by the opposition of peasants from Luohua village, Toppelius immortalized their faces in the part of the altarpiece depicting the loss. The altarpiece painted by Toppelius was destroyed in a fire while it was being restored in Oulu. Due to the influence of revival movements, Toppelius' paintings were covered up as too secular in connection with the first renovation of the church. **Later, only the pulpit paintings were restored.** The current altarpiece “Christ in Gethsemane” is by **Lahja Järvinen** from 1969. There is an old cemetery around the church. The War Heroes' cemetery and memorial monument were designed by Ilmari Wirkkala. Next to the church is a loan grain warehouse built in 1847, which has been used as a museum since 1978. ## Opening Hours: - Visit the church during events - read more on the church's own website. _Image_ _description:_ - _1: Raahe_ _Parish._ - _2-3: Museovirasto / Historian kuvakokoelma (1899)_ - _4: Museovirasto / JOKA Journalistinen kuva-arkisto (1958)_ 14f:T69b,## Paavola Church **The cross-shaped church of Paavola was consecrated in 1756. It was named after the Swedish princess Sofia Albertina.** The construction work was carried out by master builder Matti Honka from Kokkola. The details of the church have been given their current appearance since the renovation carried out in 1856 under the leadership of Johan Oldenburg. The new church was probably built on the site of the old Pehkola church, which was completed in 1691. The Ostrobothnian-style Renaissance bell tower was completed in 1759. **In 1765, Mikael Toppelius painted an altarpiece and 21 other paintings for the church. ** Angered by the opposition of peasants from Luohua village, Toppelius immortalized their faces in the part of the altarpiece depicting the loss. The altarpiece painted by Toppelius was destroyed in a fire while it was being restored in Oulu. Due to the influence of revival movements, Toppelius' paintings were covered up as too secular in connection with the first renovation of the church. **Later, only the pulpit paintings were restored.** The current altarpiece “Christ in Gethsemane” is by **Lahja Järvinen** from 1969. There is an old cemetery around the church. The War Heroes' cemetery and memorial monument were designed by Ilmari Wirkkala. Next to the church is a loan grain warehouse built in 1847, which has been used as a museum since 1978. ## Opening Hours: - Visit the church during events - read more on the church's own website. _Image_ _description:_ - _1: Raahe_ _Parish._ - _2-3: Museovirasto / Historian kuvakokoelma (1899)_ - _4: Museovirasto / JOKA Journalistinen kuva-arkisto (1958)_ 150:T572,## Revonlahti Church Revonlahti became a chapel parish in 1845 and was granted the rights of an independent parish in 1925. Today, Revonlahti belongs to the parish of Raahe. **The Revonlahti church was completed in 1775. The master builder was Jaakko Suonperä.** The church was probably built on the same site where the Revonlahti "sermon-house" completed in 1691, had been located. As late as 1826, an eight-cubit-long log stood on the roof, topped with a rooster, a symbol of Christian vigilance. The rooster was later replaced by a cross. **The** **church's** **altarpieces** **and** **wall** **paintings** **were** **painted** **by** **Toppelius** **in 1821.** The triptych-like oil paintings on the altar wall are _Crucifixion_ and _Communion_, as well as _Gethsemane_ and _Resurrection_. The sketch-like pictures on the pulpit are also by Toppelius. **Revonlahti church was Toppelius's last work; He died in December of the same year at the age of 87. ** A separate three-aisled Renaissance bell tower was built in 1782. The church and bell tower are surrounded by an old cemetery. ## Opening Hours: - Visit the church during events - read more on the church's own website. _Image description:_ - _1: Visit Raahe._ - _2: Armas Lindgren /_ _Museovirasto_ _(1896)_ - _3:_ _Museovirasto_ _/ JOKA_ _Journalistinen_ _kuva-arkisto_ _(1961)_ 151:T572,## Revonlahti Church Revonlahti became a chapel parish in 1845 and was granted the rights of an independent parish in 1925. Today, Revonlahti belongs to the parish of Raahe. **The Revonlahti church was completed in 1775. The master builder was Jaakko Suonperä.** The church was probably built on the same site where the Revonlahti "sermon-house" completed in 1691, had been located. As late as 1826, an eight-cubit-long log stood on the roof, topped with a rooster, a symbol of Christian vigilance. The rooster was later replaced by a cross. **The** **church's** **altarpieces** **and** **wall** **paintings** **were** **painted** **by** **Toppelius** **in 1821.** The triptych-like oil paintings on the altar wall are _Crucifixion_ and _Communion_, as well as _Gethsemane_ and _Resurrection_. The sketch-like pictures on the pulpit are also by Toppelius. **Revonlahti church was Toppelius's last work; He died in December of the same year at the age of 87. ** A separate three-aisled Renaissance bell tower was built in 1782. The church and bell tower are surrounded by an old cemetery. ## Opening Hours: - Visit the church during events - read more on the church's own website. _Image description:_ - _1: Visit Raahe._ - _2: Armas Lindgren /_ _Museovirasto_ _(1896)_ - _3:_ _Museovirasto_ _/ JOKA_ _Journalistinen_ _kuva-arkisto_ _(1961)_ 152:Te37,## Art and atmosphere... _Route_ _recommendation: Kuivaniemi - Haukipudas - Kiiminki - Kempele - Rantsila - Pulkkila - Piippola - Paavola - Revonlahti - Siikajoki_ **Check** **out** **the** **art** **program** **of** **the** **Church to Church** **route** [**here!**](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd) **The churches of Northern Ostrobothnia still contain a wealth of works by early church painters, even though some of the churches have burned down and some of the paintings have been destroyed or later covered up.** The tradition of church painting had been ongoing since the Middle Ages, but in the 18th century a new flourishing period began in church art, culminating in the art of **Mikael Toppelius.** Alongside altarpieces, paintings made directly on log walls with glue paint appeared. The paintings were inspired by illustrations in Bibles and devotional books, and especially copperplate drawings by Rubens. Church painters often also did other interior and decorative painting, including portraits. Many of the early church painters received their training in Stockholm or under the guidance of more experienced painters. In addition to Toppelius, several church painters were active in Northern Ostrobothnia, the best known being **Lars Gallenius **(1658-1753) from Oulu,** Erik Westzynthius the Elder **(born in Raahe in 1711) and **the Younger** (1743-1787), **Thomas Kiempe** (1752-1812, Merijärvi and Rautio churches) and **Emanuel Granberg** from Vihanti (1773-1854, Paltaniemi, Vihanni and Muhos churches). ## MIKAEL TOPPELIUS **Mikael** **Toppelius** **(1734-1821),** **born and died in Oulu, was the most famous and notable Finnish church painter and the last representative of the** **Ostrobothnian** **church painting tradition, whose career lasted over 70 years.** During his career, he painted decorative paintings for dozens of churches in Ostrobothnia and Northern Savo. Toppelius was the grandfather of the writer **Zachris Topelius**. It is said that Toppelius' father, Kristoffer Toppelius, was captured by Russian Cossacks at the age of seven during the Great War and taken to St. Petersburg, from where he managed to escape and return by ship to Stockholm. Z. Topelius' story _The Birch and the Star_ is based on this story. Toppelius began his career as a painter as a young man around 1848, decorating the Iisalmi church. He received his real training in Stockholm while being a student of Sweden's most prominent decorative painter, the court painter **Johan Pasch**. Under his leadership, Toppelius participated in the painting decoration of the Royal Palace Church in Stockholm, among other things. In Stockholm, he adopted the light color scale of the Rococo, but he also used darker and heavier Baroque colors in his works. Toppelius got his subjects from the pictorial tradition of the Italian Renaissance and the realistic art of the Netherlands. He also got his inspiration from Bible illustrations and prayer books, as well as Rubens' graphics. In his portraits, he often painted folk-like features, for which he got inspiration from the people he met. Toppelius' paintings have been in about 40 churches in Finland, some of which have burned down, such as the Hailuoto Church that was destroyed in 1968, where Toppelius painted the church's pulpit and railing (1756). Toppelius also painted some portraits, mainly of priests, including Anders Chydenius (1800). **Discover** **Toppelius' impressive church paintings and the history of Finnish art on this route!** 153:T55a,## **Welcome** **to** **the** **Coastal** **Route!** **The** **Coastal** **Route** **follows** **the** **old** **Ostrobothnia** **coastal** **road** **alignment** **and** **offers** **a** **diverse** **range** **of** **churches** **and** **their** **surroundings** **from** **different** **centuries.** The route opens/unfolds a spectrum/variety of styles of church architecture in our region. The oldest of the churches on the coastal route is Kempele Church from 1688 and the youngest is Pyhäjoki Church from 1977. In between, there are classical cruciform churches, revival styles and solid Art Nouveau stone churches. **Tour** **route** **recommendation:** 1. Kuivaniemi church 2. Ii church 3. Kiiminki church 4. Haukipudas church 5. Oulu Cathedral 6. Oulunsalo church 7. Kempele Holy Trinity Church 8. Kempele Old Church 9. Liminka church 0. Lumijoki church 1. Siikajoki church 2. Pattijoki church 3. Raahe Church of the Holy Trinity 4. Saloinen St. Olaf’s Church 5. Pyhäjoki church 6. Kalajoki church 7. Himanka church Total length of route is approximately 230 km. **Check out the Art Program of the Church to Church route **[++**here!**++](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd)** ** _Photo: Himanka Church, Kalajoki_ _Parish._ 154:Tbd2,## Raahe Church of the Holy Trinity **The** **Raahe** **parish** **was** **founded** **in 1649,** **the** **same** **year** **as** **the** **city of Raahe** **was** **founded** **by** **the** **Governor-General of Finland, Pehr Brahe.** The current church, which represents national romanticism and Art Nouveau, is clad with red granite tiles quarried from the islands off Raahe and was designed by architect **Josef** **Stenbäck** **in 1912**. The shingles on the rooftop are made of concrete. The church is part of the nationally valuable built cultural environment of Old Raahe, *Raahe's* *Pekkatori* *Square and the* *blocks of* *wooden* *houses in the* *grid area.* The altarpiece *In a* *Storm* *with* *Jesus* was painted by **Eero** **Järnefelt** in 1926. The painting was done in Paris, but sketched in Helsinki, where the students of the University of Helsinki's Department of Gymnastics served as models for the painting. The chandeliers and sconces were made by Raahe-based artist **A. F. Westman**. The stained glass window on the south side of the chancel, “I will make you fishers of men,” is from 1988 and was designed by artist **Matti Lampi**. The votive ship by Raahe-based artist **Olavi Pelkonen** was delivered to the church in 1990. The church park also has the city's first cemetery, with gravestones dating back to the 17th century. On the heroes' grave next to the church is the hero statue "Lähtö", created by sculptor Ensio Seppänen in 1973. Haarala is an idyllic cemetery with historical graves, founded in 1809, located just outside the city. The Haarala Chapel, designed by architect Ilmari Wirkkala, was completed in 1932. **The** **previous** **buttressed** **church, built in 1655, burned down in 1908.** The church was located at its current location on the highest hill in the city, and its tall tower also served as a seamark visible far out to sea. The sculptor **Mikael Balt** made a pulpit for the church, which, according to tradition, was built from an oak sent by Pehr Brahe. The pulpit burned down with the church, but the pulpit in the new church was made according to the old model. Mikael Balt worked in Raahe between 1669 and 1673, decorating the church with colorful sculptures, which survived the fire stored in a bell tower and are now on display in the Raahe Packhouse Museum. One of the oldest Pauper Statues in Finland, which stood in front of the old bell tower was also moved to the Raahe Museum. The bell tower was spared from the fire but was later demolished. ## Raahe Church of the Holy Trinity is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Open Mon-Sun at 10-18. (**1.6.-16.8.2026**) *Image* *credits:* - *1:* *City of Raahe* - *2: Pohjola* *route* */ Noora Riikonen.* - *3: S. Suo / The* *Finnish* *Heritage* *Agency (1930)* - *4: Samuli* *Paulaharju* */ The Finnish Heritage Agency (1923)* 155:Tbd2,## Raahe Church of the Holy Trinity **The** **Raahe** **parish** **was** **founded** **in 1649,** **the** **same** **year** **as** **the** **city of Raahe** **was** **founded** **by** **the** **Governor-General of Finland, Pehr Brahe.** The current church, which represents national romanticism and Art Nouveau, is clad with red granite tiles quarried from the islands off Raahe and was designed by architect **Josef** **Stenbäck** **in 1912**. The shingles on the rooftop are made of concrete. The church is part of the nationally valuable built cultural environment of Old Raahe, *Raahe's* *Pekkatori* *Square and the* *blocks of* *wooden* *houses in the* *grid area.* The altarpiece *In a* *Storm* *with* *Jesus* was painted by **Eero** **Järnefelt** in 1926. The painting was done in Paris, but sketched in Helsinki, where the students of the University of Helsinki's Department of Gymnastics served as models for the painting. The chandeliers and sconces were made by Raahe-based artist **A. F. Westman**. The stained glass window on the south side of the chancel, “I will make you fishers of men,” is from 1988 and was designed by artist **Matti Lampi**. The votive ship by Raahe-based artist **Olavi Pelkonen** was delivered to the church in 1990. The church park also has the city's first cemetery, with gravestones dating back to the 17th century. On the heroes' grave next to the church is the hero statue "Lähtö", created by sculptor Ensio Seppänen in 1973. Haarala is an idyllic cemetery with historical graves, founded in 1809, located just outside the city. The Haarala Chapel, designed by architect Ilmari Wirkkala, was completed in 1932. **The** **previous** **buttressed** **church, built in 1655, burned down in 1908.** The church was located at its current location on the highest hill in the city, and its tall tower also served as a seamark visible far out to sea. The sculptor **Mikael Balt** made a pulpit for the church, which, according to tradition, was built from an oak sent by Pehr Brahe. The pulpit burned down with the church, but the pulpit in the new church was made according to the old model. Mikael Balt worked in Raahe between 1669 and 1673, decorating the church with colorful sculptures, which survived the fire stored in a bell tower and are now on display in the Raahe Packhouse Museum. One of the oldest Pauper Statues in Finland, which stood in front of the old bell tower was also moved to the Raahe Museum. The bell tower was spared from the fire but was later demolished. ## Raahe Church of the Holy Trinity is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Open Mon-Sun at 10-18. (**1.6.-16.8.2026**) *Image* *credits:* - *1:* *City of Raahe* - *2: Pohjola* *route* */ Noora Riikonen.* - *3: S. Suo / The* *Finnish* *Heritage* *Agency (1930)* - *4: Samuli* *Paulaharju* */ The Finnish Heritage Agency (1923)* 156:T945,## Kempele Old Church **Kempele Church is** **one** **of** **the** **oldest** **churches** **in Finland.** Kempele was founded as a chapel in Liminka in 1688 and the parish church was built under the leadership of **Matti Härmä**, a church builder from Ängeslevä in Liminka,\*\* in 1689-1691. \*\* The buttressed church with a west tower is one of the smallest of its type, with only one pair of pillars. To the north of the church is the sacristy and to the south is the former armory, which currently serves as a bridal room. The church's 26-meter-high tower once served as a navigation aid for sailors. The Ostrobothnian Renaissance bell tower with a through aisle was built under the leadership of master builder **Heikki Väänänen** in 1768-1769. There is a cemetery around the church, the oldest graves of which date back to the late 18th century. There are about 150 older graves in the vaults under the church. Wealthy landowners and other notable people were buried in the church. Burial in the church ended in 1796. **On** **the** **walls** **and in** **the** **vault** **are** **paintings** **by** **Mikael** **Toppelius** **from** **1785 to 1795.** Among them, *the* *Annunciation* on the north wall and the *Descent* *from* *the* *Cross* on the west wall are the most beautiful ecclesiastical works of art of the 18th century. The Descent from the Cross was influenced by copperplate drawings of a similar work by Rubens. On the altar wall are the *Crucifixion* and the *Resurrection*, above the altar window is the *Holy* *Trinity*. On the south wall are depicted the *Jacob* *wrestling* *with* *the* *Angel* and *Samuel* *anointing* *David*. Toppelius also painted the evangelists in the pulpit. The pentagonal pulpit basket is supported by a wooden sculpture depicting St. Christopher. The church walls and vaults also feature paintings by church painter **Emanuel** **Granberg**. ## Kempele Old Church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Open **8.6.-30.7.2026,** Mon-Thu klo 11-16 *Image* *credits:* - *1: Kempele* *parish* */ Seppo Sivonen.* - *2-3: Central Archive for* *Finnish* *Business Records.* - *4-5:* *The* *Finnish* *Heritage* *Agency* */* *The* *Press Photo Archive JOKA (1961).* 157:T945,## Kempele Old Church **Kempele Church is** **one** **of** **the** **oldest** **churches** **in Finland.** Kempele was founded as a chapel in Liminka in 1688 and the parish church was built under the leadership of **Matti Härmä**, a church builder from Ängeslevä in Liminka,\*\* in 1689-1691. \*\* The buttressed church with a west tower is one of the smallest of its type, with only one pair of pillars. To the north of the church is the sacristy and to the south is the former armory, which currently serves as a bridal room. The church's 26-meter-high tower once served as a navigation aid for sailors. The Ostrobothnian Renaissance bell tower with a through aisle was built under the leadership of master builder **Heikki Väänänen** in 1768-1769. There is a cemetery around the church, the oldest graves of which date back to the late 18th century. There are about 150 older graves in the vaults under the church. Wealthy landowners and other notable people were buried in the church. Burial in the church ended in 1796. **On** **the** **walls** **and in** **the** **vault** **are** **paintings** **by** **Mikael** **Toppelius** **from** **1785 to 1795.** Among them, *the* *Annunciation* on the north wall and the *Descent* *from* *the* *Cross* on the west wall are the most beautiful ecclesiastical works of art of the 18th century. The Descent from the Cross was influenced by copperplate drawings of a similar work by Rubens. On the altar wall are the *Crucifixion* and the *Resurrection*, above the altar window is the *Holy* *Trinity*. On the south wall are depicted the *Jacob* *wrestling* *with* *the* *Angel* and *Samuel* *anointing* *David*. Toppelius also painted the evangelists in the pulpit. The pentagonal pulpit basket is supported by a wooden sculpture depicting St. Christopher. The church walls and vaults also feature paintings by church painter **Emanuel** **Granberg**. ## Kempele Old Church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Open **8.6.-30.7.2026,** Mon-Thu klo 11-16 *Image* *credits:* - *1: Kempele* *parish* */ Seppo Sivonen.* - *2-3: Central Archive for* *Finnish* *Business Records.* - *4-5:* *The* *Finnish* *Heritage* *Agency* */* *The* *Press Photo Archive JOKA (1961).* 158:T7e2,## Kuivaniemi Church **The** **Kuivaniemi Church in** **the** **Ii** **parish** **was** **completed** **in 1872 and** **was** **the** **third** **in** **the** **parish. /** **rural** **municipality.** It had been designed 20 years earlier by the German-born architect **Ernst B.** **Lohrmann.** He served as the head of the Finnish Intendant's Office after Carl Ludvig Engel and later as the director general of the General Board of Public Buildings. He also created the system of county architects in Finland. During Lohrmann's time, Finnish architecture underwent a stylistic shift from neoclassicism to revival styles, a style also represented by Kuivaniemi Church. **The** **church** **contains** **artifacts** **from** **the** **previous** **church,** **including** **two** **paintings** **by** **Toppelius** **from** **1800:** _The_ _Savior_ _Carrying_ _the_ _Cross and_ _The_ _Savior_ _on_ _the_ _Cross._ Kuivaniemen kirkon alttaritaulun _Jeesus tyynnyttää myrskyn_ on maalannut paikkakuntalainen taiteilija **Iivari** **Halttu** 1941. Alkuperäinen alttaritaulu – seinään maalattu risti, jonka keskellä on ruusu – on uuden taulun takana. Kirkon saarnatuolin kupeessa olevan puureliefin "Jeesus ristillä" on tehnyt kuivaniemeläinen kalastaja ja taiteilija **Väinö** **Rousu.** The Kuivaniemi church altarpiece, _Jesus_ _Calms_ _the_ _Storm_, was painted by local artist **Iivari** **Halttu** in 1941. The original altarpiece – a cross painted on the wall with a rose in the middle – is behind the new painting. The wooden relief "Jesus on the Cross" next to the church pulpit was made by local fisherman and artist Väinö Rousu. ## ## Opening hours - Open by appointment tel. 040 848 0078 - Visit during events - read more on the church's own website. _Image_ _credits:_ - _1: Ii_ _parish._ - _2: Armas Lindgren /_ _The_ _Finnish_ _Heritage_ _Agency_ _(1896)_ - _3:_ _The_ _Finnish_ _Heritage_ _Agency_ _/_ _The_ _Press Photo Archive JOKA (1962)_ 159:T7e2,## Kuivaniemi Church **The** **Kuivaniemi Church in** **the** **Ii** **parish** **was** **completed** **in 1872 and** **was** **the** **third** **in** **the** **parish. /** **rural** **municipality.** It had been designed 20 years earlier by the German-born architect **Ernst B.** **Lohrmann.** He served as the head of the Finnish Intendant's Office after Carl Ludvig Engel and later as the director general of the General Board of Public Buildings. He also created the system of county architects in Finland. During Lohrmann's time, Finnish architecture underwent a stylistic shift from neoclassicism to revival styles, a style also represented by Kuivaniemi Church. **The** **church** **contains** **artifacts** **from** **the** **previous** **church,** **including** **two** **paintings** **by** **Toppelius** **from** **1800:** _The_ _Savior_ _Carrying_ _the_ _Cross and_ _The_ _Savior_ _on_ _the_ _Cross._ Kuivaniemen kirkon alttaritaulun _Jeesus tyynnyttää myrskyn_ on maalannut paikkakuntalainen taiteilija **Iivari** **Halttu** 1941. Alkuperäinen alttaritaulu – seinään maalattu risti, jonka keskellä on ruusu – on uuden taulun takana. Kirkon saarnatuolin kupeessa olevan puureliefin "Jeesus ristillä" on tehnyt kuivaniemeläinen kalastaja ja taiteilija **Väinö** **Rousu.** The Kuivaniemi church altarpiece, _Jesus_ _Calms_ _the_ _Storm_, was painted by local artist **Iivari** **Halttu** in 1941. The original altarpiece – a cross painted on the wall with a rose in the middle – is behind the new painting. The wooden relief "Jesus on the Cross" next to the church pulpit was made by local fisherman and artist Väinö Rousu. ## ## Opening hours - Open by appointment tel. 040 848 0078 - Visit during events - read more on the church's own website. _Image_ _credits:_ - _1: Ii_ _parish._ - _2: Armas Lindgren /_ _The_ _Finnish_ _Heritage_ _Agency_ _(1896)_ - _3:_ _The_ _Finnish_ _Heritage_ _Agency_ _/_ _The_ _Press Photo Archive JOKA (1962)_ 15a:Taf9,## Pyhäjoki Church **Pyhäjoki was first mentioned in documents as an independent parish in 1573, and it is one of the old** **mother parishes** **of Ostrobothnia. It once included the entire Pyhäjoki Valley from the borders of Savo to Lake** **Pyhäjärvi.** The first church in Pyhäjoki was completed in 1586. The old church was in the old cemetery of Pyhäjoki near the church tower built in 1739, designed by Simo Knup, which still stands to this day. Next to it is a monument to the old church. The old church was demolished after the new one was completed in the 1850s. The new Empire-style cruciform church with a large central dome was completed in 1844 according to the drawings of **C. L. Engel.** It was possibly the best preserved of Engel's wooden buildings. **The** **church** **was** **restored** **in** **1969,** **but** **was** **destroyed** **in a** **fire** **caused** **by** **lightning** **in 1974.** The church's valuable furnishings were almost completely saved, and some of them are on display in the current church and in the Annala Local History Museum. \*\*The current modern-style church in Pyhäjoki was completed in 1977 and was designed by the winner of an architectural competition, KSOY from Tampere. \*\* The church has an almost square layout. The roof rises steeply above the altar to over 20 meters. The chancel is bathed in strong light from a high south window. On the wall of the church hall is a large brick relief by sculptor **Kari Juva** (1939-2014) called *The* *Ten* *Virgins*. Kari Juva spent his childhood and youth in Pyhäjoki and Raahe and his works can be found in both places. He is also buried in Pyhäjoki. The chandeliers and baptismal font from the old church are placed in the church's chancel. One of the candlesticks contains a text from the donor about the times of the Great Wrath. The altarpiece "Jesus in Gethsemane" painted by **Konstantin** **Lagerstam** was saved from the church fire, as was the Pauper Statue standing next to the main door of the church. The churchyard and cemetery form a large, unified park in the middle of the town center. The area is a pleasant resting place with old pine trees, a log cabin telling the story of the church fire, and flower plantings. All new buildings in the churchyard were designed by the same architectural firm KSOY. ## Pyhäjoki church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Open on weekdays at 10 - 19, **22.6. - 7.8.2026** *Image* *credits:* - *1: Pyhäjoki* *parish.* - *2:* *Pyhäjoki* *Municipality.* - *3-4:* *Central Archive for* *Finnish* *Business Records.* - *5: Pekka Kärki / The* *Finnish* *Heritage* *Agency (1969).* 15b:Taf9,## Pyhäjoki Church **Pyhäjoki was first mentioned in documents as an independent parish in 1573, and it is one of the old** **mother parishes** **of Ostrobothnia. It once included the entire Pyhäjoki Valley from the borders of Savo to Lake** **Pyhäjärvi.** The first church in Pyhäjoki was completed in 1586. The old church was in the old cemetery of Pyhäjoki near the church tower built in 1739, designed by Simo Knup, which still stands to this day. Next to it is a monument to the old church. The old church was demolished after the new one was completed in the 1850s. The new Empire-style cruciform church with a large central dome was completed in 1844 according to the drawings of **C. L. Engel.** It was possibly the best preserved of Engel's wooden buildings. **The** **church** **was** **restored** **in** **1969,** **but** **was** **destroyed** **in a** **fire** **caused** **by** **lightning** **in 1974.** The church's valuable furnishings were almost completely saved, and some of them are on display in the current church and in the Annala Local History Museum. \*\*The current modern-style church in Pyhäjoki was completed in 1977 and was designed by the winner of an architectural competition, KSOY from Tampere. \*\* The church has an almost square layout. The roof rises steeply above the altar to over 20 meters. The chancel is bathed in strong light from a high south window. On the wall of the church hall is a large brick relief by sculptor **Kari Juva** (1939-2014) called *The* *Ten* *Virgins*. Kari Juva spent his childhood and youth in Pyhäjoki and Raahe and his works can be found in both places. He is also buried in Pyhäjoki. The chandeliers and baptismal font from the old church are placed in the church's chancel. One of the candlesticks contains a text from the donor about the times of the Great Wrath. The altarpiece "Jesus in Gethsemane" painted by **Konstantin** **Lagerstam** was saved from the church fire, as was the Pauper Statue standing next to the main door of the church. The churchyard and cemetery form a large, unified park in the middle of the town center. The area is a pleasant resting place with old pine trees, a log cabin telling the story of the church fire, and flower plantings. All new buildings in the churchyard were designed by the same architectural firm KSOY. ## Pyhäjoki church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Open on weekdays at 10 - 19, **22.6. - 7.8.2026** *Image* *credits:* - *1: Pyhäjoki* *parish.* - *2:* *Pyhäjoki* *Municipality.* - *3-4:* *Central Archive for* *Finnish* *Business Records.* - *5: Pekka Kärki / The* *Finnish* *Heritage* *Agency (1969).* 15c:Tbe6,## Haukipudas Church The Haukipudas Chapel, founded in the 1630s as part of a large mother parish that had already emerged in the Middle Ages, became independent in 1873. **The** **Haukipudas** **church,** **designed** **by** **church** **builder** **Matti Honka and** **built** **under** **the** **leadership** **of Jaakko Suonperä,** **was** **completed** **in 1764.** The church, located near the mouth of the Kiiminkijoki River, is a *cruciform* *church* with a gabled exterior. Its current Art Nouveau-style exterior dates from a renovation carried out in 1902, in which vestibules were added to the ends of the cross arms and over which the flats of the new tiled roof were extended. The churchyard fence is joined by a three-storey Ostrobothnian Renaissance bell tower, built under the direction of master builder Heikki Väänänen in 1751. On the wall of the bell tower is a poor box, which is a copy of the original. The old poor box has been transferred to the Museum of Northern Ostrobothnia in poor condition. In the immediate vicinity of the church and the local history museum there is an old cemetery, which is mainly managed as a park forest. ## **The** **interior** **walls** **and** **vaults** **of Haukipudas** **church** **contain** **the** **largest** **collection** **of** **Toppelius's** **church** **art.** Toppelius began painting the church in 1774, and the last of them, the large *Last* *Judgement* on the north wall, was completed five years later. Themes based on the New and Old Testaments can be found throughout the church's whitewashed log walls and vaults. The paintings are accompanied by biblical texts and the names of the wealthy landowners who donated the paintings. All the wall and ceiling paintings were done by Toppelius with distemper. Only the paintings depicting the evangelists on the pulpit were done with oil paint. There were originally 33 wall and ceiling paintings, of which seven have since been destroyed. Toppelius has placed the ceiling paintings in contrasting pairs so that the New Testament subject is opposite the Old Testament example of the subject. The last painting to be completed was the magnificent painting of the Last Judgment on the north cross of the church, covering the entire wall. \*\*Some art historians have considered this to be the most significant product of Finnish Baroque art. \*\* ## Haukipudas church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer roadtrips - Open **8.6.–31.7.2026**, Mon–Thu at 12–18, Fridays at 12–17. Closed on midsummer's eve. - There is café open at the bell tower. *Image* *credits:* - *1: Haukipudas* *parish* */ Juho Alatalo. Studio Ilpo Okkonen.* - *2:* *The* *Finnish* *Heritage* *Agency* */* *The* *Picture* *Collections* *(1896).* - *3: Samuli* *Paulaharju* */* *The* *Finnish* *Heritage* *Agency* *(1913).* - *4-5: Martti Jokinen /* *The* *Finnish* *Heritage* *Agency* *(2000).* 15d:Tbe6,## Haukipudas Church The Haukipudas Chapel, founded in the 1630s as part of a large mother parish that had already emerged in the Middle Ages, became independent in 1873. **The** **Haukipudas** **church,** **designed** **by** **church** **builder** **Matti Honka and** **built** **under** **the** **leadership** **of Jaakko Suonperä,** **was** **completed** **in 1764.** The church, located near the mouth of the Kiiminkijoki River, is a *cruciform* *church* with a gabled exterior. Its current Art Nouveau-style exterior dates from a renovation carried out in 1902, in which vestibules were added to the ends of the cross arms and over which the flats of the new tiled roof were extended. The churchyard fence is joined by a three-storey Ostrobothnian Renaissance bell tower, built under the direction of master builder Heikki Väänänen in 1751. On the wall of the bell tower is a poor box, which is a copy of the original. The old poor box has been transferred to the Museum of Northern Ostrobothnia in poor condition. In the immediate vicinity of the church and the local history museum there is an old cemetery, which is mainly managed as a park forest. ## **The** **interior** **walls** **and** **vaults** **of Haukipudas** **church** **contain** **the** **largest** **collection** **of** **Toppelius's** **church** **art.** Toppelius began painting the church in 1774, and the last of them, the large *Last* *Judgement* on the north wall, was completed five years later. Themes based on the New and Old Testaments can be found throughout the church's whitewashed log walls and vaults. The paintings are accompanied by biblical texts and the names of the wealthy landowners who donated the paintings. All the wall and ceiling paintings were done by Toppelius with distemper. Only the paintings depicting the evangelists on the pulpit were done with oil paint. There were originally 33 wall and ceiling paintings, of which seven have since been destroyed. Toppelius has placed the ceiling paintings in contrasting pairs so that the New Testament subject is opposite the Old Testament example of the subject. The last painting to be completed was the magnificent painting of the Last Judgment on the north cross of the church, covering the entire wall. \*\*Some art historians have considered this to be the most significant product of Finnish Baroque art. \*\* ## Haukipudas church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer roadtrips - Open **8.6.–31.7.2026**, Mon–Thu at 12–18, Fridays at 12–17. Closed on midsummer's eve. - There is café open at the bell tower. *Image* *credits:* - *1: Haukipudas* *parish* */ Juho Alatalo. Studio Ilpo Okkonen.* - *2:* *The* *Finnish* *Heritage* *Agency* */* *The* *Picture* *Collections* *(1896).* - *3: Samuli* *Paulaharju* */* *The* *Finnish* *Heritage* *Agency* *(1913).* - *4-5: Martti Jokinen /* *The* *Finnish* *Heritage* *Agency* *(2000).* 15e:T1190,## St. Olaf’s Church of Saloinen **Salo,** **or** **Saloinen, is** **one** **of** **the** **oldest** **parishes** **in** **Ostrobothnia.** **The** **parish** **of Salo** **was** **founded** **in** **the** **early** **14th** **century.** The parish extended in the south as far as the Siiponjoki River between Kalajoki and Lestijoki, and in the east Salo extended inland as far as Lake Oulujärvi. Today, Saloinen is part of the Raahe parish. **The plastered, red brick stone church in** **Saloinen** **was completed in 1932** to replace a wooden church that had burned down and was built in the 1620s. The church was designed by master builder **Juho Karvonen**. The old church of Saloinen was built in the late 1490s on Kirkkoluoto, south of the current church, because the Russians had burned down the previous church. Before the Russians arrived the most valuable objects in the church, the altarpieces of the patron saint of the church St. Olav and the Virgin Mary, with their sculptures, had been taken to safety and were thus saved. The old church of Saloinen was a log-built buttressed church with a west tower. In 1622, due to the subsidence of Salonlahti Bay, the church was moved to the mainland to its current location. In 1641, **Christian** **Wilbrandt** from Vaasa painted magnificent murals in the church. **The** **old** **medieval** **wooden** **church** **in Salo** **survived** **until** **1930,** **when** **it** **was** **destroyed** **by** **fire** **in** **the** **middle** **of** **the** **Epiphany** **service.** Medieval sculptures and two altarpieces from the 15th century, saved from the fire of the previous church, are on display in the current church. The medieval crucifix was also saved and is now on the altar of the new church. The church has stained glass windows by **Onni Oja** from 1979, depicting the _Suffering_ and _Risen_ _Christ_. **Objects in the current church** **which survived** **from the fire of the** **previous** **church:** - Wooden sculpture of St. Olaf and altar cabinet. Acquired for the first church in Salo from Lybeck around 1420–1430. - Wooden sculpture of the Virgin Mary and altar cabinet. Acquired for the first church in Salo from Lybeck slightly after the Saint Olaf cabinet. Saved twice in the same way as the previous one. - The wooden sculptures of Peter and Paul are Ostrobothnian work from around 1500. They also originally had an altar cabinet. - The sculptures of John the Baptist and John the Apostle are also Ostrobothnian and from the same period as the previous one. - Sculpture of St. Birgitta from around 1480. - Unknown female saint, Ostrobothnian work from around 1500. - A crucifix from around 1475–1500. - A cabinet that apparently stored communion utensils. Ostrobothnian work from around 1500. - Baptismal table The bell tower next to the church is a well-known and recognized specialty of neoclassical wooden architecture, which appears in all publications dealing with late 18th-century architecture in both Finland and Sweden. The starting point for the bell tower was a personal drawing by **King Gustav III**, based on which the final drawing was prepared by the Office of the Chief Intendant. The bell tower, which was attached to the old church that burned down in 1930, was built under the leadership of **Jaakko** **Rijf** in 1786-87. The architecture of the bell tower is characterized by Doric columns with their parts belonging to the pediment and frieze. On both sides of the sound openings are Doric columns, which are accompanied by triglyphs and mutule belonging to the column system. The initially open space was boarded up, and the bell sound hatches were probably added as early as the 1820s. On the wall of the bell tower stands a Pauper Statue, sculpted by **Abraham** **Tervaluoto** in 1853. Next to the War Heroes' graves is a bronze statue of a soldier made by **Ensio Seppänen** and a cross from 1971. ## Opening hours: - Visit the church during events - read more on the church's website. _Image_ _credits:_ - _1: Raahe_ _parish._ - _2: Raahe_ _Museum_ _/ Raahe_ _Museum_ _valokuvakokoelma (1933-1936)_ - _3: "Saloisten kirkkoa rakennetaan"_ _Raahe_ _Museum /_ _Raahe_ _Museum_ _photo_ _archive_ _(1932)_ - _4: "Saloisten vanhan kirkon interiööri" Armas Lindgren / The_ _Finnish_ _Heritage_ _Agency (1896)_ - _5: "Saloisten vanha kirkko"_ _Raahe_ _Museum /_ _Raahe_ _Museum_ _photo_ _archive_ 15f:T1190,## St. Olaf’s Church of Saloinen **Salo,** **or** **Saloinen, is** **one** **of** **the** **oldest** **parishes** **in** **Ostrobothnia.** **The** **parish** **of Salo** **was** **founded** **in** **the** **early** **14th** **century.** The parish extended in the south as far as the Siiponjoki River between Kalajoki and Lestijoki, and in the east Salo extended inland as far as Lake Oulujärvi. Today, Saloinen is part of the Raahe parish. **The plastered, red brick stone church in** **Saloinen** **was completed in 1932** to replace a wooden church that had burned down and was built in the 1620s. The church was designed by master builder **Juho Karvonen**. The old church of Saloinen was built in the late 1490s on Kirkkoluoto, south of the current church, because the Russians had burned down the previous church. Before the Russians arrived the most valuable objects in the church, the altarpieces of the patron saint of the church St. Olav and the Virgin Mary, with their sculptures, had been taken to safety and were thus saved. The old church of Saloinen was a log-built buttressed church with a west tower. In 1622, due to the subsidence of Salonlahti Bay, the church was moved to the mainland to its current location. In 1641, **Christian** **Wilbrandt** from Vaasa painted magnificent murals in the church. **The** **old** **medieval** **wooden** **church** **in Salo** **survived** **until** **1930,** **when** **it** **was** **destroyed** **by** **fire** **in** **the** **middle** **of** **the** **Epiphany** **service.** Medieval sculptures and two altarpieces from the 15th century, saved from the fire of the previous church, are on display in the current church. The medieval crucifix was also saved and is now on the altar of the new church. The church has stained glass windows by **Onni Oja** from 1979, depicting the _Suffering_ and _Risen_ _Christ_. **Objects in the current church** **which survived** **from the fire of the** **previous** **church:** - Wooden sculpture of St. Olaf and altar cabinet. Acquired for the first church in Salo from Lybeck around 1420–1430. - Wooden sculpture of the Virgin Mary and altar cabinet. Acquired for the first church in Salo from Lybeck slightly after the Saint Olaf cabinet. Saved twice in the same way as the previous one. - The wooden sculptures of Peter and Paul are Ostrobothnian work from around 1500. They also originally had an altar cabinet. - The sculptures of John the Baptist and John the Apostle are also Ostrobothnian and from the same period as the previous one. - Sculpture of St. Birgitta from around 1480. - Unknown female saint, Ostrobothnian work from around 1500. - A crucifix from around 1475–1500. - A cabinet that apparently stored communion utensils. Ostrobothnian work from around 1500. - Baptismal table The bell tower next to the church is a well-known and recognized specialty of neoclassical wooden architecture, which appears in all publications dealing with late 18th-century architecture in both Finland and Sweden. The starting point for the bell tower was a personal drawing by **King Gustav III**, based on which the final drawing was prepared by the Office of the Chief Intendant. The bell tower, which was attached to the old church that burned down in 1930, was built under the leadership of **Jaakko** **Rijf** in 1786-87. The architecture of the bell tower is characterized by Doric columns with their parts belonging to the pediment and frieze. On both sides of the sound openings are Doric columns, which are accompanied by triglyphs and mutule belonging to the column system. The initially open space was boarded up, and the bell sound hatches were probably added as early as the 1820s. On the wall of the bell tower stands a Pauper Statue, sculpted by **Abraham** **Tervaluoto** in 1853. Next to the War Heroes' graves is a bronze statue of a soldier made by **Ensio Seppänen** and a cross from 1971. ## Opening hours: - Visit the church during events - read more on the church's website. _Image_ _credits:_ - _1: Raahe_ _parish._ - _2: Raahe_ _Museum_ _/ Raahe_ _Museum_ _valokuvakokoelma (1933-1936)_ - _3: "Saloisten kirkkoa rakennetaan"_ _Raahe_ _Museum /_ _Raahe_ _Museum_ _photo_ _archive_ _(1932)_ - _4: "Saloisten vanhan kirkon interiööri" Armas Lindgren / The_ _Finnish_ _Heritage_ _Agency (1896)_ - _5: "Saloisten vanha kirkko"_ _Raahe_ _Museum /_ _Raahe_ _Museum_ _photo_ _archive_ 160:T7c1,## Oulunsalo Church **The** **current** **church** **is** **the** **third** **church** **in Oulunsalo and** **was** **completed** **in 1891.** It was designed by the provincial architect **Julius** **Basilier**, the master builder was J. Jaakko Kuorikoski and the painter was Heikki Ahonen. The church is a hall church with a gable tower, and its style represents neo-Gothic. The first church, which was built in 1655, was located in the area of the current cemetery. An old folk tale says that a bishop who was once in distress at sea had promised to have a church built between Oulunsalo and Kempele. The church came to be called the sacrificial church, because sailors, merchants and those setting out on journeys gave gifts for the success of their journeys. The church accumulated many valuables, which were looted during the Great Wrath in 1715. A memorial stone is in the cemetery on the former site of the church. The sacrificial church was demolished after the completion of another church in 1855. The church only served the congregation for 27 years, as the churches of Oulunsalo and Lumijoki burned down on the same day in 1882, ignited by lightning. The pulpit decorated by **Mikael** **Toppelius**, which survived the church fire, is kept in the Oulu Museum and Science Centre. The church's altarpiece comes from the church of the Interim period, where it was saved from the fire by cutting it with a knife. The work was painted by the Oulu painter **G. A. Dahlström** in 1855. ## Oulunsalo church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Open **29.6.-24.7.2026** Mon-Fri at 11-16. - Café open Mondays and Tuesdays at 13-15. All profit goes to charity. *Image* *credits:* - *1: Oulu* *parishes.* - *2-3: Anne Anttonen /* *The* *Finnish* *Heritage* *Agency* *(1974).* - *4: Central Archive for* *Finnish* *Business Records.* 161:T7c1,## Oulunsalo Church **The** **current** **church** **is** **the** **third** **church** **in Oulunsalo and** **was** **completed** **in 1891.** It was designed by the provincial architect **Julius** **Basilier**, the master builder was J. Jaakko Kuorikoski and the painter was Heikki Ahonen. The church is a hall church with a gable tower, and its style represents neo-Gothic. The first church, which was built in 1655, was located in the area of the current cemetery. An old folk tale says that a bishop who was once in distress at sea had promised to have a church built between Oulunsalo and Kempele. The church came to be called the sacrificial church, because sailors, merchants and those setting out on journeys gave gifts for the success of their journeys. The church accumulated many valuables, which were looted during the Great Wrath in 1715. A memorial stone is in the cemetery on the former site of the church. The sacrificial church was demolished after the completion of another church in 1855. The church only served the congregation for 27 years, as the churches of Oulunsalo and Lumijoki burned down on the same day in 1882, ignited by lightning. The pulpit decorated by **Mikael** **Toppelius**, which survived the church fire, is kept in the Oulu Museum and Science Centre. The church's altarpiece comes from the church of the Interim period, where it was saved from the fire by cutting it with a knife. The work was painted by the Oulu painter **G. A. Dahlström** in 1855. ## Oulunsalo church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Open **29.6.-24.7.2026** Mon-Fri at 11-16. - Café open Mondays and Tuesdays at 13-15. All profit goes to charity. *Image* *credits:* - *1: Oulu* *parishes.* - *2-3: Anne Anttonen /* *The* *Finnish* *Heritage* *Agency* *(1974).* - *4: Central Archive for* *Finnish* *Business Records.* 162:T8b1,## Ii Church **The** **parish** **of Ii,** **founded** **in 1340, is** **the** **third** **oldest** **parish** **in North** **Ostrobothnia.** **The** **first** **church** **was** **completed** \*\*in 1374. \*\* There have been many church buildings over the centuries, but they have been destroyed by pillaging, wars and fires. *The* *church* *of St. Lawrence*, built in 1694, which preceded the current church, was set on fire by lightning on August 23rd, 1942. **The** **current** **church,** **completed** **in 1950**, is located in Ii’s Hamina. Representing the design style of the 1950s, the steep-roofed, low-walled stone church contains traces of the previous church. The church was designed by architects **Gustav Strandberg and Aarne Hytönen.** The church has a separate bell tower. The church's altarpiece depicting Jesus teaching the people in a boat was painted by artist **Eero Nelimarkka.** The pulpit sculptures are the work of **Oskari Jauhiainen** and feature the symbols of the evangelists and the Christ monogram. The lamps were designed by **Lisa Johansson-Pape** and manufactured by the Orno metalworks. The votive ship (Latin: votivus, promised to God) on the church roof is typical for coastal parish churches. The history of votive ships dates back to the Middle Ages. Ii Church received its ship in the early 1990s as a donation from the Ii Home Region Association. Next to the church is a statue of **Pekka Vesainen** (c. 1550-1620), a landowner and guerrilla leader from Ii. Vesainen was a leader in the revenge expeditions that Ostrobothnians made to Karelia across the border. He also became famous for defending his homeland against numerous Russian raids. The statue was sculpted by Kalervo Kallio in 1950. ## ## Opening hours: - **Ii Church is** **currently** **out of** **service** **due** **to** **renovations,** **currently** **estimated** **to** **last** **until** **the** **end** **of** **September**! *Image* *credits:* - *1: Ii* *parish.* - *2: Central Archive for* *Finnish* *Business Records (1955)* - *3: Tuovi Nousiainen /* *The* *Finnish* *Forest* *Museum* *Lusto (1950-1959)* - *4: Central Archive for* *Finnish* *Business Records (1942)* 163:T8b1,## Ii Church **The** **parish** **of Ii,** **founded** **in 1340, is** **the** **third** **oldest** **parish** **in North** **Ostrobothnia.** **The** **first** **church** **was** **completed** \*\*in 1374. \*\* There have been many church buildings over the centuries, but they have been destroyed by pillaging, wars and fires. *The* *church* *of St. Lawrence*, built in 1694, which preceded the current church, was set on fire by lightning on August 23rd, 1942. **The** **current** **church,** **completed** **in 1950**, is located in Ii’s Hamina. Representing the design style of the 1950s, the steep-roofed, low-walled stone church contains traces of the previous church. The church was designed by architects **Gustav Strandberg and Aarne Hytönen.** The church has a separate bell tower. The church's altarpiece depicting Jesus teaching the people in a boat was painted by artist **Eero Nelimarkka.** The pulpit sculptures are the work of **Oskari Jauhiainen** and feature the symbols of the evangelists and the Christ monogram. The lamps were designed by **Lisa Johansson-Pape** and manufactured by the Orno metalworks. The votive ship (Latin: votivus, promised to God) on the church roof is typical for coastal parish churches. The history of votive ships dates back to the Middle Ages. Ii Church received its ship in the early 1990s as a donation from the Ii Home Region Association. Next to the church is a statue of **Pekka Vesainen** (c. 1550-1620), a landowner and guerrilla leader from Ii. Vesainen was a leader in the revenge expeditions that Ostrobothnians made to Karelia across the border. He also became famous for defending his homeland against numerous Russian raids. The statue was sculpted by Kalervo Kallio in 1950. ## ## Opening hours: - **Ii Church is** **currently** **out of** **service** **due** **to** **renovations,** **currently** **estimated** **to** **last** **until** **the** **end** **of** **September**! *Image* *credits:* - *1: Ii* *parish.* - *2: Central Archive for* *Finnish* *Business Records (1955)* - *3: Tuovi Nousiainen /* *The* *Finnish* *Forest* *Museum* *Lusto (1950-1959)* - *4: Central Archive for* *Finnish* *Business Records (1942)* 164:Tec8,## Himanka Church Himanka was founded as a sermon hall in Lohtaja in the 18th century, received chapel rights in 1846 and became an independent parish in 1906. Today, Himanka is part of the Kalajoki parish. **Himanka** **Church** **is in** **a prominent location near the historic marketplace of** **Raumankari, at the mouth of** **Lestijoki.** The old marketplace of Raumankari forms the old core of the Himanka village. The buildings are densely located along two streets and the old Ostrobothnia coastal road. A truss bridge built on the stone chests of the old road still exists. The oldest residential buildings in Raumankari date from the early 19th century. There is a row of sheds where fishing nets are stored on the village's common land in Piispanranta. Initially the church was planned to be built in the village of Parkaa in Rautila, near the houses of Parkkihauta, but the project never came to pass. Today there is a memorial on the site. Himanka Church, designed by **Jacob** **Rijf** in 1794 and built together with his brother **Carl** **Rijf**, is an isosceles, internally beveled **cruciform church** with an octagonal tower base rising from the center of the cross. The church was renovated to its current neo-Gothic appearance in 1897 when the interior of the church was also renovated, except for the pulpit on the northeast side. The original exterior architecture of the church is best shown in a pencil drawing made by architect Armas Lindgren in 1896. A separate, wooden bell tower was built in 1823 under the leadership of the Central Ostrobothnian church builder **Niilo Koskela, also known as** **Pyörte** **(Pyörret),** and the tower has been raised later. Around the church is an old cemetery with old monuments and heroes' graves. The newer cemetery that is still in use is located on the other side of the highway. The church's altarpiece *Jesus on the Cross* was painted by **Johan Gustav Hedman** in 1845. The Pauper Statue is from 1827. **The** **Rijf** **family of church builders, Thomas** **Rijf** **(1726-1803) and his sons Jacob** **Rijf** **(1753-1808) and Carl** **Rijf** **(1756-1801), born in** **Pietarsaari, were key influences on church architecture at the end of the 18th century.** Jacob Rijf was the first Finn to study at the School of Architecture at the Stockholm Academy of Fine Arts. He studied there from 1783 to 1784 under the guidance of renowned Swedish architects Carl Fredrik Adelcranz and Olof Tempelman. Jacob Rijf designed churches in both Finland and Sweden, one of his most beautiful works being the bell tower of Kälviä Church. The Kungsholm church renovation plans from 1808 were Jacob Rijf's last work. He died of a severe fever in the middle of the tower construction work in Stockholm, nearly simultaneously with his son who was also involved in the construction work. Jacob Rijf also prepared new drawings for the main bridge in Kalajoki, which was destroyed in the Finnish War. The stone arch bridge was replaced with a new one in 1881. The construction work was supervised by **Anton** **Lankila** (1832–1916), who had been apprenticed to the church builder Mikko Karjanlahti (1820–1894). This so-called “Old bridge” was demolished in 1972, when it was replaced by the current concrete bridge. ## Himanka church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest stops** **on your summer** **road trips** - Opening hours for summer 2026 will be updated soon on the Tiekirkot website *Image* *credits:* - *1: Kalajoki* *parish* - *2-4: Lotta Puurula (2025)* - *5:* *Central Archive for* *Finnish* *Business Records.* - *6:* *P.O.Welin* */* *The* *Finnish* *Heritage* *Agency* *(1973)* 165:Tec8,## Himanka Church Himanka was founded as a sermon hall in Lohtaja in the 18th century, received chapel rights in 1846 and became an independent parish in 1906. Today, Himanka is part of the Kalajoki parish. **Himanka** **Church** **is in** **a prominent location near the historic marketplace of** **Raumankari, at the mouth of** **Lestijoki.** The old marketplace of Raumankari forms the old core of the Himanka village. The buildings are densely located along two streets and the old Ostrobothnia coastal road. A truss bridge built on the stone chests of the old road still exists. The oldest residential buildings in Raumankari date from the early 19th century. There is a row of sheds where fishing nets are stored on the village's common land in Piispanranta. Initially the church was planned to be built in the village of Parkaa in Rautila, near the houses of Parkkihauta, but the project never came to pass. Today there is a memorial on the site. Himanka Church, designed by **Jacob** **Rijf** in 1794 and built together with his brother **Carl** **Rijf**, is an isosceles, internally beveled **cruciform church** with an octagonal tower base rising from the center of the cross. The church was renovated to its current neo-Gothic appearance in 1897 when the interior of the church was also renovated, except for the pulpit on the northeast side. The original exterior architecture of the church is best shown in a pencil drawing made by architect Armas Lindgren in 1896. A separate, wooden bell tower was built in 1823 under the leadership of the Central Ostrobothnian church builder **Niilo Koskela, also known as** **Pyörte** **(Pyörret),** and the tower has been raised later. Around the church is an old cemetery with old monuments and heroes' graves. The newer cemetery that is still in use is located on the other side of the highway. The church's altarpiece *Jesus on the Cross* was painted by **Johan Gustav Hedman** in 1845. The Pauper Statue is from 1827. **The** **Rijf** **family of church builders, Thomas** **Rijf** **(1726-1803) and his sons Jacob** **Rijf** **(1753-1808) and Carl** **Rijf** **(1756-1801), born in** **Pietarsaari, were key influences on church architecture at the end of the 18th century.** Jacob Rijf was the first Finn to study at the School of Architecture at the Stockholm Academy of Fine Arts. He studied there from 1783 to 1784 under the guidance of renowned Swedish architects Carl Fredrik Adelcranz and Olof Tempelman. Jacob Rijf designed churches in both Finland and Sweden, one of his most beautiful works being the bell tower of Kälviä Church. The Kungsholm church renovation plans from 1808 were Jacob Rijf's last work. He died of a severe fever in the middle of the tower construction work in Stockholm, nearly simultaneously with his son who was also involved in the construction work. Jacob Rijf also prepared new drawings for the main bridge in Kalajoki, which was destroyed in the Finnish War. The stone arch bridge was replaced with a new one in 1881. The construction work was supervised by **Anton** **Lankila** (1832–1916), who had been apprenticed to the church builder Mikko Karjanlahti (1820–1894). This so-called “Old bridge” was demolished in 1972, when it was replaced by the current concrete bridge. ## Himanka church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest stops** **on your summer** **road trips** - Opening hours for summer 2026 will be updated soon on the Tiekirkot website *Image* *credits:* - *1: Kalajoki* *parish* - *2-4: Lotta Puurula (2025)* - *5:* *Central Archive for* *Finnish* *Business Records.* - *6:* *P.O.Welin* */* *The* *Finnish* *Heritage* *Agency* *(1973)* 166:Tbfb,## Kalajoki Church **Kalajoki** **became independent as its own parish from the chapel of Salo (Saloinen) in 1540.** The current church in Kalajoki is the seventh in the parish. The previous wooden church, designed by architect A.W. Arppe and built by Heikki Kuorikoski in 1815, burned down in 1869, but the church's bell tower was saved. The current brick church was originally designed by the provincial architect F.W. Lüchow. The church was a three-part basilica church with a west tower and in the neo-Gothic style. **This church was also destroyed by fire in February 1930.** **The church was rebuilt on the surviving walls and consecrated in 1931**. The church was renovated in the spirit of 1920s classicism inside and out, and the design was made by architect **W.G. Palmqvist**. The church acquired an altarpiece in 1887, *The Resurrection of Christ*, from **Adolf von Becker**, and later in 1908, the paintings *The Return of the Prodigal Son* and *The Good Shepherd* by artist **T.G. Tuhkanen.** The lead glass windows in the chancel were donated by the "former Kalajoki residents" in 1929. The windows are the work of the Salomo Wuorio painting studio and were designed and painted by **Gunnar Forsström**, a skilled glass art painter. Two of the stained glass windows are on the subject of "Matthew and Mark" and "Luke and John". The symbols of the apostles are also depicted in the paintings. The third lead glass work is without paintings. The church also has valuable brass chandeliers and candelabra, some of which are the work of the well-known brass foundry family **Helander** from Kalajoki. In 1995, the church received its own votive ship for its 470th anniversary. The ship was built by **Tomi** **Isopahkala** and is a miniature model of the barque boat *Kalaja*, which was built in Rahja in 1874. The Pauper Statue on the wall of the bell tower, or ‘bell tower’s lord’ as the locals call him, was made by a sculptor from Reisjärvi in 1815. The church is surrounded by a cemetery which has exceptionally fine and large grave monuments for a rural municipality, including well-known dignitaries and families. The most famous grave is perhaps the grave of the Finnish war hero, Count and Lieutenant **Wilhelm von Schwerin**, who was wounded in the Battle of Oravainen and died in Kalajoki. In front of the main door are the graves of heroes and a monument designed by **Ilmari Wirkkala.** The more recent cemetery is located a little further away in the Vuorenkallio area. ## Kalajoki church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Opening hours: **22.6.-2.8.2026** Mon-Fri klo 12-15, Sundays after the service to 14:00. *Image* *credits:* - *1-3: Kalajoki* *parish* */ Eveliina Pylväs* - *4-5: 1930. Photos* *of the burnt church: "The history of* *Kalajoki* *and Rautio" (1980).* - *6-8:* *Ruins of the burnt church:* *Central Archive for* *Finnish* *Business Records.* 167:Tbfb,## Kalajoki Church **Kalajoki** **became independent as its own parish from the chapel of Salo (Saloinen) in 1540.** The current church in Kalajoki is the seventh in the parish. The previous wooden church, designed by architect A.W. Arppe and built by Heikki Kuorikoski in 1815, burned down in 1869, but the church's bell tower was saved. The current brick church was originally designed by the provincial architect F.W. Lüchow. The church was a three-part basilica church with a west tower and in the neo-Gothic style. **This church was also destroyed by fire in February 1930.** **The church was rebuilt on the surviving walls and consecrated in 1931**. The church was renovated in the spirit of 1920s classicism inside and out, and the design was made by architect **W.G. Palmqvist**. The church acquired an altarpiece in 1887, *The Resurrection of Christ*, from **Adolf von Becker**, and later in 1908, the paintings *The Return of the Prodigal Son* and *The Good Shepherd* by artist **T.G. Tuhkanen.** The lead glass windows in the chancel were donated by the "former Kalajoki residents" in 1929. The windows are the work of the Salomo Wuorio painting studio and were designed and painted by **Gunnar Forsström**, a skilled glass art painter. Two of the stained glass windows are on the subject of "Matthew and Mark" and "Luke and John". The symbols of the apostles are also depicted in the paintings. The third lead glass work is without paintings. The church also has valuable brass chandeliers and candelabra, some of which are the work of the well-known brass foundry family **Helander** from Kalajoki. In 1995, the church received its own votive ship for its 470th anniversary. The ship was built by **Tomi** **Isopahkala** and is a miniature model of the barque boat *Kalaja*, which was built in Rahja in 1874. The Pauper Statue on the wall of the bell tower, or ‘bell tower’s lord’ as the locals call him, was made by a sculptor from Reisjärvi in 1815. The church is surrounded by a cemetery which has exceptionally fine and large grave monuments for a rural municipality, including well-known dignitaries and families. The most famous grave is perhaps the grave of the Finnish war hero, Count and Lieutenant **Wilhelm von Schwerin**, who was wounded in the Battle of Oravainen and died in Kalajoki. In front of the main door are the graves of heroes and a monument designed by **Ilmari Wirkkala.** The more recent cemetery is located a little further away in the Vuorenkallio area. ## Kalajoki church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Opening hours: **22.6.-2.8.2026** Mon-Fri klo 12-15, Sundays after the service to 14:00. *Image* *credits:* - *1-3: Kalajoki* *parish* */ Eveliina Pylväs* - *4-5: 1930. Photos* *of the burnt church: "The history of* *Kalajoki* *and Rautio" (1980).* - *6-8:* *Ruins of the burnt church:* *Central Archive for* *Finnish* *Business Records.* 168:T878,## Siikajoki Church ## **Siikajoki** **parish** **was** **founded** **as a** **chapel** **of Salo** **parish** **in 1590.** Today, Siikajoki parish is part of Raahe parish. The first church in the parish was burned down by the Russians in 1591. A second church was built on the site of the current church in 1600. **The** **current** **cruciform** **church,** **built** **in 1701, is** **one** **of** **the** **oldest** **cruciform** **churches** **in** **Ostrobothnia.** The church was renovated in 1765, when Jaakko Suonperä also built a pulpit in the church. **The** **church** **received** **its** **current** **appearance** **in 1852,** **designed** **by** **Oulu** **County** **Architect Johan** **Oldenburg.** At that time, a square-shaped tower rising from the wide attic section was added to the church. The outer walls were equipped with Empire-style lining. The church was also expanded by building a new sacristy section as an extension of the eastern cross. The tongue-and-groove paneling of the church hall walls and vault dates from the 20th century. In 1771–1772, **Mikael** **Toppelius** painted the altarpiece _Jesus in Gethsemane_ and the painting above it, the _Pierced by the_ _Spear._ The painted decoration of the pulpit, Christ and the Four Evangelists, by **Jaakko** **Suonperä**, depicting the evangelists, is also by Toppelius. The Ostrobothnian Renaissance bell tower on the south side of the church was built in 1765. **During** **the** **Finnish** **War,** **the** **Battle of** **Siikajoki** **took** **place** **on 18th** **April** **1808 on** **the** **field** **between** **the** **church,** **the** **river** **and** **the** **rectory.** Near the church is a cemetery with a monument for the soldiers who fell in the battle. The old road that connected the coastal towns to Oulu is alongside/next to the church. ## Opening hours: - Visit the church during events - read more on the church's website. _Image_ _credits:_ - _1: Raahe_ _parish._ - _2-3: Central Archive for_ _Finnish_ _Business Records (1926)._ - _4: E. Härö /_ _The_ _Finnish_ _Heritage_ _Agency (1971)._ 169:T878,## Siikajoki Church ## **Siikajoki** **parish** **was** **founded** **as a** **chapel** **of Salo** **parish** **in 1590.** Today, Siikajoki parish is part of Raahe parish. The first church in the parish was burned down by the Russians in 1591. A second church was built on the site of the current church in 1600. **The** **current** **cruciform** **church,** **built** **in 1701, is** **one** **of** **the** **oldest** **cruciform** **churches** **in** **Ostrobothnia.** The church was renovated in 1765, when Jaakko Suonperä also built a pulpit in the church. **The** **church** **received** **its** **current** **appearance** **in 1852,** **designed** **by** **Oulu** **County** **Architect Johan** **Oldenburg.** At that time, a square-shaped tower rising from the wide attic section was added to the church. The outer walls were equipped with Empire-style lining. The church was also expanded by building a new sacristy section as an extension of the eastern cross. The tongue-and-groove paneling of the church hall walls and vault dates from the 20th century. In 1771–1772, **Mikael** **Toppelius** painted the altarpiece _Jesus in Gethsemane_ and the painting above it, the _Pierced by the_ _Spear._ The painted decoration of the pulpit, Christ and the Four Evangelists, by **Jaakko** **Suonperä**, depicting the evangelists, is also by Toppelius. The Ostrobothnian Renaissance bell tower on the south side of the church was built in 1765. **During** **the** **Finnish** **War,** **the** **Battle of** **Siikajoki** **took** **place** **on 18th** **April** **1808 on** **the** **field** **between** **the** **church,** **the** **river** **and** **the** **rectory.** Near the church is a cemetery with a monument for the soldiers who fell in the battle. The old road that connected the coastal towns to Oulu is alongside/next to the church. ## Opening hours: - Visit the church during events - read more on the church's website. _Image_ _credits:_ - _1: Raahe_ _parish._ - _2-3: Central Archive for_ _Finnish_ _Business Records (1926)._ - _4: E. Härö /_ _The_ _Finnish_ _Heritage_ _Agency (1971)._ 16a:T58d,## Pattijoki Church **Like the Raahe church, the** **Pattijoki** **church, which belongs to the Raahe parish, dates from 1912 and was also designed by the same architect Josef** **Stenbäck.** The church stands in a magnificent location on Pietarinmäki, surrounded by a cemetery and old pine trees. The white-plastered concrete and brick church has an Art Nouveau influence, with a steep gable roof made of concrete tile. The church's pulpit is exceptionally located on the right side of the church hall. The altarpiece is a Tyrolean gilded wooden sculpture “Jesus on the Cross”. In the window at the front of the church is a stained glass window “The Resurrection” designed by artist **Matti Lammi**, which was received as a private donation in 1983. The wooden chandeliers were designed by Josef Stenbäck. The cemetery's heroes' cemetery was designed by architect **Uki** **Heikkinen**, and the heroes' cross with its walls were completed in 1949. In front of the church is a tombstone put up in memory of the soldiers who died in the Finnish War of 1808-1809 and were buried on Pietarinmäki. Near the church is a national road museum site, a stone arch bridge built in 1897. ## Opening hours: - Visit the church during events - read more on the church's website. _Image_ _credits:_ - _1: Raaheguide._ - _2:_ _Central Archive for_ _Finnish_ _Business Records._ 16b:T58d,## Pattijoki Church **Like the Raahe church, the** **Pattijoki** **church, which belongs to the Raahe parish, dates from 1912 and was also designed by the same architect Josef** **Stenbäck.** The church stands in a magnificent location on Pietarinmäki, surrounded by a cemetery and old pine trees. The white-plastered concrete and brick church has an Art Nouveau influence, with a steep gable roof made of concrete tile. The church's pulpit is exceptionally located on the right side of the church hall. The altarpiece is a Tyrolean gilded wooden sculpture “Jesus on the Cross”. In the window at the front of the church is a stained glass window “The Resurrection” designed by artist **Matti Lammi**, which was received as a private donation in 1983. The wooden chandeliers were designed by Josef Stenbäck. The cemetery's heroes' cemetery was designed by architect **Uki** **Heikkinen**, and the heroes' cross with its walls were completed in 1949. In front of the church is a tombstone put up in memory of the soldiers who died in the Finnish War of 1808-1809 and were buried on Pietarinmäki. Near the church is a national road museum site, a stone arch bridge built in 1897. ## Opening hours: - Visit the church during events - read more on the church's website. _Image_ _credits:_ - _1: Raaheguide._ - _2:_ _Central Archive for_ _Finnish_ _Business Records._ 16c:Tc6b,## Liminka Church Liminka church's 200th anniversary week 21-27 September 2026 is included in the European Capital of Culture year program! [++Link to the anniversary week programme here++](https://oulu2026.eu/en/event/?localhub_page_id=68a6cca4a4887764ff3ba175&localhub_origin_widget_id=68ade7e1ca34b90c140357cd). **Liminka** **parish** **gained** **independence** **in 1477.** The oldest three churches were burned down in 1496, 1589, 1592, the fourth church was located in the old cemetery in 1596 - 1825. It was demolished due to poor condition in 1825. **Liminka's** **current** **neoclassical** **cruciform** **church** **was** **completed** **in 1826.** The first sketches were made by **Charles** **Bassi**, born in Turin, Italy, who was the first architect with professional training to work permanently in Finland and the first head of the Office of the Intendant of Public Buildings. The final drawings were made in 1823 by **A.F. Granstedt**, a student and colleague of C.L. Engelin, and **A.W. Arppe**. The detailed drawings of the tower were prepared by Engel. The church was built by the notable folk architect **Heikki Kuorikoski**. The bell tower dates from 1733 and was originally built by the carpenter Grels Norling of Kajaani Castle for the fourth church in Liminka. The bell tower represents the so-called Ostrobothnian Renaissance style. The aisle of the tower has paintings by Petter Bergström. There is an old cemetery in connection with the church, where the War Heroes' graves are also located. The altarpiece "The Transfiguration of Christ" was painted by **Oskar Nylander** in 1849. The painting is his last work. The paintings "The Last Judgment" and "The Crucifixion" were painted by **Petter Bergström** in 1741 for the previous church. The paintings were later found under the floor of the current church during renovation. The pulpit was moved from the previous church. It was made by the carpenter Johan Kyntzel from Kokkola in 1727. The painting decoration is by Olof Ekelund from Vaasa; The evangelists Matthew, Mark, Luke and John, with Christ in the middle. The apostles Peter, Paul and Timothy are depicted on the banister. There is a commemorative text on the inside of the door frame, which contains the names of the then governor, bishop and Liminka clergy, as well as the year of painting 1727. The church museum preserves the altar wall logs from the previous church, which have woodcarvings and paintings, as well as the outlines of the fourth church as engravings. The church nave is a ship model acquired in 1740. It is possible that the Swedish ship of the line model was originally built in the 1670s-80s. ## Liminka Church is part of the Tiekirkot (Roadside Churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Opening hours for summer 2026: - **8.6. - 24.7. klo 10-16** *Image* *credits:* - *1: Liminka* *parish.* - *2: Marja-Terttu* *Knapas* */ The Finnish Heritage Agency (1981).* - *3: Martti Jokinen / The* *Finnish* *Heritage* *Agency (1998).* - *4: Victor Joachim* *Sucksdorff* */ The* *Finnish* *Heritage* *Agency (1896).* 16d:Tc6b,## Liminka Church Liminka church's 200th anniversary week 21-27 September 2026 is included in the European Capital of Culture year program! [++Link to the anniversary week programme here++](https://oulu2026.eu/en/event/?localhub_page_id=68a6cca4a4887764ff3ba175&localhub_origin_widget_id=68ade7e1ca34b90c140357cd). **Liminka** **parish** **gained** **independence** **in 1477.** The oldest three churches were burned down in 1496, 1589, 1592, the fourth church was located in the old cemetery in 1596 - 1825. It was demolished due to poor condition in 1825. **Liminka's** **current** **neoclassical** **cruciform** **church** **was** **completed** **in 1826.** The first sketches were made by **Charles** **Bassi**, born in Turin, Italy, who was the first architect with professional training to work permanently in Finland and the first head of the Office of the Intendant of Public Buildings. The final drawings were made in 1823 by **A.F. Granstedt**, a student and colleague of C.L. Engelin, and **A.W. Arppe**. The detailed drawings of the tower were prepared by Engel. The church was built by the notable folk architect **Heikki Kuorikoski**. The bell tower dates from 1733 and was originally built by the carpenter Grels Norling of Kajaani Castle for the fourth church in Liminka. The bell tower represents the so-called Ostrobothnian Renaissance style. The aisle of the tower has paintings by Petter Bergström. There is an old cemetery in connection with the church, where the War Heroes' graves are also located. The altarpiece "The Transfiguration of Christ" was painted by **Oskar Nylander** in 1849. The painting is his last work. The paintings "The Last Judgment" and "The Crucifixion" were painted by **Petter Bergström** in 1741 for the previous church. The paintings were later found under the floor of the current church during renovation. The pulpit was moved from the previous church. It was made by the carpenter Johan Kyntzel from Kokkola in 1727. The painting decoration is by Olof Ekelund from Vaasa; The evangelists Matthew, Mark, Luke and John, with Christ in the middle. The apostles Peter, Paul and Timothy are depicted on the banister. There is a commemorative text on the inside of the door frame, which contains the names of the then governor, bishop and Liminka clergy, as well as the year of painting 1727. The church museum preserves the altar wall logs from the previous church, which have woodcarvings and paintings, as well as the outlines of the fourth church as engravings. The church nave is a ship model acquired in 1740. It is possible that the Swedish ship of the line model was originally built in the 1670s-80s. ## Liminka Church is part of the Tiekirkot (Roadside Churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Opening hours for summer 2026: - **8.6. - 24.7. klo 10-16** *Image* *credits:* - *1: Liminka* *parish.* - *2: Marja-Terttu* *Knapas* */ The Finnish Heritage Agency (1981).* - *3: Martti Jokinen / The* *Finnish* *Heritage* *Agency (1998).* - *4: Victor Joachim* *Sucksdorff* */ The* *Finnish* *Heritage* *Agency (1896).* 16e:T13b7,## Oulu Cathedral **Oulu** **Cathedral** **was** **completed** **in 1777 and** **named** **Sofia Magdalena Church** **after** **the** **wife** **of King Gustav III.** **The** **church** **was** **designed** **by** **Daniel Hagman** **from** **Sundsvall.** It was built of natural stone and was so large that all of Oulu's 2,400 inhabitants at the time could fit in for a service at the same time. In the spring of 1822, Oulu was destroyed by fire and the wooden structures of the church also burned down. Only the stone walls remained intact, and the movable parts were saved. The church was rebuilt according to the drawings of architect Carl Ludvig Engel. The frame was the original stone walls, while the new ones were the central dome, roof structures and tower. The church was completed in 1832 and the tower in 1845. The church received the status of a cathedral in 1900, when the episcopal seat was moved from Kuopio to Oulu. The Cathedral is a central part of the Oulu cityscape. The artifacts and art in Oulu Cathedral are a combination of different centuries. Many of the objects were donated. A communion chalice and two tombstones have survived from the 17th century. The oldest chasubles, chandeliers and sconces are from the 18th century. ### **About** **the** **art...** The Cathedral’s altarpiece was painted by court painter **Robert Wilhelm Ekman** (1808–1873) in 1859. The romantic oil painting depicts the events related to the transfiguration of Christ, which are told in the New Testament Gospels of Matthew, Mark and Luke. To the right of the sacristy doorway is the newest work of Oulu Cathedral, the painting Taivaanranta – Divine Horizon by Sampo Kaikkonen (b. 1975) from Oulu. **The** **portrait** **of Johannes** **Messenius** **on** **the** **side** **wall** **of** **the** **choir** **of Oulu** **Cathedral** **is** **the** **oldest** **portrait** **painting** **in** **our** **country** **that** **can** **be** **identified** **with** **certainty.** It was most likely painted in 1611 by **Cornelius** **Arendtz**. He is known to have worked as a painter at the Swedish court as early as 1608 and again in 1655. The church hall of Oulu Cathedral is adorned with 11 stained glass windows from three eras: 1898, 1932 and 1977. The oldest paintings, "Jesus on the Cross" and "The Resurrection of Christ", are in the windows of the altarpiece. They were made by the Neumann & Vogel stained glass factory in Stockholm. During the interior renovation of the church in 1932, six stained glass windows were purchased for the windows of the north and south aisles, partly with donations from congregation and partly with funds from the parish. They were designed by artist **Gunnar Forsström** and manufactured by S. Wuorio's glass factory. During the interior renovation, the south end was decorated with "The Birth of Christ, the Annunciation of the Angel to the Shepherds and the Adoration of the Kings" donated by wife of a dean Lotty Snellman, and "The Good Shepherd and Jesus with the Children" donated by trade Commercial Counsellor’s wife Maikki J. Santaholma. The north end of the Cathedral received the "Sermon on the Mount, Christ's Sermon in the Field and on the Sea" donated by Matilda Pettersson-Pekuri and "Christ Heals the Lame, Raises Jairus' Daughter and Heals the Blind" donated by Laura and J. A. Mannermaa. The parish paid for the stained glass windows in the south and north end, "The Dove of the Holy Spirit and the Vine" and "Christ the Lamb and the Crown of Thorns". **On** **December** **4th** **1977,** **in** **connection** **with** **the** **200th** **anniversary** **of** **the** **cathedral,** **three** **new** **stained** **glass** **windows** **made in** **the** **S.** **Wuorio** **glass** **factory** **were** **unveiled.** The east wall of the southern branch received Bruno Tuukkanen's work "Jesus' Path of Suffering", which was donated by several organizations in Oulu and private individuals. The Oulu Deaconess Institute donated Onni Oja's "Mountain Sermon" to the west wall of the southern branch. Lauri Ahlgrén's "Holy Trinity", acquired with funds from the Oulu Evangelical Lutheran Congregation, was placed on the west wall of the northern branch. ## Oulu Cathedral is part of the Tiekirkot (Roadside Churches) network: - Roadside churches are **free** **and open** **rest** stops on your summer roadtrips - Open **18.5.–6.9.2026** every day at 10–20. - Cafe Krypta is open Mon–Thu at 10–17, Fri 10–15 until 31.7. Closed on midsummer's eve. *Image* *credits:* - *1:* *Parishes* *of Oulu* - *2: Mikko* *Mannberg* */* *The* *Finnish* *Heritage* *Agency* *(2022)* - *3: Maija Kairamo /* *The* *Finnish* *Heritage* *Agency* *(1997)* - *4: M.L.* *Carstens* */* *The* *Finnish* *Heritage* *Agency* *(1907)* - *5: "Ruins* *of* *houses* *after* *aerial* *bombing* *in Oulu. Oulu* *Cathedral* *in* *the* *background"* *The* *Finnish* *Heritage* *Agency* */* *The* *Press Photo Archive JOKA (1944)* 16f:T13b7,## Oulu Cathedral **Oulu** **Cathedral** **was** **completed** **in 1777 and** **named** **Sofia Magdalena Church** **after** **the** **wife** **of King Gustav III.** **The** **church** **was** **designed** **by** **Daniel Hagman** **from** **Sundsvall.** It was built of natural stone and was so large that all of Oulu's 2,400 inhabitants at the time could fit in for a service at the same time. In the spring of 1822, Oulu was destroyed by fire and the wooden structures of the church also burned down. Only the stone walls remained intact, and the movable parts were saved. The church was rebuilt according to the drawings of architect Carl Ludvig Engel. The frame was the original stone walls, while the new ones were the central dome, roof structures and tower. The church was completed in 1832 and the tower in 1845. The church received the status of a cathedral in 1900, when the episcopal seat was moved from Kuopio to Oulu. The Cathedral is a central part of the Oulu cityscape. The artifacts and art in Oulu Cathedral are a combination of different centuries. Many of the objects were donated. A communion chalice and two tombstones have survived from the 17th century. The oldest chasubles, chandeliers and sconces are from the 18th century. ### **About** **the** **art...** The Cathedral’s altarpiece was painted by court painter **Robert Wilhelm Ekman** (1808–1873) in 1859. The romantic oil painting depicts the events related to the transfiguration of Christ, which are told in the New Testament Gospels of Matthew, Mark and Luke. To the right of the sacristy doorway is the newest work of Oulu Cathedral, the painting Taivaanranta – Divine Horizon by Sampo Kaikkonen (b. 1975) from Oulu. **The** **portrait** **of Johannes** **Messenius** **on** **the** **side** **wall** **of** **the** **choir** **of Oulu** **Cathedral** **is** **the** **oldest** **portrait** **painting** **in** **our** **country** **that** **can** **be** **identified** **with** **certainty.** It was most likely painted in 1611 by **Cornelius** **Arendtz**. He is known to have worked as a painter at the Swedish court as early as 1608 and again in 1655. The church hall of Oulu Cathedral is adorned with 11 stained glass windows from three eras: 1898, 1932 and 1977. The oldest paintings, "Jesus on the Cross" and "The Resurrection of Christ", are in the windows of the altarpiece. They were made by the Neumann & Vogel stained glass factory in Stockholm. During the interior renovation of the church in 1932, six stained glass windows were purchased for the windows of the north and south aisles, partly with donations from congregation and partly with funds from the parish. They were designed by artist **Gunnar Forsström** and manufactured by S. Wuorio's glass factory. During the interior renovation, the south end was decorated with "The Birth of Christ, the Annunciation of the Angel to the Shepherds and the Adoration of the Kings" donated by wife of a dean Lotty Snellman, and "The Good Shepherd and Jesus with the Children" donated by trade Commercial Counsellor’s wife Maikki J. Santaholma. The north end of the Cathedral received the "Sermon on the Mount, Christ's Sermon in the Field and on the Sea" donated by Matilda Pettersson-Pekuri and "Christ Heals the Lame, Raises Jairus' Daughter and Heals the Blind" donated by Laura and J. A. Mannermaa. The parish paid for the stained glass windows in the south and north end, "The Dove of the Holy Spirit and the Vine" and "Christ the Lamb and the Crown of Thorns". **On** **December** **4th** **1977,** **in** **connection** **with** **the** **200th** **anniversary** **of** **the** **cathedral,** **three** **new** **stained** **glass** **windows** **made in** **the** **S.** **Wuorio** **glass** **factory** **were** **unveiled.** The east wall of the southern branch received Bruno Tuukkanen's work "Jesus' Path of Suffering", which was donated by several organizations in Oulu and private individuals. The Oulu Deaconess Institute donated Onni Oja's "Mountain Sermon" to the west wall of the southern branch. Lauri Ahlgrén's "Holy Trinity", acquired with funds from the Oulu Evangelical Lutheran Congregation, was placed on the west wall of the northern branch. ## Oulu Cathedral is part of the Tiekirkot (Roadside Churches) network: - Roadside churches are **free** **and open** **rest** stops on your summer roadtrips - Open **18.5.–6.9.2026** every day at 10–20. - Cafe Krypta is open Mon–Thu at 10–17, Fri 10–15 until 31.7. Closed on midsummer's eve. *Image* *credits:* - *1:* *Parishes* *of Oulu* - *2: Mikko* *Mannberg* */* *The* *Finnish* *Heritage* *Agency* *(2022)* - *3: Maija Kairamo /* *The* *Finnish* *Heritage* *Agency* *(1997)* - *4: M.L.* *Carstens* */* *The* *Finnish* *Heritage* *Agency* *(1907)* - *5: "Ruins* *of* *houses* *after* *aerial* *bombing* *in Oulu. Oulu* *Cathedral* *in* *the* *background"* *The* *Finnish* *Heritage* *Agency* */* *The* *Press Photo Archive JOKA (1944)* 170:T898,## Kiiminki Church **The** **dependent** **parish** **of** **Alakiiminki** **was** **not** **established** **until** **1781,** **although** **the** **church** **had** **already** **been** **completed** **in 1760.** Kiiminki became an independent parish by decision of the Grand Senate in 1858. **The** **church** **is** **thought** **to** **have** **been** **designed** **by** **Matti Honka and is** **one** **of** **the** **best** **preserved** **18th-century** **cruciform** **churches** **in Finland.** The gently rising shingle roof of the 20-angled church follows the ground shape. The church hall is supported by barrel vaults. The church's bell tower was built by the Kiiminki master builder **Pentti (Bengt) Paso** in 1777. **Kiimingi** **church** **and** **its** **surroundings** **are** **included** **in** **the** **Finnish** **Heritage** **Agency’s** **list** **of** **nationally** **significant** **built** **cultural** **environments.** The oil painting Jesus on the Cross by **Mikael** **Toppelius** was donated to the church. Toppelius also painted the altar wall of the church and decorated the pulpit with images of the apostles. The paintings on the pulpit have been destroyed. The dating of the paintings is uncertain, but it is likely that Toppelius painted the paintings after painting the Haukiputaa church, possibly in the 1780s. For the altar wall, Toppelius painted a triptych decorated with rococo frames with distemper, with the subjects of the Brazen Serpent, Gethsemane and Jesus on the cross. On the left side of the triptych, _Moses_ _holds_ _the_ _Tablets_ _of_ _the_ _Law_ and on the right, _the_ _High_ _Priest Aaron_ _holds_ _an_ _incense_ _vessel_. The light and airy brushstrokes of the altarpiece reveal Chinese influences from the end of the century. ## Opening hours: - The church is open by appointment on weekdays. _Image_ _credits:_ - _1: Oulu_ _parishes, Kiiminki_ _parish._ - _2:_ _The_ _Finnish_ _Heritage_ _Agency_ _/_ _The_ _Picture_ _Collections_ _(1899)_ - _3: Marja-Terttu_ _Knapas_ _/_ _The_ _Finnish_ _Heritage_ _Agency_ _(1972)_ - _4: Martti Jokinen /_ _The_ _Finnish_ _Heritage_ _Agency_ _(1997)_ 171:T898,## Kiiminki Church **The** **dependent** **parish** **of** **Alakiiminki** **was** **not** **established** **until** **1781,** **although** **the** **church** **had** **already** **been** **completed** **in 1760.** Kiiminki became an independent parish by decision of the Grand Senate in 1858. **The** **church** **is** **thought** **to** **have** **been** **designed** **by** **Matti Honka and is** **one** **of** **the** **best** **preserved** **18th-century** **cruciform** **churches** **in Finland.** The gently rising shingle roof of the 20-angled church follows the ground shape. The church hall is supported by barrel vaults. The church's bell tower was built by the Kiiminki master builder **Pentti (Bengt) Paso** in 1777. **Kiimingi** **church** **and** **its** **surroundings** **are** **included** **in** **the** **Finnish** **Heritage** **Agency’s** **list** **of** **nationally** **significant** **built** **cultural** **environments.** The oil painting Jesus on the Cross by **Mikael** **Toppelius** was donated to the church. Toppelius also painted the altar wall of the church and decorated the pulpit with images of the apostles. The paintings on the pulpit have been destroyed. The dating of the paintings is uncertain, but it is likely that Toppelius painted the paintings after painting the Haukiputaa church, possibly in the 1780s. For the altar wall, Toppelius painted a triptych decorated with rococo frames with distemper, with the subjects of the Brazen Serpent, Gethsemane and Jesus on the cross. On the left side of the triptych, _Moses_ _holds_ _the_ _Tablets_ _of_ _the_ _Law_ and on the right, _the_ _High_ _Priest Aaron_ _holds_ _an_ _incense_ _vessel_. The light and airy brushstrokes of the altarpiece reveal Chinese influences from the end of the century. ## Opening hours: - The church is open by appointment on weekdays. _Image_ _credits:_ - _1: Oulu_ _parishes, Kiiminki_ _parish._ - _2:_ _The_ _Finnish_ _Heritage_ _Agency_ _/_ _The_ _Picture_ _Collections_ _(1899)_ - _3: Marja-Terttu_ _Knapas_ _/_ _The_ _Finnish_ _Heritage_ _Agency_ _(1972)_ - _4: Martti Jokinen /_ _The_ _Finnish_ _Heritage_ _Agency_ _(1997)_ 172:T779,## Lumijoki Church **The** **parish** **of** **Lumijoki** **was** **founded** **as** **the** **Liminka** **chapel** **in** **the** **1640s. It** **became** **independent** **in 1919.** The first church in Lumijoki was built around 1620. The church was an Ostrobothnian buttressed church, which was demolished in 1814 to make way for a new church. The second church was a wooden cruciform church that burned down in a thunderstorm in 1882. **The current church in** **Lumijoki, built in 1889 and called the Cathedral of** **the** **expanse, is a handsome landmark that can be seen from afar.** The neo-Gothic basilica church with a gabled tower was designed by the county architect **Johan Ludvig Lybeck** and was completed under the direction of master builder Juho Karjalahti. The altarpiece has been replaced by a large free-standing cross. There are colorful stained glass windows on both sides of the altar. The imagery of the paintings made by **Liisa** **Karjarinta** in 1967 is drawn from Bible stories. “Pietarin kalansansaalis” (Petersburg’s Fish Catch) and “Lyhteenpoimijat” (The Gatherers) also refer to traditional Lumijoki livelihoods, fishing and agriculture. Next to the church is an old armory from 1747 and a church park with winding paths and fruit trees. Part of the lawn has been turned into a flower field and a place of silence, a log altar and benches have been built near the church. ## Opening hours: - Visit the church during events - read more on the church's website. _Image_ _credits:_ - _1:_ _Lumijoki_ _parish._ - _2:_ _The_ _Finnish_ _Heritage_ _Agency_ _/_ _The_ _Press Photo Archive JOKA (1957)._ - _3: Marja-Terttu_ _Knapas_ _/ The Finnish Heritage Agency (1981)._ - _4:_ _Central Archive for_ _Finnish_ _Business Records (1926)._ - _5: The_ _Finnish_ _Heritage_ _Agency_ _/_ _The_ _Picture_ _Collections (1890-1899)._ 173:T779,## Lumijoki Church **The** **parish** **of** **Lumijoki** **was** **founded** **as** **the** **Liminka** **chapel** **in** **the** **1640s. It** **became** **independent** **in 1919.** The first church in Lumijoki was built around 1620. The church was an Ostrobothnian buttressed church, which was demolished in 1814 to make way for a new church. The second church was a wooden cruciform church that burned down in a thunderstorm in 1882. **The current church in** **Lumijoki, built in 1889 and called the Cathedral of** **the** **expanse, is a handsome landmark that can be seen from afar.** The neo-Gothic basilica church with a gabled tower was designed by the county architect **Johan Ludvig Lybeck** and was completed under the direction of master builder Juho Karjalahti. The altarpiece has been replaced by a large free-standing cross. There are colorful stained glass windows on both sides of the altar. The imagery of the paintings made by **Liisa** **Karjarinta** in 1967 is drawn from Bible stories. “Pietarin kalansansaalis” (Petersburg’s Fish Catch) and “Lyhteenpoimijat” (The Gatherers) also refer to traditional Lumijoki livelihoods, fishing and agriculture. Next to the church is an old armory from 1747 and a church park with winding paths and fruit trees. Part of the lawn has been turned into a flower field and a place of silence, a log altar and benches have been built near the church. ## Opening hours: - Visit the church during events - read more on the church's website. _Image_ _credits:_ - _1:_ _Lumijoki_ _parish._ - _2:_ _The_ _Finnish_ _Heritage_ _Agency_ _/_ _The_ _Press Photo Archive JOKA (1957)._ - _3: Marja-Terttu_ _Knapas_ _/ The Finnish Heritage Agency (1981)._ - _4:_ _Central Archive for_ _Finnish_ _Business Records (1926)._ - _5: The_ _Finnish_ _Heritage_ _Agency_ _/_ _The_ _Picture_ _Collections (1890-1899)._ 174:T55a,## **Welcome** **to** **the** **Coastal** **Route!** **The** **Coastal** **Route** **follows** **the** **old** **Ostrobothnia** **coastal** **road** **alignment** **and** **offers** **a** **diverse** **range** **of** **churches** **and** **their** **surroundings** **from** **different** **centuries.** The route opens/unfolds a spectrum/variety of styles of church architecture in our region. The oldest of the churches on the coastal route is Kempele Church from 1688 and the youngest is Pyhäjoki Church from 1977. In between, there are classical cruciform churches, revival styles and solid Art Nouveau stone churches. **Tour** **route** **recommendation:** 1. Kuivaniemi church 2. Ii church 3. Kiiminki church 4. Haukipudas church 5. Oulu Cathedral 6. Oulunsalo church 7. Kempele Holy Trinity Church 8. Kempele Old Church 9. Liminka church 0. Lumijoki church 1. Siikajoki church 2. Pattijoki church 3. Raahe Church of the Holy Trinity 4. Saloinen St. Olaf’s Church 5. Pyhäjoki church 6. Kalajoki church 7. Himanka church Total length of route is approximately 230 km. **Check out the Art Program of the Church to Church route **[++**here!**++](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd)** ** _Photo: Himanka Church, Kalajoki_ _Parish._ 175:T8f9,## The Oldest Cruciform Churches _Recommended_ _tour_ _order: Himanka - Merijärvi - Oulainen - Vihanti - Paavola - Revonlahti - Siikajoki - Haukipudas - Kiiminki - Ylikiiminki_ **Check out the Art Program of Church to Church –route – **[**click here!**](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd) The international Renaissance, which spread to Finland in the 17th century, introduced a new central church type to church architecture, the cruciform church. **The 18th century in particular was the golden age of cruciform church construction in Finland, as the growing population needed new churches.** The need was mainly met by chapel parishes established within the bigger parishes and by churches built within them. Churches were built by self-taught folk builders, often over several generations. Church builders were also commissioned to repair and renew churches. Famous church building families are known from different parts of the country, including** Matti Jylkkä and his son Simon Silven, Matti Honka, and the Kuorikoski and Rijf** building families from Ostrobothnia. Master builders developed inventive variations of the simple cruciform church, the pinnacle being the 24-cornered church. Stylistic influences spread from Europe through Sweden, and folk craftsmen applied old traditions to new ideas in their own unique way. Finnish wooden churches differ from their contemporary Swedish wooden churches in particular in their larger size and vaulting. Their spacious interior with its mezzanine domes was built using an elaborate system of timber beams without additional supporting columns. Master builders could also design churches. Gradually, design was transferred to architects: the 1776 Building Decree required that the drawings of all public buildings had to be approved by the Royal Office of the Chief Intendant in Stockholm, later the Intendant's Office established in Finland. Although the Finnish wooden church contains many local innovations and know-how in construction technology, they also contain a European dimension and are linked to the common European intellectual and material heritage. _Image: Revonlahti Church, Visit Raahe._ 176:T572,## Revonlahti Church Revonlahti became a chapel parish in 1845 and was granted the rights of an independent parish in 1925. Today, Revonlahti belongs to the parish of Raahe. **The Revonlahti church was completed in 1775. The master builder was Jaakko Suonperä.** The church was probably built on the same site where the Revonlahti "sermon-house" completed in 1691, had been located. As late as 1826, an eight-cubit-long log stood on the roof, topped with a rooster, a symbol of Christian vigilance. The rooster was later replaced by a cross. **The** **church's** **altarpieces** **and** **wall** **paintings** **were** **painted** **by** **Toppelius** **in 1821.** The triptych-like oil paintings on the altar wall are _Crucifixion_ and _Communion_, as well as _Gethsemane_ and _Resurrection_. The sketch-like pictures on the pulpit are also by Toppelius. **Revonlahti church was Toppelius's last work; He died in December of the same year at the age of 87. ** A separate three-aisled Renaissance bell tower was built in 1782. The church and bell tower are surrounded by an old cemetery. ## Opening Hours: - Visit the church during events - read more on the church's own website. _Image description:_ - _1: Visit Raahe._ - _2: Armas Lindgren /_ _Museovirasto_ _(1896)_ - _3:_ _Museovirasto_ _/ JOKA_ _Journalistinen_ _kuva-arkisto_ _(1961)_ 177:T572,## Revonlahti Church Revonlahti became a chapel parish in 1845 and was granted the rights of an independent parish in 1925. Today, Revonlahti belongs to the parish of Raahe. **The Revonlahti church was completed in 1775. The master builder was Jaakko Suonperä.** The church was probably built on the same site where the Revonlahti "sermon-house" completed in 1691, had been located. As late as 1826, an eight-cubit-long log stood on the roof, topped with a rooster, a symbol of Christian vigilance. The rooster was later replaced by a cross. **The** **church's** **altarpieces** **and** **wall** **paintings** **were** **painted** **by** **Toppelius** **in 1821.** The triptych-like oil paintings on the altar wall are _Crucifixion_ and _Communion_, as well as _Gethsemane_ and _Resurrection_. The sketch-like pictures on the pulpit are also by Toppelius. **Revonlahti church was Toppelius's last work; He died in December of the same year at the age of 87. ** A separate three-aisled Renaissance bell tower was built in 1782. The church and bell tower are surrounded by an old cemetery. ## Opening Hours: - Visit the church during events - read more on the church's own website. _Image description:_ - _1: Visit Raahe._ - _2: Armas Lindgren /_ _Museovirasto_ _(1896)_ - _3:_ _Museovirasto_ _/ JOKA_ _Journalistinen_ _kuva-arkisto_ _(1961)_ 178:T69b,## Paavola Church **The cross-shaped church of Paavola was consecrated in 1756. It was named after the Swedish princess Sofia Albertina.** The construction work was carried out by master builder Matti Honka from Kokkola. The details of the church have been given their current appearance since the renovation carried out in 1856 under the leadership of Johan Oldenburg. The new church was probably built on the site of the old Pehkola church, which was completed in 1691. The Ostrobothnian-style Renaissance bell tower was completed in 1759. **In 1765, Mikael Toppelius painted an altarpiece and 21 other paintings for the church. ** Angered by the opposition of peasants from Luohua village, Toppelius immortalized their faces in the part of the altarpiece depicting the loss. The altarpiece painted by Toppelius was destroyed in a fire while it was being restored in Oulu. Due to the influence of revival movements, Toppelius' paintings were covered up as too secular in connection with the first renovation of the church. **Later, only the pulpit paintings were restored.** The current altarpiece “Christ in Gethsemane” is by **Lahja Järvinen** from 1969. There is an old cemetery around the church. The War Heroes' cemetery and memorial monument were designed by Ilmari Wirkkala. Next to the church is a loan grain warehouse built in 1847, which has been used as a museum since 1978. ## Opening Hours: - Visit the church during events - read more on the church's own website. _Image_ _description:_ - _1: Raahe_ _Parish._ - _2-3: Museovirasto / Historian kuvakokoelma (1899)_ - _4: Museovirasto / JOKA Journalistinen kuva-arkisto (1958)_ 179:T69b,## Paavola Church **The cross-shaped church of Paavola was consecrated in 1756. It was named after the Swedish princess Sofia Albertina.** The construction work was carried out by master builder Matti Honka from Kokkola. The details of the church have been given their current appearance since the renovation carried out in 1856 under the leadership of Johan Oldenburg. The new church was probably built on the site of the old Pehkola church, which was completed in 1691. The Ostrobothnian-style Renaissance bell tower was completed in 1759. **In 1765, Mikael Toppelius painted an altarpiece and 21 other paintings for the church. ** Angered by the opposition of peasants from Luohua village, Toppelius immortalized their faces in the part of the altarpiece depicting the loss. The altarpiece painted by Toppelius was destroyed in a fire while it was being restored in Oulu. Due to the influence of revival movements, Toppelius' paintings were covered up as too secular in connection with the first renovation of the church. **Later, only the pulpit paintings were restored.** The current altarpiece “Christ in Gethsemane” is by **Lahja Järvinen** from 1969. There is an old cemetery around the church. The War Heroes' cemetery and memorial monument were designed by Ilmari Wirkkala. Next to the church is a loan grain warehouse built in 1847, which has been used as a museum since 1978. ## Opening Hours: - Visit the church during events - read more on the church's own website. _Image_ _description:_ - _1: Raahe_ _Parish._ - _2-3: Museovirasto / Historian kuvakokoelma (1899)_ - _4: Museovirasto / JOKA Journalistinen kuva-arkisto (1958)_ 17a:T657,## Merijärvi’s Sophia Magdalena Church The Merijärvi parish was founded as the Pyhäjoki chapel parish in 1821 and became independent in 1895. Today, Merijärvi is part of the Ylivieska parish. **The cross-shaped church of Merijärvi was built in 1781 under the leadership of Simon Silvén, a master builder from Kalajoki. ** The first plans drawn up by Silvén were rejected by the Stockholm Intendant's Office. The church was then built according to new drawings drawn up by the Intendant's Office and approved by Gustav III. The church's bell tower was completed in 1799 according to drawings signed by Sven Westman, from the Stockholm Intendant's Office. The church's first altarpiece, Mary and John mourning the Crucifixion, is hung on the church's south cross and was painted by **Thomas Kiempe** in the late 18th century. The current altarpiece was painted by J**eremias Alin** in 1878 and depicts the crucified Christ. Above the northern entrance is a plaque from 1786 telling the story of the construction and consecration of the church by **Erik Westzynthius the Younger. ** The church is surrounded by an old cemetery with graves of War Heroes. The memorial mmonument was made by sculptor **Ilmari Wirkkala** and was unveiled in 1956. Next to the church is an old granary, which houses a local history museum. ## Opening Hours: - Visit the church during events - read more on the church's own website. _Image description:_ - Ylivieska Parish. - Marja-Terttu Knapas (1980), Museovirasto / Rakennushistorian kuvakokoelma. - Suomen Elinkeinoelämän keskusarkisto. 17b:T657,## Merijärvi’s Sophia Magdalena Church The Merijärvi parish was founded as the Pyhäjoki chapel parish in 1821 and became independent in 1895. Today, Merijärvi is part of the Ylivieska parish. **The cross-shaped church of Merijärvi was built in 1781 under the leadership of Simon Silvén, a master builder from Kalajoki. ** The first plans drawn up by Silvén were rejected by the Stockholm Intendant's Office. The church was then built according to new drawings drawn up by the Intendant's Office and approved by Gustav III. The church's bell tower was completed in 1799 according to drawings signed by Sven Westman, from the Stockholm Intendant's Office. The church's first altarpiece, Mary and John mourning the Crucifixion, is hung on the church's south cross and was painted by **Thomas Kiempe** in the late 18th century. The current altarpiece was painted by J**eremias Alin** in 1878 and depicts the crucified Christ. Above the northern entrance is a plaque from 1786 telling the story of the construction and consecration of the church by **Erik Westzynthius the Younger. ** The church is surrounded by an old cemetery with graves of War Heroes. The memorial mmonument was made by sculptor **Ilmari Wirkkala** and was unveiled in 1956. Next to the church is an old granary, which houses a local history museum. ## Opening Hours: - Visit the church during events - read more on the church's own website. _Image description:_ - Ylivieska Parish. - Marja-Terttu Knapas (1980), Museovirasto / Rakennushistorian kuvakokoelma. - Suomen Elinkeinoelämän keskusarkisto. 17c:T878,## Siikajoki Church ## **Siikajoki** **parish** **was** **founded** **as a** **chapel** **of Salo** **parish** **in 1590.** Today, Siikajoki parish is part of Raahe parish. The first church in the parish was burned down by the Russians in 1591. A second church was built on the site of the current church in 1600. **The** **current** **cruciform** **church,** **built** **in 1701, is** **one** **of** **the** **oldest** **cruciform** **churches** **in** **Ostrobothnia.** The church was renovated in 1765, when Jaakko Suonperä also built a pulpit in the church. **The** **church** **received** **its** **current** **appearance** **in 1852,** **designed** **by** **Oulu** **County** **Architect Johan** **Oldenburg.** At that time, a square-shaped tower rising from the wide attic section was added to the church. The outer walls were equipped with Empire-style lining. The church was also expanded by building a new sacristy section as an extension of the eastern cross. The tongue-and-groove paneling of the church hall walls and vault dates from the 20th century. In 1771–1772, **Mikael** **Toppelius** painted the altarpiece _Jesus in Gethsemane_ and the painting above it, the _Pierced by the_ _Spear._ The painted decoration of the pulpit, Christ and the Four Evangelists, by **Jaakko** **Suonperä**, depicting the evangelists, is also by Toppelius. The Ostrobothnian Renaissance bell tower on the south side of the church was built in 1765. **During** **the** **Finnish** **War,** **the** **Battle of** **Siikajoki** **took** **place** **on 18th** **April** **1808 on** **the** **field** **between** **the** **church,** **the** **river** **and** **the** **rectory.** Near the church is a cemetery with a monument for the soldiers who fell in the battle. The old road that connected the coastal towns to Oulu is alongside/next to the church. ## Opening hours: - Visit the church during events - read more on the church's website. _Image_ _credits:_ - _1: Raahe_ _parish._ - _2-3: Central Archive for_ _Finnish_ _Business Records (1926)._ - _4: E. Härö /_ _The_ _Finnish_ _Heritage_ _Agency (1971)._ 17d:T878,## Siikajoki Church ## **Siikajoki** **parish** **was** **founded** **as a** **chapel** **of Salo** **parish** **in 1590.** Today, Siikajoki parish is part of Raahe parish. The first church in the parish was burned down by the Russians in 1591. A second church was built on the site of the current church in 1600. **The** **current** **cruciform** **church,** **built** **in 1701, is** **one** **of** **the** **oldest** **cruciform** **churches** **in** **Ostrobothnia.** The church was renovated in 1765, when Jaakko Suonperä also built a pulpit in the church. **The** **church** **received** **its** **current** **appearance** **in 1852,** **designed** **by** **Oulu** **County** **Architect Johan** **Oldenburg.** At that time, a square-shaped tower rising from the wide attic section was added to the church. The outer walls were equipped with Empire-style lining. The church was also expanded by building a new sacristy section as an extension of the eastern cross. The tongue-and-groove paneling of the church hall walls and vault dates from the 20th century. In 1771–1772, **Mikael** **Toppelius** painted the altarpiece _Jesus in Gethsemane_ and the painting above it, the _Pierced by the_ _Spear._ The painted decoration of the pulpit, Christ and the Four Evangelists, by **Jaakko** **Suonperä**, depicting the evangelists, is also by Toppelius. The Ostrobothnian Renaissance bell tower on the south side of the church was built in 1765. **During** **the** **Finnish** **War,** **the** **Battle of** **Siikajoki** **took** **place** **on 18th** **April** **1808 on** **the** **field** **between** **the** **church,** **the** **river** **and** **the** **rectory.** Near the church is a cemetery with a monument for the soldiers who fell in the battle. The old road that connected the coastal towns to Oulu is alongside/next to the church. ## Opening hours: - Visit the church during events - read more on the church's website. _Image_ _credits:_ - _1: Raahe_ _parish._ - _2-3: Central Archive for_ _Finnish_ _Business Records (1926)._ - _4: E. Härö /_ _The_ _Finnish_ _Heritage_ _Agency (1971)._ 17e:Tbe6,## Haukipudas Church The Haukipudas Chapel, founded in the 1630s as part of a large mother parish that had already emerged in the Middle Ages, became independent in 1873. **The** **Haukipudas** **church,** **designed** **by** **church** **builder** **Matti Honka and** **built** **under** **the** **leadership** **of Jaakko Suonperä,** **was** **completed** **in 1764.** The church, located near the mouth of the Kiiminkijoki River, is a *cruciform* *church* with a gabled exterior. Its current Art Nouveau-style exterior dates from a renovation carried out in 1902, in which vestibules were added to the ends of the cross arms and over which the flats of the new tiled roof were extended. The churchyard fence is joined by a three-storey Ostrobothnian Renaissance bell tower, built under the direction of master builder Heikki Väänänen in 1751. On the wall of the bell tower is a poor box, which is a copy of the original. The old poor box has been transferred to the Museum of Northern Ostrobothnia in poor condition. In the immediate vicinity of the church and the local history museum there is an old cemetery, which is mainly managed as a park forest. ## **The** **interior** **walls** **and** **vaults** **of Haukipudas** **church** **contain** **the** **largest** **collection** **of** **Toppelius's** **church** **art.** Toppelius began painting the church in 1774, and the last of them, the large *Last* *Judgement* on the north wall, was completed five years later. Themes based on the New and Old Testaments can be found throughout the church's whitewashed log walls and vaults. The paintings are accompanied by biblical texts and the names of the wealthy landowners who donated the paintings. All the wall and ceiling paintings were done by Toppelius with distemper. Only the paintings depicting the evangelists on the pulpit were done with oil paint. There were originally 33 wall and ceiling paintings, of which seven have since been destroyed. Toppelius has placed the ceiling paintings in contrasting pairs so that the New Testament subject is opposite the Old Testament example of the subject. The last painting to be completed was the magnificent painting of the Last Judgment on the north cross of the church, covering the entire wall. \*\*Some art historians have considered this to be the most significant product of Finnish Baroque art. \*\* ## Haukipudas church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer roadtrips - Open **8.6.–31.7.2026**, Mon–Thu at 12–18, Fridays at 12–17. Closed on midsummer's eve. - There is café open at the bell tower. *Image* *credits:* - *1: Haukipudas* *parish* */ Juho Alatalo. Studio Ilpo Okkonen.* - *2:* *The* *Finnish* *Heritage* *Agency* */* *The* *Picture* *Collections* *(1896).* - *3: Samuli* *Paulaharju* */* *The* *Finnish* *Heritage* *Agency* *(1913).* - *4-5: Martti Jokinen /* *The* *Finnish* *Heritage* *Agency* *(2000).* 17f:Tbe6,## Haukipudas Church The Haukipudas Chapel, founded in the 1630s as part of a large mother parish that had already emerged in the Middle Ages, became independent in 1873. **The** **Haukipudas** **church,** **designed** **by** **church** **builder** **Matti Honka and** **built** **under** **the** **leadership** **of Jaakko Suonperä,** **was** **completed** **in 1764.** The church, located near the mouth of the Kiiminkijoki River, is a *cruciform* *church* with a gabled exterior. Its current Art Nouveau-style exterior dates from a renovation carried out in 1902, in which vestibules were added to the ends of the cross arms and over which the flats of the new tiled roof were extended. The churchyard fence is joined by a three-storey Ostrobothnian Renaissance bell tower, built under the direction of master builder Heikki Väänänen in 1751. On the wall of the bell tower is a poor box, which is a copy of the original. The old poor box has been transferred to the Museum of Northern Ostrobothnia in poor condition. In the immediate vicinity of the church and the local history museum there is an old cemetery, which is mainly managed as a park forest. ## **The** **interior** **walls** **and** **vaults** **of Haukipudas** **church** **contain** **the** **largest** **collection** **of** **Toppelius's** **church** **art.** Toppelius began painting the church in 1774, and the last of them, the large *Last* *Judgement* on the north wall, was completed five years later. Themes based on the New and Old Testaments can be found throughout the church's whitewashed log walls and vaults. The paintings are accompanied by biblical texts and the names of the wealthy landowners who donated the paintings. All the wall and ceiling paintings were done by Toppelius with distemper. Only the paintings depicting the evangelists on the pulpit were done with oil paint. There were originally 33 wall and ceiling paintings, of which seven have since been destroyed. Toppelius has placed the ceiling paintings in contrasting pairs so that the New Testament subject is opposite the Old Testament example of the subject. The last painting to be completed was the magnificent painting of the Last Judgment on the north cross of the church, covering the entire wall. \*\*Some art historians have considered this to be the most significant product of Finnish Baroque art. \*\* ## Haukipudas church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer roadtrips - Open **8.6.–31.7.2026**, Mon–Thu at 12–18, Fridays at 12–17. Closed on midsummer's eve. - There is café open at the bell tower. *Image* *credits:* - *1: Haukipudas* *parish* */ Juho Alatalo. Studio Ilpo Okkonen.* - *2:* *The* *Finnish* *Heritage* *Agency* */* *The* *Picture* *Collections* *(1896).* - *3: Samuli* *Paulaharju* */* *The* *Finnish* *Heritage* *Agency* *(1913).* - *4-5: Martti Jokinen /* *The* *Finnish* *Heritage* *Agency* *(2000).* 180:T83a,## Ylikiiminki Church The Ylikiiminki Sermon Hall, founded in 1691 as part of the Haukipudas Chapel Parish, received chapel rights in the mid-18th century and became independent in 1909. \*\*The Ylikiimingi Church, which is well preserved in terms of its structure and architecture, is one of the first neoclassical wooden churches in our country. \*\* **The cruciform church, completed in 1786**, was built under the leadership of the master builder **Jacob** **Rijf** from Pietarsaari. The drawing or its concept, which was prepared by the Stockholm Metropolitan Intendant's Office and confirmed by the king, and then sent for compliance through the governor in the spring of 1785, has not survived. \*\*The church is included in the list of nationally significant built cultural environments. \*\* The church's altarpiece depicting the crucified Christ was painted by **Gustav Holmqvist** in 1839. On the right side of it is a picture of Virgin Mary holding baby Jesus, and on the left side is a picture of Christ's ascension to heaven. These two pictures were covered up during the church's renovation in 1897. In 1968, during the church's 200th anniversary celebrations, altarpieces with the same theme, painted by teacher Reijo Nissilä, were unveiled. Next to the church is a cemetery. There lies a ground floor of a bell tower, apparently built in the mid-18th century, which was used as a morgue. The memorial monument in the Heroes' Cemetery was designed by Oskari Jauhiainen in 1967. Near the church there is also a memorial stone for two people who fell in the Finnish Civil War in April 1918 and for one who went missing. ## Ylikiiminki Church is part of the Tiekirkot (Roadside Churches) network: - Roadside churches are **free** **and open** **rest** stops on your summer roadtrips - Open Mon–Fri at 12–18. (**1.6. –31.7.2026**) *Image description:* - *1: Oulu parish.* - *2:* *Museovirasto* */ Historian* *kuvakokoelma* *(1899)* - *3: Maija* *Kairamo* */* *Museovirasto* *(1980)* - *4: Martti Jokinen /* *Museovirasto* *(1997)* 181:T83a,## Ylikiiminki Church The Ylikiiminki Sermon Hall, founded in 1691 as part of the Haukipudas Chapel Parish, received chapel rights in the mid-18th century and became independent in 1909. \*\*The Ylikiimingi Church, which is well preserved in terms of its structure and architecture, is one of the first neoclassical wooden churches in our country. \*\* **The cruciform church, completed in 1786**, was built under the leadership of the master builder **Jacob** **Rijf** from Pietarsaari. The drawing or its concept, which was prepared by the Stockholm Metropolitan Intendant's Office and confirmed by the king, and then sent for compliance through the governor in the spring of 1785, has not survived. \*\*The church is included in the list of nationally significant built cultural environments. \*\* The church's altarpiece depicting the crucified Christ was painted by **Gustav Holmqvist** in 1839. On the right side of it is a picture of Virgin Mary holding baby Jesus, and on the left side is a picture of Christ's ascension to heaven. These two pictures were covered up during the church's renovation in 1897. In 1968, during the church's 200th anniversary celebrations, altarpieces with the same theme, painted by teacher Reijo Nissilä, were unveiled. Next to the church is a cemetery. There lies a ground floor of a bell tower, apparently built in the mid-18th century, which was used as a morgue. The memorial monument in the Heroes' Cemetery was designed by Oskari Jauhiainen in 1967. Near the church there is also a memorial stone for two people who fell in the Finnish Civil War in April 1918 and for one who went missing. ## Ylikiiminki Church is part of the Tiekirkot (Roadside Churches) network: - Roadside churches are **free** **and open** **rest** stops on your summer roadtrips - Open Mon–Fri at 12–18. (**1.6. –31.7.2026**) *Image description:* - *1: Oulu parish.* - *2:* *Museovirasto* */ Historian* *kuvakokoelma* *(1899)* - *3: Maija* *Kairamo* */* *Museovirasto* *(1980)* - *4: Martti Jokinen /* *Museovirasto* *(1997)* 182:T62d,## Vihanti Church **The almost equal-sided cruciform church in Vihanti, completed in 1784, is named after Queen Sophia Magdalena, the wife of Gustav III. ** The current church in Vihanti is the second church in the parish. The first church was built on the same site as the current church in 1691, when Vihanti became merged with the Saloinen parish. The drawings for the current church were made by the church builder **Simon Silvén** from Kalajoki. Only minor changes were made to the drawings in the office of the chief intendant in Stockholm. The church is a hipped roof, almost equal-sided cruciform church. At the top of the central dome is a lantern, or roof lantern. The bell tower survived the old church and was built in 1752. The altarpiece was painted by **Emanuel Granberg** in 1787. The painting, painted directly on the log wall with glue paints, depicts Jesus on the cross, the Virgin Mary on her right and John on her left. The pulpit panel paintings purchased from Oulainen Church in 1891 depict the apostle Paul and the evangelists. The paintings are thought to be by **Erik Westzynthius**, because he painted the Church of Oulainen in 1780–1782. Near the church is also a loan grain storehouse built in 1865, and the so-called Little Church, which serves as a prayer room. ## Opening Hours: - Visit the church during events - read more on the church's own website. _Image_ _description:_ - _1: Raahe_ _parish._ - _2: Armas Lindgren / Museovirasto (1896)_ - _3: Museovirasto / JOKA Journalistinen kuva-arkisto (1961)_ 183:T62d,## Vihanti Church **The almost equal-sided cruciform church in Vihanti, completed in 1784, is named after Queen Sophia Magdalena, the wife of Gustav III. ** The current church in Vihanti is the second church in the parish. The first church was built on the same site as the current church in 1691, when Vihanti became merged with the Saloinen parish. The drawings for the current church were made by the church builder **Simon Silvén** from Kalajoki. Only minor changes were made to the drawings in the office of the chief intendant in Stockholm. The church is a hipped roof, almost equal-sided cruciform church. At the top of the central dome is a lantern, or roof lantern. The bell tower survived the old church and was built in 1752. The altarpiece was painted by **Emanuel Granberg** in 1787. The painting, painted directly on the log wall with glue paints, depicts Jesus on the cross, the Virgin Mary on her right and John on her left. The pulpit panel paintings purchased from Oulainen Church in 1891 depict the apostle Paul and the evangelists. The paintings are thought to be by **Erik Westzynthius**, because he painted the Church of Oulainen in 1780–1782. Near the church is also a loan grain storehouse built in 1865, and the so-called Little Church, which serves as a prayer room. ## Opening Hours: - Visit the church during events - read more on the church's own website. _Image_ _description:_ - _1: Raahe_ _parish._ - _2: Armas Lindgren / Museovirasto (1896)_ - _3: Museovirasto / JOKA Journalistinen kuva-arkisto (1961)_ 184:T898,## Kiiminki Church **The** **dependent** **parish** **of** **Alakiiminki** **was** **not** **established** **until** **1781,** **although** **the** **church** **had** **already** **been** **completed** **in 1760.** Kiiminki became an independent parish by decision of the Grand Senate in 1858. **The** **church** **is** **thought** **to** **have** **been** **designed** **by** **Matti Honka and is** **one** **of** **the** **best** **preserved** **18th-century** **cruciform** **churches** **in Finland.** The gently rising shingle roof of the 20-angled church follows the ground shape. The church hall is supported by barrel vaults. The church's bell tower was built by the Kiiminki master builder **Pentti (Bengt) Paso** in 1777. **Kiimingi** **church** **and** **its** **surroundings** **are** **included** **in** **the** **Finnish** **Heritage** **Agency’s** **list** **of** **nationally** **significant** **built** **cultural** **environments.** The oil painting Jesus on the Cross by **Mikael** **Toppelius** was donated to the church. Toppelius also painted the altar wall of the church and decorated the pulpit with images of the apostles. The paintings on the pulpit have been destroyed. The dating of the paintings is uncertain, but it is likely that Toppelius painted the paintings after painting the Haukiputaa church, possibly in the 1780s. For the altar wall, Toppelius painted a triptych decorated with rococo frames with distemper, with the subjects of the Brazen Serpent, Gethsemane and Jesus on the cross. On the left side of the triptych, _Moses_ _holds_ _the_ _Tablets_ _of_ _the_ _Law_ and on the right, _the_ _High_ _Priest Aaron_ _holds_ _an_ _incense_ _vessel_. The light and airy brushstrokes of the altarpiece reveal Chinese influences from the end of the century. ## Opening hours: - The church is open by appointment on weekdays. _Image_ _credits:_ - _1: Oulu_ _parishes, Kiiminki_ _parish._ - _2:_ _The_ _Finnish_ _Heritage_ _Agency_ _/_ _The_ _Picture_ _Collections_ _(1899)_ - _3: Marja-Terttu_ _Knapas_ _/_ _The_ _Finnish_ _Heritage_ _Agency_ _(1972)_ - _4: Martti Jokinen /_ _The_ _Finnish_ _Heritage_ _Agency_ _(1997)_ 185:T898,## Kiiminki Church **The** **dependent** **parish** **of** **Alakiiminki** **was** **not** **established** **until** **1781,** **although** **the** **church** **had** **already** **been** **completed** **in 1760.** Kiiminki became an independent parish by decision of the Grand Senate in 1858. **The** **church** **is** **thought** **to** **have** **been** **designed** **by** **Matti Honka and is** **one** **of** **the** **best** **preserved** **18th-century** **cruciform** **churches** **in Finland.** The gently rising shingle roof of the 20-angled church follows the ground shape. The church hall is supported by barrel vaults. The church's bell tower was built by the Kiiminki master builder **Pentti (Bengt) Paso** in 1777. **Kiimingi** **church** **and** **its** **surroundings** **are** **included** **in** **the** **Finnish** **Heritage** **Agency’s** **list** **of** **nationally** **significant** **built** **cultural** **environments.** The oil painting Jesus on the Cross by **Mikael** **Toppelius** was donated to the church. Toppelius also painted the altar wall of the church and decorated the pulpit with images of the apostles. The paintings on the pulpit have been destroyed. The dating of the paintings is uncertain, but it is likely that Toppelius painted the paintings after painting the Haukiputaa church, possibly in the 1780s. For the altar wall, Toppelius painted a triptych decorated with rococo frames with distemper, with the subjects of the Brazen Serpent, Gethsemane and Jesus on the cross. On the left side of the triptych, _Moses_ _holds_ _the_ _Tablets_ _of_ _the_ _Law_ and on the right, _the_ _High_ _Priest Aaron_ _holds_ _an_ _incense_ _vessel_. The light and airy brushstrokes of the altarpiece reveal Chinese influences from the end of the century. ## Opening hours: - The church is open by appointment on weekdays. _Image_ _credits:_ - _1: Oulu_ _parishes, Kiiminki_ _parish._ - _2:_ _The_ _Finnish_ _Heritage_ _Agency_ _/_ _The_ _Picture_ _Collections_ _(1899)_ - _3: Marja-Terttu_ _Knapas_ _/_ _The_ _Finnish_ _Heritage_ _Agency_ _(1972)_ - _4: Martti Jokinen /_ _The_ _Finnish_ _Heritage_ _Agency_ _(1997)_ 186:T5d3,## Oulainen Church \*\*The cruciform church of Oulainen dates to 1753 and its construction was led by Matti Honka. It replaced the first church on the same site from 1682. \*\* In 1882, the church's architectural form was changed to its current form; the church received a new stone foundation, the vestibules and the church tower replaced the old hall, and the wooden vaults of the church hall were also renewed. The Ostrobothnian three-story Renaissance bell tower from 1758 was built by Matti Jylkkä from Kalajoki, and is the only building from him that has survived to this day. **The church's wall paintings from 1779-1782 were painted by Erik Westzynthius the Younger.** The altarpiece “Follow me, and I will make you fishers” (Matthew 4:19) is from 1931, and was painted by \*\*Väinö Blomstedt. \*\* There is a cemetery around the church, which has a War Hero memorial monument made by sculptor Oskari Jauhiainen in 1953. ## The Oulainen Church is part of the Tiekirkot (Road Church) network: - Road Churches are **free** and **open** rest stops on your summer roadtrips - Open **22.6. - 6.8.2026** Mon - Thu at 11.00 - 15.00 *Image description:* - *1:* *Oulainen* *parish.* - *2: Hannes* *Malisto’s* *aquarelle* *painting* *1930 /* *Museovirasto.* - *3:* *The church’s wall painting* *(Erik* *Westzynthius* *nuorempi),* *kuva* *Pekka Kärki /* *Museovirasto* *(1988).* - *4-5:* *Suomen* *elinkeinoelämän* *keskusarkisto.* 187:T5d3,## Oulainen Church \*\*The cruciform church of Oulainen dates to 1753 and its construction was led by Matti Honka. It replaced the first church on the same site from 1682. \*\* In 1882, the church's architectural form was changed to its current form; the church received a new stone foundation, the vestibules and the church tower replaced the old hall, and the wooden vaults of the church hall were also renewed. The Ostrobothnian three-story Renaissance bell tower from 1758 was built by Matti Jylkkä from Kalajoki, and is the only building from him that has survived to this day. **The church's wall paintings from 1779-1782 were painted by Erik Westzynthius the Younger.** The altarpiece “Follow me, and I will make you fishers” (Matthew 4:19) is from 1931, and was painted by \*\*Väinö Blomstedt. \*\* There is a cemetery around the church, which has a War Hero memorial monument made by sculptor Oskari Jauhiainen in 1953. ## The Oulainen Church is part of the Tiekirkot (Road Church) network: - Road Churches are **free** and **open** rest stops on your summer roadtrips - Open **22.6. - 6.8.2026** Mon - Thu at 11.00 - 15.00 *Image description:* - *1:* *Oulainen* *parish.* - *2: Hannes* *Malisto’s* *aquarelle* *painting* *1930 /* *Museovirasto.* - *3:* *The church’s wall painting* *(Erik* *Westzynthius* *nuorempi),* *kuva* *Pekka Kärki /* *Museovirasto* *(1988).* - *4-5:* *Suomen* *elinkeinoelämän* *keskusarkisto.* 188:Tec8,## Himanka Church Himanka was founded as a sermon hall in Lohtaja in the 18th century, received chapel rights in 1846 and became an independent parish in 1906. Today, Himanka is part of the Kalajoki parish. **Himanka** **Church** **is in** **a prominent location near the historic marketplace of** **Raumankari, at the mouth of** **Lestijoki.** The old marketplace of Raumankari forms the old core of the Himanka village. The buildings are densely located along two streets and the old Ostrobothnia coastal road. A truss bridge built on the stone chests of the old road still exists. The oldest residential buildings in Raumankari date from the early 19th century. There is a row of sheds where fishing nets are stored on the village's common land in Piispanranta. Initially the church was planned to be built in the village of Parkaa in Rautila, near the houses of Parkkihauta, but the project never came to pass. Today there is a memorial on the site. Himanka Church, designed by **Jacob** **Rijf** in 1794 and built together with his brother **Carl** **Rijf**, is an isosceles, internally beveled **cruciform church** with an octagonal tower base rising from the center of the cross. The church was renovated to its current neo-Gothic appearance in 1897 when the interior of the church was also renovated, except for the pulpit on the northeast side. The original exterior architecture of the church is best shown in a pencil drawing made by architect Armas Lindgren in 1896. A separate, wooden bell tower was built in 1823 under the leadership of the Central Ostrobothnian church builder **Niilo Koskela, also known as** **Pyörte** **(Pyörret),** and the tower has been raised later. Around the church is an old cemetery with old monuments and heroes' graves. The newer cemetery that is still in use is located on the other side of the highway. The church's altarpiece *Jesus on the Cross* was painted by **Johan Gustav Hedman** in 1845. The Pauper Statue is from 1827. **The** **Rijf** **family of church builders, Thomas** **Rijf** **(1726-1803) and his sons Jacob** **Rijf** **(1753-1808) and Carl** **Rijf** **(1756-1801), born in** **Pietarsaari, were key influences on church architecture at the end of the 18th century.** Jacob Rijf was the first Finn to study at the School of Architecture at the Stockholm Academy of Fine Arts. He studied there from 1783 to 1784 under the guidance of renowned Swedish architects Carl Fredrik Adelcranz and Olof Tempelman. Jacob Rijf designed churches in both Finland and Sweden, one of his most beautiful works being the bell tower of Kälviä Church. The Kungsholm church renovation plans from 1808 were Jacob Rijf's last work. He died of a severe fever in the middle of the tower construction work in Stockholm, nearly simultaneously with his son who was also involved in the construction work. Jacob Rijf also prepared new drawings for the main bridge in Kalajoki, which was destroyed in the Finnish War. The stone arch bridge was replaced with a new one in 1881. The construction work was supervised by **Anton** **Lankila** (1832–1916), who had been apprenticed to the church builder Mikko Karjanlahti (1820–1894). This so-called “Old bridge” was demolished in 1972, when it was replaced by the current concrete bridge. ## Himanka church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest stops** **on your summer** **road trips** - Opening hours for summer 2026 will be updated soon on the Tiekirkot website *Image* *credits:* - *1: Kalajoki* *parish* - *2-4: Lotta Puurula (2025)* - *5:* *Central Archive for* *Finnish* *Business Records.* - *6:* *P.O.Welin* */* *The* *Finnish* *Heritage* *Agency* *(1973)* 189:Tec8,## Himanka Church Himanka was founded as a sermon hall in Lohtaja in the 18th century, received chapel rights in 1846 and became an independent parish in 1906. Today, Himanka is part of the Kalajoki parish. **Himanka** **Church** **is in** **a prominent location near the historic marketplace of** **Raumankari, at the mouth of** **Lestijoki.** The old marketplace of Raumankari forms the old core of the Himanka village. The buildings are densely located along two streets and the old Ostrobothnia coastal road. A truss bridge built on the stone chests of the old road still exists. The oldest residential buildings in Raumankari date from the early 19th century. There is a row of sheds where fishing nets are stored on the village's common land in Piispanranta. Initially the church was planned to be built in the village of Parkaa in Rautila, near the houses of Parkkihauta, but the project never came to pass. Today there is a memorial on the site. Himanka Church, designed by **Jacob** **Rijf** in 1794 and built together with his brother **Carl** **Rijf**, is an isosceles, internally beveled **cruciform church** with an octagonal tower base rising from the center of the cross. The church was renovated to its current neo-Gothic appearance in 1897 when the interior of the church was also renovated, except for the pulpit on the northeast side. The original exterior architecture of the church is best shown in a pencil drawing made by architect Armas Lindgren in 1896. A separate, wooden bell tower was built in 1823 under the leadership of the Central Ostrobothnian church builder **Niilo Koskela, also known as** **Pyörte** **(Pyörret),** and the tower has been raised later. Around the church is an old cemetery with old monuments and heroes' graves. The newer cemetery that is still in use is located on the other side of the highway. The church's altarpiece *Jesus on the Cross* was painted by **Johan Gustav Hedman** in 1845. The Pauper Statue is from 1827. **The** **Rijf** **family of church builders, Thomas** **Rijf** **(1726-1803) and his sons Jacob** **Rijf** **(1753-1808) and Carl** **Rijf** **(1756-1801), born in** **Pietarsaari, were key influences on church architecture at the end of the 18th century.** Jacob Rijf was the first Finn to study at the School of Architecture at the Stockholm Academy of Fine Arts. He studied there from 1783 to 1784 under the guidance of renowned Swedish architects Carl Fredrik Adelcranz and Olof Tempelman. Jacob Rijf designed churches in both Finland and Sweden, one of his most beautiful works being the bell tower of Kälviä Church. The Kungsholm church renovation plans from 1808 were Jacob Rijf's last work. He died of a severe fever in the middle of the tower construction work in Stockholm, nearly simultaneously with his son who was also involved in the construction work. Jacob Rijf also prepared new drawings for the main bridge in Kalajoki, which was destroyed in the Finnish War. The stone arch bridge was replaced with a new one in 1881. The construction work was supervised by **Anton** **Lankila** (1832–1916), who had been apprenticed to the church builder Mikko Karjanlahti (1820–1894). This so-called “Old bridge” was demolished in 1972, when it was replaced by the current concrete bridge. ## Himanka church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest stops** **on your summer** **road trips** - Opening hours for summer 2026 will be updated soon on the Tiekirkot website *Image* *credits:* - *1: Kalajoki* *parish* - *2-4: Lotta Puurula (2025)* - *5:* *Central Archive for* *Finnish* *Business Records.* - *6:* *P.O.Welin* */* *The* *Finnish* *Heritage* *Agency* *(1973)* 18a:T8f9,## The Oldest Cruciform Churches _Recommended_ _tour_ _order: Himanka - Merijärvi - Oulainen - Vihanti - Paavola - Revonlahti - Siikajoki - Haukipudas - Kiiminki - Ylikiiminki_ **Check out the Art Program of Church to Church –route – **[**click here!**](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd) The international Renaissance, which spread to Finland in the 17th century, introduced a new central church type to church architecture, the cruciform church. **The 18th century in particular was the golden age of cruciform church construction in Finland, as the growing population needed new churches.** The need was mainly met by chapel parishes established within the bigger parishes and by churches built within them. Churches were built by self-taught folk builders, often over several generations. Church builders were also commissioned to repair and renew churches. Famous church building families are known from different parts of the country, including** Matti Jylkkä and his son Simon Silven, Matti Honka, and the Kuorikoski and Rijf** building families from Ostrobothnia. Master builders developed inventive variations of the simple cruciform church, the pinnacle being the 24-cornered church. Stylistic influences spread from Europe through Sweden, and folk craftsmen applied old traditions to new ideas in their own unique way. Finnish wooden churches differ from their contemporary Swedish wooden churches in particular in their larger size and vaulting. Their spacious interior with its mezzanine domes was built using an elaborate system of timber beams without additional supporting columns. Master builders could also design churches. Gradually, design was transferred to architects: the 1776 Building Decree required that the drawings of all public buildings had to be approved by the Royal Office of the Chief Intendant in Stockholm, later the Intendant's Office established in Finland. Although the Finnish wooden church contains many local innovations and know-how in construction technology, they also contain a European dimension and are linked to the common European intellectual and material heritage. _Image: Revonlahti Church, Visit Raahe._ 18b:T7f4,## Buttress Churches **Check out the Art Program of Church to Church –route – **[**click here!**](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd) **The buttress church is an almost exclusively Finnish and especially northern Finnish type of structure. ** A total of about a hundred buttress churches have been built, of which twelve have survived. The first ones were probably built as early as the end of the 15th century and the last at the end of the 18th century. The oldest surviving one is the Vöyri Church, completed in 1627. However, it was expanded into a cruciform church in 1777. The Muhos Church, which was completed no later than 1634, has survived almost in its original form. A large number of buttress churches have disappeared. They have burned down in fires or been demolished to make way for new one - so, we have lost, for example, the old wooden cathedral of Oulu, the church of St. Lawrence in Ii, and the churches of Hailuoto and Saloinen. **Structurally, a buttress church is a basilica type, in which the joints of the wall logs are placed inside hollow buttresses.** The pillars are visible as protrusions on both the outside and inside of the church's exterior walls. Buttresses are four-sided log capsules, the height of the wall, with a dovetail joint in all four corners. The logs of the walls are connected to the side walls of the capsules with a dovetail joint. The purpose of the buttresses is to make a long log exterior wall more stable, which exceeds the length of one log, because long log walls are prone to bulging outwards from their upper edge. The structure is also supported inside the church with transverse tie logs in the church hall. Usually there are one or two pillars on both longitudinal walls, but three in the largest surviving buttress church, the Tornio church. With a few exceptions, the west end of the church has a pointed tower. _Main image: Temmes Church._ 18c:T917,## Temmes Church Temmes became a part of the Liminka parish 1766 and an independent parish since 1899. Today Temmes is part of the Tyrnävä parish. **Temmes' church, completed in 1767, is one of the last buttressed churches built. It was designed and built by local Antti Louet**. According to the story, he was commissioned to build a chapel but instead built the church without permission. The building was not consecrated as a church until 1775, eight years after its completion. The church's west tower, a two-story Renaissance tower, is half-set into the west end of the main room. The sacristy is located on the north end of the main room. The low extra space on the south side of the main room was added in 1847, with the aim of expanding the church hall. On the roof of the bell tower and at the east end of the building, there are two weathercocks. The altarpiece with its columns and triangular heads dates from 1847. The angular altar rail has baluster reliefs and the altarpiece is painted imitating different types of marbling. The altarpiece, painted by **Carl Christoffer Stadigh** from Raahe in 1847, consists of three subjects: an altarpiece depicting the Crucifixion, the lower part of which is an adaptation of Leonardo da Vinci's Last Supper, and the Lamb of Victory in the front triangle. The five-sided, round-curved pulpit was completed at the same time as the church. The black and gray marbled pulpit has a blue spiral band at the bottom, and its mirrors are edged with green paint. In connection with the stone fence of the churchyard, there is a log gatehouse with a pyramidal roof, which was most likely also built by Antti Louet. **Next to the church gate stands a pauper statues made by Juho Kandelberg in 1858, which is the largest in Finland,** measuring no less than two meters in length. The memorial cross in the War Heroes' cemetery in the churchyard was designed by sculptor Ilmari Wirkkala and was unveiled in 1956. ## Opening hours: - Open June-July; on Tuesdays, Thursdays, Saturdays and Sundays at 12-16. _Image description:_ - _1:_ _Tyrnävä_ _parish_ - _2:_ _Museovirasto_ _/ Historian_ _kuvakokoelma_ _(1880-1899)_ - _3-4: Samuli_ _Paulaharju_ _/_ _Museovirasto_ _(1912)_ - _5: Marja-Terttu_ _Knapas_ _/_ _Museovirasto_ _(1981)_ 18d:T917,## Temmes Church Temmes became a part of the Liminka parish 1766 and an independent parish since 1899. Today Temmes is part of the Tyrnävä parish. **Temmes' church, completed in 1767, is one of the last buttressed churches built. It was designed and built by local Antti Louet**. According to the story, he was commissioned to build a chapel but instead built the church without permission. The building was not consecrated as a church until 1775, eight years after its completion. The church's west tower, a two-story Renaissance tower, is half-set into the west end of the main room. The sacristy is located on the north end of the main room. The low extra space on the south side of the main room was added in 1847, with the aim of expanding the church hall. On the roof of the bell tower and at the east end of the building, there are two weathercocks. The altarpiece with its columns and triangular heads dates from 1847. The angular altar rail has baluster reliefs and the altarpiece is painted imitating different types of marbling. The altarpiece, painted by **Carl Christoffer Stadigh** from Raahe in 1847, consists of three subjects: an altarpiece depicting the Crucifixion, the lower part of which is an adaptation of Leonardo da Vinci's Last Supper, and the Lamb of Victory in the front triangle. The five-sided, round-curved pulpit was completed at the same time as the church. The black and gray marbled pulpit has a blue spiral band at the bottom, and its mirrors are edged with green paint. In connection with the stone fence of the churchyard, there is a log gatehouse with a pyramidal roof, which was most likely also built by Antti Louet. **Next to the church gate stands a pauper statues made by Juho Kandelberg in 1858, which is the largest in Finland,** measuring no less than two meters in length. The memorial cross in the War Heroes' cemetery in the churchyard was designed by sculptor Ilmari Wirkkala and was unveiled in 1956. ## Opening hours: - Open June-July; on Tuesdays, Thursdays, Saturdays and Sundays at 12-16. _Image description:_ - _1:_ _Tyrnävä_ _parish_ - _2:_ _Museovirasto_ _/ Historian_ _kuvakokoelma_ _(1880-1899)_ - _3-4: Samuli_ _Paulaharju_ _/_ _Museovirasto_ _(1912)_ - _5: Marja-Terttu_ _Knapas_ _/_ _Museovirasto_ _(1981)_ 18e:T1183,## Muhos Church Muhos originally belonged to the parish of Salo, from where it was transferred to Liminka in 1477, when that gained independence. Then it became part of the Oulu parish in 1610, when that seceded as its own parish. The parish of Muhos gained independence in 1766. The first church was apparently built in the 16th century in Kirkkosaari. The second church was built in Kirkkoniemi. \*\*The current third church in Muhos, consecrated in 1634, is the second oldest wooden church still in use in Finland. \*\*It is a rectangular buttressed church, which is believed to have been built by the tower-builder-Hannu. During the Great Wrath (1714–1721), the church was damaged by the Russians, but it was repaired after the war. A thorough repair was carried out in 1762 by the church builder Matti Honka. At the same time, a bell tower with two bells was built, representing the Ostrobothnian Renaissance style. Next to the bell tower, a pauper statue is located, sculpted by Elias Vainio in 1934. The church was renovated in 1872–1873 under the leadership of church builder Mikko Karjalahti in the neo-Gothic style. The interior ceiling was renewed to taper upwards, and the church tower was given its current shape. The outer walls of the church were boarded up and painted. The last renovation of the Muhos church was carried out in the 1980s, when both the interior and exterior were painted in colors from the 19th century. In 1984, the church received donations, including the coat of arms of the municipality of Muhos, church textiles and a missionary candlestick, in honor of its 350th anniversary. The church pulpit was made by sculptor Mikael Balt in the late 17th century. According to some tales, the sculpture on the pulpit canopy is a war booty from Germany from the Thirty-Year War. In the middle stands the Savior holding a victory banner and a globe, flanked by angels in white. A dove, the symbol of the Holy Spirit, hangs in the canopy. **The church's wall paintings from 1773-1775 are by the church painter Emanuel Granberg.** Some of them were destroyed during the renovations of 1839. The paintings on the sacristy walls and on the balcony railings remain. The sacristy's pictorial compositions are, from left to right as you enter: Jesus on the Road to Emmaus, Jesus in the Home of Martha and Mary, Samuel anointing Saul as king, a painting with angel heads in the middle and the Hebrew name Yahweh in the middle, Jesus in Gethsemane, Peter Denying Jesus, The Sinful Woman Anoints Jesus' Feet, The Prodigal Son as a Swineherd, and the Good Shepherd above the door. On the balcony railing from left to right are the prophets Ezekiel, Isaiah, Jeremiah, and Daniel. On the right wall of the church is the Descent from the Cross, painted by Jacob Wallin in 1837. The altarpiece is Moses and the “brass serpent” (lat. Anguis Colchica), painted in oil on canvas by Emanuel Granberg in 1778. The chandeliers, brass sconces and candlesticks are mostly donations from parishioners, the oldest from the mid-18th century. Among these is the hymn board, made by a folk carpenter and considered the most beautiful in the diocese, donated around 1828 by the governor of Oulu County, Abraham Stjernschantz. The skillful decorative carvings on the hymn board depict the crucifixion and stylized human figures. The crowned woman in the middle is reminiscent of the Virgin Mary. The oldest objects in the church include a baptismal bowl made of pewter from 1707. Its wooden base dates to the mid-19th century, and it is decorated with eight angel heads. **There are three memorial monuments in the churchyard:** - in front of the church, a monument to those who fell in the Civil War - on the side, a memorial stone for those buried in the churchyard donated by Oulu artist V. Tuomainen for the church's 300th anniversary - and a memorial statue of the fallen heroes unveiled in 1949, sculpted by artist Martti Tarvainen ## Muhos Church is part of the Tiekirkko (Road Church) network: - Road Churches are **free and open** rest stops on your summer roadtrips - Book a guided tour Mon-Fri p. 08 533 1174 - Or book a tour from Church office (Mondays, Wednesdays, and Fridays) p. 040 134 5207 Image description: - *1: Muhos* *parish.* - *2-3: I.K. Inha / Museovirasto (1880-1899)* - *4: Museovirasto / Historian kuvakokoelma (1899)* - *5: Veikko Kiljunen / Museovirasto (1962)* 18f:T1183,## Muhos Church Muhos originally belonged to the parish of Salo, from where it was transferred to Liminka in 1477, when that gained independence. Then it became part of the Oulu parish in 1610, when that seceded as its own parish. The parish of Muhos gained independence in 1766. The first church was apparently built in the 16th century in Kirkkosaari. The second church was built in Kirkkoniemi. \*\*The current third church in Muhos, consecrated in 1634, is the second oldest wooden church still in use in Finland. \*\*It is a rectangular buttressed church, which is believed to have been built by the tower-builder-Hannu. During the Great Wrath (1714–1721), the church was damaged by the Russians, but it was repaired after the war. A thorough repair was carried out in 1762 by the church builder Matti Honka. At the same time, a bell tower with two bells was built, representing the Ostrobothnian Renaissance style. Next to the bell tower, a pauper statue is located, sculpted by Elias Vainio in 1934. The church was renovated in 1872–1873 under the leadership of church builder Mikko Karjalahti in the neo-Gothic style. The interior ceiling was renewed to taper upwards, and the church tower was given its current shape. The outer walls of the church were boarded up and painted. The last renovation of the Muhos church was carried out in the 1980s, when both the interior and exterior were painted in colors from the 19th century. In 1984, the church received donations, including the coat of arms of the municipality of Muhos, church textiles and a missionary candlestick, in honor of its 350th anniversary. The church pulpit was made by sculptor Mikael Balt in the late 17th century. According to some tales, the sculpture on the pulpit canopy is a war booty from Germany from the Thirty-Year War. In the middle stands the Savior holding a victory banner and a globe, flanked by angels in white. A dove, the symbol of the Holy Spirit, hangs in the canopy. **The church's wall paintings from 1773-1775 are by the church painter Emanuel Granberg.** Some of them were destroyed during the renovations of 1839. The paintings on the sacristy walls and on the balcony railings remain. The sacristy's pictorial compositions are, from left to right as you enter: Jesus on the Road to Emmaus, Jesus in the Home of Martha and Mary, Samuel anointing Saul as king, a painting with angel heads in the middle and the Hebrew name Yahweh in the middle, Jesus in Gethsemane, Peter Denying Jesus, The Sinful Woman Anoints Jesus' Feet, The Prodigal Son as a Swineherd, and the Good Shepherd above the door. On the balcony railing from left to right are the prophets Ezekiel, Isaiah, Jeremiah, and Daniel. On the right wall of the church is the Descent from the Cross, painted by Jacob Wallin in 1837. The altarpiece is Moses and the “brass serpent” (lat. Anguis Colchica), painted in oil on canvas by Emanuel Granberg in 1778. The chandeliers, brass sconces and candlesticks are mostly donations from parishioners, the oldest from the mid-18th century. Among these is the hymn board, made by a folk carpenter and considered the most beautiful in the diocese, donated around 1828 by the governor of Oulu County, Abraham Stjernschantz. The skillful decorative carvings on the hymn board depict the crucifixion and stylized human figures. The crowned woman in the middle is reminiscent of the Virgin Mary. The oldest objects in the church include a baptismal bowl made of pewter from 1707. Its wooden base dates to the mid-19th century, and it is decorated with eight angel heads. **There are three memorial monuments in the churchyard:** - in front of the church, a monument to those who fell in the Civil War - on the side, a memorial stone for those buried in the churchyard donated by Oulu artist V. Tuomainen for the church's 300th anniversary - and a memorial statue of the fallen heroes unveiled in 1949, sculpted by artist Martti Tarvainen ## Muhos Church is part of the Tiekirkko (Road Church) network: - Road Churches are **free and open** rest stops on your summer roadtrips - Book a guided tour Mon-Fri p. 08 533 1174 - Or book a tour from Church office (Mondays, Wednesdays, and Fridays) p. 040 134 5207 Image description: - *1: Muhos* *parish.* - *2-3: I.K. Inha / Museovirasto (1880-1899)* - *4: Museovirasto / Historian kuvakokoelma (1899)* - *5: Veikko Kiljunen / Museovirasto (1962)* 190:T96a,## Utajärvi Church The entire Oulujokilaakso belonged to the Liminka parish from the end of the 15th century to the beginning of the 17th century, until it became part of the Oulu parish. Utajärvi was a chapel parish of Muhos from the beginning of the 1760s and became independent in 1886. **The buttressed church with its west tower in Utajärvi was completed in 1762.** The church's master builder was Heikki Väänänen from Ylikiiminki. The bell tower was also built by Väänänen in 1764. During the renovations of 1894, the county architect Julius Basilier changed the church's exterior to a neo-Gothic style in keeping with the spirit of the time. The master builder was Juho Jaakko Kuorikoski from Kaustinen. \*\*The original appearance was restored in the restoration work carried out in 1970. \*\*The restoration was designed by Esko Järventaus, a professor of architecture at the University of Oulu. The church's most recent renovation was in 2009. There is hardly any original interior left in the church. The church's original altarpiece from 1838 depicted the resurrection of Jesus. It was painted by Jacob Wallin, the owner of the Koistila farm in the Laitasaari village of Muhos. The painting burned down during the renovation of the church, and the current altarpiece was painted by artist Olli Miettinen in 1949, using the same subject as Wallin's original painting. The War Heroes' graveyard was designed on the south side of the church under the direction of architect Uki Heikkinen. The relief on the Heroes\` memorial monument was designed by sculptor Oskari Jauhiainen. In 1958, a red granite monument to the deceased who died in Karelia was placed on the north-west side of the church. All that remains of the old churchyard is a cast-iron cross with stone pillars and chains erected on the grave of chaplain Emanuel Kolström, who died in 1852, on the south-east side of the church. ## Utajärvi Church is part of the Tiekirkot (Road Churches) network: - Road Churches are **free** and **open** rest stops on your summer roadtrips - Sunday **21.6.2026** at 11-15 The opening ceremony of the church and museum - Open **28.6.- 9.8.2026**, Tue - Fri at 12–15, Sundays at 11–15. *Image description:* - *1:* *Utajärvi* *parish.* - *2:* *Museovirasto* */ Historian* *kuvakokoelma* *(1899)* - *3: Martti Jokinen /* *Museovirasto* *(2002)* 191:T96a,## Utajärvi Church The entire Oulujokilaakso belonged to the Liminka parish from the end of the 15th century to the beginning of the 17th century, until it became part of the Oulu parish. Utajärvi was a chapel parish of Muhos from the beginning of the 1760s and became independent in 1886. **The buttressed church with its west tower in Utajärvi was completed in 1762.** The church's master builder was Heikki Väänänen from Ylikiiminki. The bell tower was also built by Väänänen in 1764. During the renovations of 1894, the county architect Julius Basilier changed the church's exterior to a neo-Gothic style in keeping with the spirit of the time. The master builder was Juho Jaakko Kuorikoski from Kaustinen. \*\*The original appearance was restored in the restoration work carried out in 1970. \*\*The restoration was designed by Esko Järventaus, a professor of architecture at the University of Oulu. The church's most recent renovation was in 2009. There is hardly any original interior left in the church. The church's original altarpiece from 1838 depicted the resurrection of Jesus. It was painted by Jacob Wallin, the owner of the Koistila farm in the Laitasaari village of Muhos. The painting burned down during the renovation of the church, and the current altarpiece was painted by artist Olli Miettinen in 1949, using the same subject as Wallin's original painting. The War Heroes' graveyard was designed on the south side of the church under the direction of architect Uki Heikkinen. The relief on the Heroes\` memorial monument was designed by sculptor Oskari Jauhiainen. In 1958, a red granite monument to the deceased who died in Karelia was placed on the north-west side of the church. All that remains of the old churchyard is a cast-iron cross with stone pillars and chains erected on the grave of chaplain Emanuel Kolström, who died in 1852, on the south-east side of the church. ## Utajärvi Church is part of the Tiekirkot (Road Churches) network: - Road Churches are **free** and **open** rest stops on your summer roadtrips - Sunday **21.6.2026** at 11-15 The opening ceremony of the church and museum - Open **28.6.- 9.8.2026**, Tue - Fri at 12–15, Sundays at 11–15. *Image description:* - *1:* *Utajärvi* *parish.* - *2:* *Museovirasto* */ Historian* *kuvakokoelma* *(1899)* - *3: Martti Jokinen /* *Museovirasto* *(2002)* 192:T945,## Kempele Old Church **Kempele Church is** **one** **of** **the** **oldest** **churches** **in Finland.** Kempele was founded as a chapel in Liminka in 1688 and the parish church was built under the leadership of **Matti Härmä**, a church builder from Ängeslevä in Liminka,\*\* in 1689-1691. \*\* The buttressed church with a west tower is one of the smallest of its type, with only one pair of pillars. To the north of the church is the sacristy and to the south is the former armory, which currently serves as a bridal room. The church's 26-meter-high tower once served as a navigation aid for sailors. The Ostrobothnian Renaissance bell tower with a through aisle was built under the leadership of master builder **Heikki Väänänen** in 1768-1769. There is a cemetery around the church, the oldest graves of which date back to the late 18th century. There are about 150 older graves in the vaults under the church. Wealthy landowners and other notable people were buried in the church. Burial in the church ended in 1796. **On** **the** **walls** **and in** **the** **vault** **are** **paintings** **by** **Mikael** **Toppelius** **from** **1785 to 1795.** Among them, *the* *Annunciation* on the north wall and the *Descent* *from* *the* *Cross* on the west wall are the most beautiful ecclesiastical works of art of the 18th century. The Descent from the Cross was influenced by copperplate drawings of a similar work by Rubens. On the altar wall are the *Crucifixion* and the *Resurrection*, above the altar window is the *Holy* *Trinity*. On the south wall are depicted the *Jacob* *wrestling* *with* *the* *Angel* and *Samuel* *anointing* *David*. Toppelius also painted the evangelists in the pulpit. The pentagonal pulpit basket is supported by a wooden sculpture depicting St. Christopher. The church walls and vaults also feature paintings by church painter **Emanuel** **Granberg**. ## Kempele Old Church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Open **8.6.-30.7.2026,** Mon-Thu klo 11-16 *Image* *credits:* - *1: Kempele* *parish* */ Seppo Sivonen.* - *2-3: Central Archive for* *Finnish* *Business Records.* - *4-5:* *The* *Finnish* *Heritage* *Agency* */* *The* *Press Photo Archive JOKA (1961).* 193:T945,## Kempele Old Church **Kempele Church is** **one** **of** **the** **oldest** **churches** **in Finland.** Kempele was founded as a chapel in Liminka in 1688 and the parish church was built under the leadership of **Matti Härmä**, a church builder from Ängeslevä in Liminka,\*\* in 1689-1691. \*\* The buttressed church with a west tower is one of the smallest of its type, with only one pair of pillars. To the north of the church is the sacristy and to the south is the former armory, which currently serves as a bridal room. The church's 26-meter-high tower once served as a navigation aid for sailors. The Ostrobothnian Renaissance bell tower with a through aisle was built under the leadership of master builder **Heikki Väänänen** in 1768-1769. There is a cemetery around the church, the oldest graves of which date back to the late 18th century. There are about 150 older graves in the vaults under the church. Wealthy landowners and other notable people were buried in the church. Burial in the church ended in 1796. **On** **the** **walls** **and in** **the** **vault** **are** **paintings** **by** **Mikael** **Toppelius** **from** **1785 to 1795.** Among them, *the* *Annunciation* on the north wall and the *Descent* *from* *the* *Cross* on the west wall are the most beautiful ecclesiastical works of art of the 18th century. The Descent from the Cross was influenced by copperplate drawings of a similar work by Rubens. On the altar wall are the *Crucifixion* and the *Resurrection*, above the altar window is the *Holy* *Trinity*. On the south wall are depicted the *Jacob* *wrestling* *with* *the* *Angel* and *Samuel* *anointing* *David*. Toppelius also painted the evangelists in the pulpit. The pentagonal pulpit basket is supported by a wooden sculpture depicting St. Christopher. The church walls and vaults also feature paintings by church painter **Emanuel** **Granberg**. ## Kempele Old Church is part of the Tiekirkot (Roadside churches) network: - Roadside churches are **free** **and open** **rest** **stops** on your summer road trips - Open **8.6.-30.7.2026,** Mon-Thu klo 11-16 *Image* *credits:* - *1: Kempele* *parish* */ Seppo Sivonen.* - *2-3: Central Archive for* *Finnish* *Business Records.* - *4-5:* *The* *Finnish* *Heritage* *Agency* */* *The* *Press Photo Archive JOKA (1961).* 194:T7f4,## Buttress Churches **Check out the Art Program of Church to Church –route – **[**click here!**](https://oulu2026.eu/en/event/?localhub_page_id=68b8246806478b26f4543fd2&localhub_origin_widget_id=68ade7e1ca34b90c140357cd) **The buttress church is an almost exclusively Finnish and especially northern Finnish type of structure. ** A total of about a hundred buttress churches have been built, of which twelve have survived. The first ones were probably built as early as the end of the 15th century and the last at the end of the 18th century. The oldest surviving one is the Vöyri Church, completed in 1627. However, it was expanded into a cruciform church in 1777. The Muhos Church, which was completed no later than 1634, has survived almost in its original form. A large number of buttress churches have disappeared. They have burned down in fires or been demolished to make way for new one - so, we have lost, for example, the old wooden cathedral of Oulu, the church of St. Lawrence in Ii, and the churches of Hailuoto and Saloinen. **Structurally, a buttress church is a basilica type, in which the joints of the wall logs are placed inside hollow buttresses.** The pillars are visible as protrusions on both the outside and inside of the church's exterior walls. Buttresses are four-sided log capsules, the height of the wall, with a dovetail joint in all four corners. The logs of the walls are connected to the side walls of the capsules with a dovetail joint. The purpose of the buttresses is to make a long log exterior wall more stable, which exceeds the length of one log, because long log walls are prone to bulging outwards from their upper edge. The structure is also supported inside the church with transverse tie logs in the church hall. Usually there are one or two pillars on both longitudinal walls, but three in the largest surviving buttress church, the Tornio church. With a few exceptions, the west end of the church has a pointed tower. _Main image: Temmes Church._ 195:T5c9,The latest member of the local museum family, the Crown Granary sheds light on Raahe’s past from prehistory to modern times and also currently holds the famous oldest diving suit in the world, called "the Old Gentleman". At this museum, you get to do more than just look at the items on display, as touching and trying things out are very much permitted. Between experiencing the museum’s other content, visitors can pet the seal lady Harmastus, try on a heavy diver’s helmet, lift loads with pulleys or work on an ancient Giant’s Church stone enclosure. At the **Crown Granary Museum**, visitors can board a sailing ship in the _On the Home Lane_ game and steer it towards an anchorage (the “roads”) near the home harbour. At _Story Corner_, visitors will hear and see depictions of life in old Raahe: The _Lath Ladies_ conversation sheds light on the work and lives of women at the sawmill, _The Countess of Raahe_ tells of a sailor’s widow struggling to make a living without her husband’s financial and social support, while _The Offer That Cannot Be Dismissed_ recounts the true story of a wealthy merchant’s illegitimate daughter who became a sea captain’s wife. More recent history also features in the Crown Granary’s new content: the city’s largest industrial enterprise, **Rautaruukki**, is presented not only with extensive informational material but also with a playful twist through the retro-style side-scrolling game _Let’s Make Steel._ 196:T5c9,The latest member of the local museum family, the Crown Granary sheds light on Raahe’s past from prehistory to modern times and also currently holds the famous oldest diving suit in the world, called "the Old Gentleman". At this museum, you get to do more than just look at the items on display, as touching and trying things out are very much permitted. Between experiencing the museum’s other content, visitors can pet the seal lady Harmastus, try on a heavy diver’s helmet, lift loads with pulleys or work on an ancient Giant’s Church stone enclosure. At the **Crown Granary Museum**, visitors can board a sailing ship in the _On the Home Lane_ game and steer it towards an anchorage (the “roads”) near the home harbour. At _Story Corner_, visitors will hear and see depictions of life in old Raahe: The _Lath Ladies_ conversation sheds light on the work and lives of women at the sawmill, _The Countess of Raahe_ tells of a sailor’s widow struggling to make a living without her husband’s financial and social support, while _The Offer That Cannot Be Dismissed_ recounts the true story of a wealthy merchant’s illegitimate daughter who became a sea captain’s wife. More recent history also features in the Crown Granary’s new content: the city’s largest industrial enterprise, **Rautaruukki**, is presented not only with extensive informational material but also with a playful twist through the retro-style side-scrolling game _Let’s Make Steel._ 197:T454,The town hall designed by C.L. Engel was completed in 1831 and is the most important and oldest building in the Kajaani city center. The town hall was where the town council and court used to deliver endless sentences to those who had strayed from the straight and narrow for over a hundred years. The town council used the town hall as its meeting place until the early 1950s. Many a celebration also took place in the town hall in the 1800s – after all, there were no other suitable facilities in the region. The building looks nearly the same as back then. It was renovated in 1985–1990 and the City of Kajaani was granted a building conservation prize by the Oulu province for this work. Since the renovation, the town hall has served as an office for the various agencies of the City of Kajaani and has the city’s tourist information service. The Elias Lönnrot centre has been operating in the building since February 2007. The Raatihuoneentori square located in front of the town hall was previously the centre of business in Kajaani and the place for organising two major markets each year. 198:T454,The town hall designed by C.L. Engel was completed in 1831 and is the most important and oldest building in the Kajaani city center. The town hall was where the town council and court used to deliver endless sentences to those who had strayed from the straight and narrow for over a hundred years. The town council used the town hall as its meeting place until the early 1950s. Many a celebration also took place in the town hall in the 1800s – after all, there were no other suitable facilities in the region. The building looks nearly the same as back then. It was renovated in 1985–1990 and the City of Kajaani was granted a building conservation prize by the Oulu province for this work. Since the renovation, the town hall has served as an office for the various agencies of the City of Kajaani and has the city’s tourist information service. The Elias Lönnrot centre has been operating in the building since February 2007. The Raatihuoneentori square located in front of the town hall was previously the centre of business in Kajaani and the place for organising two major markets each year. 199:T4cb,Rådhuset, som ritades av C.L. Engel, färdigställdes år 1831 och är en kulturhistoriskt betydelsefull byggnad samt den äldsta bevarade byggnaden i centrala Kajana. I rådhuset sammanträdde stadens magistrat och rådstugurätt, som under ett par hundra år utdömde otaliga domar åt dem som avvikit från samhällets rätta väg. Stadsfullmäktige använde rådhuset som mötesplats fram till början av 1950-talet. Även nöjestillställningar ordnades flitigt i rådhuset under 1800-talet, då det inte fanns andra lokaler i trakten som lämpade sig för ändamålet. Rådhuset har bevarats i nästan ursprungligt skick. Rådhuset restaurerades åren 1985–1990, och Kajana stad tilldelades Uleåborgs läns byggnadsvårdspris för arbetet. Efter restaureringen har rådhuset fungerat som kontor för olika av stadens förvaltningar samt som turistinformation. Elias Lönnrot-centret har varit verksamt i byggnaden sedan februari 2007. Centret ordnar också öppet hus-dagar, då allmänheten har möjlighet att bekanta sig med rådhuset och Lönnrot-sällskapets verksamhet. Rådhustorget framför byggnaden var tidigare Kajanas centrum för handel och näringsliv, där två viktiga marknader ordnades årligen. 19a:T4f3,The memorial house, modeled after Eino Leino's birthplace, located in Paltaniemi, Kajaani, tells the story of two great Finnish writers, Elias Lönnrot and Eino Leino. The house is open to the public during the summer, and at other times by appointment. The Eino Leino House is a memorial house built on the shores of Lake Oulujärvi, modeled after Eino Leino's birthplace, Hövelö. Hövelö was originally a croft where Elias Lönnrot lived in 1834–35. The Lönnbohm family moved to Paltaniemi in 1859 and expanded the croft into a house. The old Hövelö fell into disrepair and was demolished. The memorial house was inaugurated in 1978, 100 years after Eino Leino's birth. The house has a summer café, a book exhibition and a photo exhibition about the lives of Eino Leino and Elias Lönnrot. Eino Leino's photo exhibition also includes texts in English and German. There are art exhibitions in the nearby Lystinurmi barn. The yard features a monument of Leino, a wide view of Lake Oulujärvi, and in the summer, the Paltaniemi Theatre. The Eino Leino Memorial House is well suited for individual tourists and groups. Paid guided tours are available if needed. The Emperor's Stable and the Paltaniemi Old Church are also located near the Eino Leino House. 19b:T4f3,The memorial house, modeled after Eino Leino's birthplace, located in Paltaniemi, Kajaani, tells the story of two great Finnish writers, Elias Lönnrot and Eino Leino. The house is open to the public during the summer, and at other times by appointment. The Eino Leino House is a memorial house built on the shores of Lake Oulujärvi, modeled after Eino Leino's birthplace, Hövelö. Hövelö was originally a croft where Elias Lönnrot lived in 1834–35. The Lönnbohm family moved to Paltaniemi in 1859 and expanded the croft into a house. The old Hövelö fell into disrepair and was demolished. The memorial house was inaugurated in 1978, 100 years after Eino Leino's birth. The house has a summer café, a book exhibition and a photo exhibition about the lives of Eino Leino and Elias Lönnrot. Eino Leino's photo exhibition also includes texts in English and German. There are art exhibitions in the nearby Lystinurmi barn. The yard features a monument of Leino, a wide view of Lake Oulujärvi, and in the summer, the Paltaniemi Theatre. The Eino Leino Memorial House is well suited for individual tourists and groups. Paid guided tours are available if needed. The Emperor's Stable and the Paltaniemi Old Church are also located near the Eino Leino House. 19c:T6d6,**Kajaani Art Museum – small but great! Check out the wide range of exhibitions at the museum located in the former police station designed by Eino Pitkänen in 1936.** The Kajaani Art Museum offers a high-quality range of modern art and history of art of both national and international interest. Follow museum's social media channels and website for information about the exhibitions and events and pop right in! In addition to different exhibitions, the museum has plenty of performances, guided tours, workshops, lectures and other events. You can see works of art from the museum's collections in many public spaces and parks. The Kajaani Art Museum will be exhibiting the exhibition **RakasKuitu** by Kainuu artists Riikka Keränen, Heidi Kilpeläinen and Mayumi Niiranen-Hisatomi in the fall of 2026. The exhibition awakens us to see the diversity of fibers as a life-sustaining resource. The artists reflect from different perspectives on where and how we encounter fibers in our everyday lives, what fibers are and what they mean to us. The RakasKuitu exhibition will involve young people from Kainuu through workshops. The artists will organize a workshop tour for young people in late summer 2026, touring the municipalities of Kainuu by van. In the free, low-threshold workshops of the workshop tour, works will be worked on that will be part of the RakasKuitu exhibition, which will open in October 2026. The exhibition will feature both the artists' works and the works worked on by young people in the workshops. **Other exhibitions in 2026 include:** - Anna Retulainen – Memory, from January 24 to April 25, 2026 - Biological | Phenomena, from May 16 to September 20, 2026 Free admission to the museum and its exhibition! 19d:T6d6,**Kajaani Art Museum – small but great! Check out the wide range of exhibitions at the museum located in the former police station designed by Eino Pitkänen in 1936.** The Kajaani Art Museum offers a high-quality range of modern art and history of art of both national and international interest. Follow museum's social media channels and website for information about the exhibitions and events and pop right in! In addition to different exhibitions, the museum has plenty of performances, guided tours, workshops, lectures and other events. You can see works of art from the museum's collections in many public spaces and parks. The Kajaani Art Museum will be exhibiting the exhibition **RakasKuitu** by Kainuu artists Riikka Keränen, Heidi Kilpeläinen and Mayumi Niiranen-Hisatomi in the fall of 2026. The exhibition awakens us to see the diversity of fibers as a life-sustaining resource. The artists reflect from different perspectives on where and how we encounter fibers in our everyday lives, what fibers are and what they mean to us. The RakasKuitu exhibition will involve young people from Kainuu through workshops. The artists will organize a workshop tour for young people in late summer 2026, touring the municipalities of Kainuu by van. In the free, low-threshold workshops of the workshop tour, works will be worked on that will be part of the RakasKuitu exhibition, which will open in October 2026. The exhibition will feature both the artists' works and the works worked on by young people in the workshops. **Other exhibitions in 2026 include:** - Anna Retulainen – Memory, from January 24 to April 25, 2026 - Biological | Phenomena, from May 16 to September 20, 2026 Free admission to the museum and its exhibition! 19e:T6cf,**Kajana konstmuseum – magnifikt för sin storlek! Upptäck det mångsidiga utställningsutbudet i polisbyggnaden ritad av Eino Pitkänen från 1936.** Kajana konstmuseum erbjuder varje år ett högkvalitativt urval av samtida konst och konsthistoria av nationellt och internationellt intresse. Följ våra utställningar och evenemangserbjudanden på våra sociala mediekanaler och webbplats och kom förbi! Utöver de fyra utställningarna har museet ett brett utbud av föreställningar, guidade turer, workshops, föreläsningar och andra evenemang. Du kan se konstverk från våra samlingar på många offentliga platser och i parker. Kajana konstmuseum visar hösten 2026 utställningen **RakasKuitu** av Kajanakonstnärerna Riikka Keränen, Heidi Kilpeläinen och Mayumi Niiranen-Hisatomi. Utställningen väcker oss till att se fibrernas mångfald som en livsuppehållande resurs. Konstnärerna reflekterar utifrån olika perspektiv över var och hur vi möter fibrer i vår vardag, vad fibrer är och vad de betyder för oss. Utställningen RakasKuitu involverar unga människor från Kajanaland genom workshops. Konstnärerna kommer att ordna en workshopturné för unga i sensommaren 2026, där de besöker Kajanalands kommuner med minibuss. I workshopturnéns kostnadsfria och lågtröskelbaserade workshops kommer verk att bearbetas som kommer att ingå i RakasKuitu-utställningen, som öppnar i oktober 2026. Utställningen kommer att visa både konstnärernas verk och de verk som unga människor bearbetat i workshopparna. **Andra utställningar år 2026 omfattar:** - Anna Retulainen – Memory, 24 januari – 25 april 2026 - Biological | Phenomena, 16 maj – 20 september 2026 Det är fritt inträde till museet! 19f:T40b,Kaukametsä Congress and Cultural Cente has been awarded for its architecture. It is located just next to the city center of Kajaani, by the River Kajaaninjoki. Kaukametsä is a busy event spot that offers for example concerts of the top artists in Finland, jazz and classical music, opera, stand up comedy, local music and lectures. The biggest annual events are Kajaani Poetry Week and Kajaani Dance Festival. Kainuu Music Institute and Kaukametsä Civic Centre are also a part of the Congress and Cultural Centre. In addition to these, the Kaukametsä area also includes Kaukavesi Aquatics Centre and Hotel Kajanus. They are connected by an underground tunnel. Kaukametsä is one of the key venues in Kajaani’s Oulu2026 programme. It will host the second day of the Kajaani Oulu2026 opening celebrations on January 24, 2026, and will also serve as an important venue for Kajaani Poetry Week in July 2026. Events in Kaukametsä in 2026: - Kainuu Culture Forum, February 21, from 9am to 1 pm - Kajaani Poetry Week, July 1–5 1a0:T40b,Kaukametsä Congress and Cultural Cente has been awarded for its architecture. It is located just next to the city center of Kajaani, by the River Kajaaninjoki. Kaukametsä is a busy event spot that offers for example concerts of the top artists in Finland, jazz and classical music, opera, stand up comedy, local music and lectures. The biggest annual events are Kajaani Poetry Week and Kajaani Dance Festival. Kainuu Music Institute and Kaukametsä Civic Centre are also a part of the Congress and Cultural Centre. In addition to these, the Kaukametsä area also includes Kaukavesi Aquatics Centre and Hotel Kajanus. They are connected by an underground tunnel. Kaukametsä is one of the key venues in Kajaani’s Oulu2026 programme. It will host the second day of the Kajaani Oulu2026 opening celebrations on January 24, 2026, and will also serve as an important venue for Kajaani Poetry Week in July 2026. Events in Kaukametsä in 2026: - Kainuu Culture Forum, February 21, from 9am to 1 pm - Kajaani Poetry Week, July 1–5 1a1:T58b,Kajaani City Theatre is one of Finland’s leading theatres and also one of Finland’s five regional theatres. It tours mainly within the Provinces of Kainuu and Northern Ostrobothnia, which consist of 38 municipalities with the population totalling 300,000. Kajaani City Theatre started as an ensemble-based repertoary theatre over a century ago. Today it is well-known for its ambitious and open-minded approach towards arts, society at large and manifestations of diversity in human experience with a special focus on issues relevant to the people in the region. The select plays are often Finnish novelties premiering in Kajaani. The theater’s annual program includes on average five premieres. This amounts to approximately 300 performances - with one third of them are performed on tour. We are a place to come together, to share, to reflect, to play, to escape, to discover, to laugh and to to cry. **The Sissilinna Stage serves as the home stage of the regional theatre. **The audience area in Sissilinna has 82 seats, and performances are also occasionally held in the cozy chamber hall. The comprehensive renovation of Sissilinna was completed in autumn 2022. Parking for Sissilinna audiences is available in front of the building on Asemakatu and in the riverside parking area. Kajaani City Theatre’s other stage is located in the Theatre House at Kauppakatu 14, only 300 metres from Sissilinna. 1a2:T548,Kajana stadsteater är en av Finlands ledande teatrar och även en av landets fem regionteatrar. Den turnerar främst inom Kajanaland och Norra Österbotten, som omfattar 38 kommuner med en sammanlagd befolkning på 300 000 invånare. Kajana stadsteater startade som en ensemblestyrd repertoarteater för över hundra år sedan. I dag är den känd för sin ambitiösa och öppensinnade inställning till konst, samhälle och mångfalden i mänskliga erfarenheter, med särskilt fokus på frågor som är relevanta för människorna i regionen. De utvalda pjäserna är ofta finländska nyheter som får sin premiär i Kajana. Teaterns årliga program omfattar i genomsnitt fem premiärer, vilket innebär cirka 300 föreställningar – varav en tredjedel ges på turné. Vi är en plats för att mötas, dela, reflektera, leka, fly, upptäcka, skratta och gråta. **Scenen i Sissilinna fungerar som regionteaterns hemmascen.** Salongen i Sissilinna har 82 platser, och föreställningar ordnas tidvis också i den trivsamma kammaren. Den grundliga renoveringen av Sissilinna färdigställdes hösten 2022. För Sissilinnas publik finns parkeringsplatser framför byggnaden på Asemakatu samt på parkeringsområdet nere vid älvstranden. Kajana stadsteaters andra scen finns i Teaterhuset på Kauppagatan 14, endast 300 meter från Sissilinna. 1a3:T58b,Kajaani City Theatre is one of Finland’s leading theatres and also one of Finland’s five regional theatres. It tours mainly within the Provinces of Kainuu and Northern Ostrobothnia, which consist of 38 municipalities with the population totalling 300,000. Kajaani City Theatre started as an ensemble-based repertoary theatre over a century ago. Today it is well-known for its ambitious and open-minded approach towards arts, society at large and manifestations of diversity in human experience with a special focus on issues relevant to the people in the region. The select plays are often Finnish novelties premiering in Kajaani. The theater’s annual program includes on average five premieres. This amounts to approximately 300 performances - with one third of them are performed on tour. We are a place to come together, to share, to reflect, to play, to escape, to discover, to laugh and to to cry. **The Sissilinna Stage serves as the home stage of the regional theatre. **The audience area in Sissilinna has 82 seats, and performances are also occasionally held in the cozy chamber hall. The comprehensive renovation of Sissilinna was completed in autumn 2022. Parking for Sissilinna audiences is available in front of the building on Asemakatu and in the riverside parking area. Kajaani City Theatre’s other stage is located in the Theatre House at Kauppakatu 14, only 300 metres from Sissilinna. 1a4:T4df,Kajaani City Theatre is one of Finland’s leading theatres and also one of Finland’s five regional theatres. It tours mainly within the Provinces of Kainuu and Northern Ostrobothnia, which consist of 38 municipalities with the population totalling 300,000. Kajaani City Theatre started as an ensemble-based repertoary theatre over a century ago. Today it is well-known for its ambitious and open-minded approach towards arts, society at large and manifestations of diversity in human experience with a special focus on issues relevant to the people in the region. The select plays are often Finnish novelties premiering in Kajaani. The theater’s annual program includes on average five premieres. This amounts to approximately 300 performances - with one third of them are performed on tour. We are a place to come together, to share, to reflect, to play, to escape, to discover, to laugh and to to cry. **The heart of theater in Kajaani is the main building of Kajaani City Theatre, located in Kauppakatu 14.** This warmhearted wooden building was fully renovated during 2022/2023. There are seats for 186 people. The other stage of Kajaani City Theatre is in Sissilinna, Asemakatu 6. It is only 300 meters from the main building. 1a5:T4df,Kajaani City Theatre is one of Finland’s leading theatres and also one of Finland’s five regional theatres. It tours mainly within the Provinces of Kainuu and Northern Ostrobothnia, which consist of 38 municipalities with the population totalling 300,000. Kajaani City Theatre started as an ensemble-based repertoary theatre over a century ago. Today it is well-known for its ambitious and open-minded approach towards arts, society at large and manifestations of diversity in human experience with a special focus on issues relevant to the people in the region. The select plays are often Finnish novelties premiering in Kajaani. The theater’s annual program includes on average five premieres. This amounts to approximately 300 performances - with one third of them are performed on tour. We are a place to come together, to share, to reflect, to play, to escape, to discover, to laugh and to to cry. **The heart of theater in Kajaani is the main building of Kajaani City Theatre, located in Kauppakatu 14.** This warmhearted wooden building was fully renovated during 2022/2023. There are seats for 186 people. The other stage of Kajaani City Theatre is in Sissilinna, Asemakatu 6. It is only 300 meters from the main building. 1a6:T49e,Kajana stadsteater är en av Finlands ledande teatrar och även en av landets fem regionteatrar. Den turnerar främst inom Kajanaland och Norra Österbotten, som omfattar 38 kommuner med en sammanlagd befolkning på 300 000 invånare. Kajana stadsteater startade som en ensemblestyrd repertoarteater för över hundra år sedan. I dag är den känd för sin ambitiösa och öppensinnade inställning till konst, samhälle och mångfalden i mänskliga erfarenheter, med särskilt fokus på frågor som är relevanta för människorna i regionen. De utvalda pjäserna är ofta finländska nyheter som får sin premiär i Kajana. Teaterns årliga program omfattar i genomsnitt fem premiärer, vilket innebär cirka 300 föreställningar – varav en tredjedel ges på turné. Vi är en plats för att mötas, dela, reflektera, leka, fly, upptäcka, skratta och gråta. **Hjärtat i teatern i Kajana är huvudbyggnaden för Kajana stadsteater på Kauppagatan 14.** Denna varmhjärtade träbyggnad renoverades helt under 2022/2023 och rymmer 186 sittplatser. Den andra scenen för Kajana stadsteater finns i Sissilinna på Järnvägsgatan 6, endast 300 meter från huvudbyggnaden. 1a7:T413,Kaukametsän Civic Centre organizes Tuu ja tee workshops in Kajaani for different target groups during the Capital of Culture year. The workshops will be held at the Kaukametsä Civic Centre premises at several times during the spring and autumn semesters of 2026. The workshops, led by the college's teachers, will cover topics such as ceramics, special craft techniques, story theater, body care, and learning Finnish through music. The workshops are one-off, 1–3 hours long (one lesson is 45 minutes long) and free of charge. The workshops are aimed at different target groups, such as immigrants, the elderly, students, families with children, the unemployed and those who have recently moved to Kajaani. The aim is to involve different target groups, including those in a weaker position, in activities that support inclusion and activate people in their own hometown. More information and registration for the workshops can be found at [++**uusi.opistopalvelut.fi/kaukametsa**++](https://uusi.opistopalvelut.fi/kaukametsa/en/)**.** 1a8:T413,Kaukametsän Civic Centre organizes Tuu ja tee workshops in Kajaani for different target groups during the Capital of Culture year. The workshops will be held at the Kaukametsä Civic Centre premises at several times during the spring and autumn semesters of 2026. The workshops, led by the college's teachers, will cover topics such as ceramics, special craft techniques, story theater, body care, and learning Finnish through music. The workshops are one-off, 1–3 hours long (one lesson is 45 minutes long) and free of charge. The workshops are aimed at different target groups, such as immigrants, the elderly, students, families with children, the unemployed and those who have recently moved to Kajaani. The aim is to involve different target groups, including those in a weaker position, in activities that support inclusion and activate people in their own hometown. More information and registration for the workshops can be found at [++**uusi.opistopalvelut.fi/kaukametsa**++](https://uusi.opistopalvelut.fi/kaukametsa/en/)**.** 1a9:T4aa,**Visit the Kainuu Museum’s basic exhibition, you will discover Kainuu’s history and culture from prehistoric times until the mid-20th century. The museum also has changing exhibitions.** The Kainuu Museum's Oulu2026 Capital of Culture celebration exhibition is **Pine Tar! **The exhibition celebrates the local tar tradition, the birth of tar, and tar's journey from Kainuu to Oulu and the world. It is on display from June 23, 2026 to January 9, 2027. Other exhibitions in 2026 include: - The National Museum of Finland visits Kajaani on February 14–15, 2026 - The Lost Professions of the City, from March 3 to May 31, 2026 The basic exhibition takes you from the different stages of the Kainuu Castle to the self-sufficient day-to-day lives of Kainuu residents and the early stages of industrialisation in Kainuu. You can also explore the history and growth of the city of Kajaani from a small town with wooden buildings to the capital of the region. The artefacts and images displayed in the exhibition originate mainly from the museum’s own archives compiled since the 1930s through active collection efforts and donations. Free admission to the museum and its exhibitions! 1aa:T4aa,**Visit the Kainuu Museum’s basic exhibition, you will discover Kainuu’s history and culture from prehistoric times until the mid-20th century. The museum also has changing exhibitions.** The Kainuu Museum's Oulu2026 Capital of Culture celebration exhibition is **Pine Tar! **The exhibition celebrates the local tar tradition, the birth of tar, and tar's journey from Kainuu to Oulu and the world. It is on display from June 23, 2026 to January 9, 2027. Other exhibitions in 2026 include: - The National Museum of Finland visits Kajaani on February 14–15, 2026 - The Lost Professions of the City, from March 3 to May 31, 2026 The basic exhibition takes you from the different stages of the Kainuu Castle to the self-sufficient day-to-day lives of Kainuu residents and the early stages of industrialisation in Kainuu. You can also explore the history and growth of the city of Kajaani from a small town with wooden buildings to the capital of the region. The artefacts and images displayed in the exhibition originate mainly from the museum’s own archives compiled since the 1930s through active collection efforts and donations. Free admission to the museum and its exhibitions! 1ab:T689,**The gorgeous Ärjänsaari Island is the jewel of Lake Oulujärvi. Long sandy beaches and high sand banks create a setting for a variety of beach activities. The trail that circles the island is around 10 km long.** Oulu2026 European Capital of Culture programme on Ärjänsaari: - Ärjä Arctic SwimRun, July 18, 2026 - Ärjä Art Festival, July 24–26, 2026 - Special cruise of the Oulujärvi Steamship Theatre to the Ärjä Art Festival, July 25, 2026 - Ärjä Arctic Swim Challenge, August 1, 2026 - Ärjä Arctic Swim, August 8, 2026 - Ärjä Arctic Trail Run, August 15, 2026 - Ärjä Arctic Walk, August 22, 2026 Most of the total surface area of Ärjänsaari is covered by forest land with mostly mature pine trees. The esker forest on the inner parts of the island is balanced with a lusher nemoral forest with many plant species typical of southern parts of the country. The natural attractions also include various formations caused by the wind located on the island shores, including sand dunes and blowing sand areas. The paths on the island are marked, there is no risk of getting lost, and tourists remain clearly visible on the trails. The trail that circles the island is around 10 km long, but you can also opt for a shorter hike by selecting a shorter section of the trail. The trails are easy to walk along and wet areas are covered by duckboards. ### **Services available on the Ärjänsaari Island include** - The Ärjänsaari summer café - boat transport - rental sauna - Metsähallitus’ rental huts - campfire sites and cooking shelter - lavatory - firewood shelters In the summer, you can participate in a biennially art festival. 1ac:T689,**The gorgeous Ärjänsaari Island is the jewel of Lake Oulujärvi. Long sandy beaches and high sand banks create a setting for a variety of beach activities. The trail that circles the island is around 10 km long.** Oulu2026 European Capital of Culture programme on Ärjänsaari: - Ärjä Arctic SwimRun, July 18, 2026 - Ärjä Art Festival, July 24–26, 2026 - Special cruise of the Oulujärvi Steamship Theatre to the Ärjä Art Festival, July 25, 2026 - Ärjä Arctic Swim Challenge, August 1, 2026 - Ärjä Arctic Swim, August 8, 2026 - Ärjä Arctic Trail Run, August 15, 2026 - Ärjä Arctic Walk, August 22, 2026 Most of the total surface area of Ärjänsaari is covered by forest land with mostly mature pine trees. The esker forest on the inner parts of the island is balanced with a lusher nemoral forest with many plant species typical of southern parts of the country. The natural attractions also include various formations caused by the wind located on the island shores, including sand dunes and blowing sand areas. The paths on the island are marked, there is no risk of getting lost, and tourists remain clearly visible on the trails. The trail that circles the island is around 10 km long, but you can also opt for a shorter hike by selecting a shorter section of the trail. The trails are easy to walk along and wet areas are covered by duckboards. ### **Services available on the Ärjänsaari Island include** - The Ärjänsaari summer café - boat transport - rental sauna - Metsähallitus’ rental huts - campfire sites and cooking shelter - lavatory - firewood shelters In the summer, you can participate in a biennially art festival. 1ad:T5db,**Den fantastiska ön Ärjänsaari är juvelen i Ule träsk. Långa sandstränder och höga sandbankar skapar en idealisk miljö för många olika strandaktiviteter. Stigen som går runt ön är cirka 10 kilometer lång.** Program inom Europas kulturhuvudstadsår Oulu2026 på Ärjänsaari: - Ärjä Arctic SwimRun, 18 juli 2026 - Ärjä konstfestival, 24–26 juli 2026 - Specialkryssning med Oulujärvi Ångbåtsteater till Ärjä konstfestival, 25 juli 2026 - Ärjä Arctic Swim Challenge, 1 augusti 2026 - Ärjä Arctic Swim, 8 augusti 2026 - Ärjä Arctic Trail Run, 15 augusti 2026 - Ärjä Arctic Walk, 22 augusti 2026 Största delen av Ärjänsaaris yta täcks av skogsmark med huvudsakligen mogna tallar. Åslandskapet i öns inre delar kompletteras av frodigare lundskog med många växtarter som är typiska för landets sydligare delar. Till öns naturattraktioner hör också olika vindformade formationer längs stränderna, såsom sanddyner och områden med flygsand. Stigarna på ön är markerade, risken att gå vilse är minimal och vandrare syns tydligt längs lederna. Stigen runt ön är cirka 10 kilometer lång, men det är även möjligt att välja kortare vandringar genom att följa delar av leden. Lederna är lättframkomliga och blötare partier är försedda med spångar. Service på Ärjänsaari omfattar: - Ärjänsaaris sommarkafé - båttransporter - bastu för uthyrning - Forststyrelsens uthyrningsstugor - eldstäder och vindskydd - toalett - vedbodar 1ae:T297d,_**From a unique early-20th-century industrial setting to an oasis of knowledge and culture…**_ **Dairy Street** The story of Meijerikatu—literally _Dairy Street_—unfolds as a living chronicle of Tyrnävä’s industrious spirit. This unique street took shape gradually, as the first dairy buildings were constructed—beginning from the southern end and extending toward the old highway. Each industrial structure rose where it best served its purpose, forming a dynamic cluster of enterprise that would define the area for decades. The first buildings emerged in the early 20th century: the dairy (1906; today known as Kivipirtti, renovated in 2010), the residential house for dairymaids (1906; converted into rental apartments in 1996), and the first cheese dairy (1913; now the Auditorium, restored in 2010). Following the traditional layout of the open plains, these buildings formed a square courtyard at the southern end of what is now Meijerikatu. Soon after, a cooperative store was erected at the northern end of the street. Over the next few years, more buildings joined the ensemble: the second cheese dairy (1917; later restored for use as apartments and the local heritage archive in 1995, and as a high school in 1998), and across the street, a mill, power station, and office building (1919; now the public library, renovated in 1994). The entire area pulsed with industrial activity. For farmers waiting with empty milk cans, the cooperative dairy built a wooden cottage (1919; today Pömilä Café, restored in 2006), where the cooperative store soon opened a café and dining service. The cobblestone path running through the area became affectionately known as the street. Until 1913, the Tyrnävä dairy produced only butter. With the founding of the Meijerikatu Cheese Dairy, Tyrnävä made history as Finland’s first training dairy for cheesemaking. Its first instructor, Master Cheesemaker August Sahlsten, had received his professional education under the renowned Swiss cheesemaker Christian Oesch. The facility was equipped with authentic Emmental machinery, and Valio organized the training program. Over a decade, Sahlsten trained twenty master cheesemakers, leaving a lasting mark on Finland’s dairy industry. Each year, a new group of trainee dairymaids moved into the residential building—soon nicknamed “the Convent” (Luostarila) due to the quiet dedication of its young residents and their disciplined routines. The dairy’s activity began to wane in the 1940s. Cheese production ceased in 1940, and the cheese kitchen along Meijerikatu was first taken over by a wheat mill, later replaced by the cooperative dairy’s machine wash facility (1949–1988). Milk reception ended in 1947, after which all milk was transported to Oulu. The original dairy building served as a warehouse, though financial transactions were still handled at the long-standing dairy office. In 1960, the southern cheese dairy was converted into a potato flake factory, as the cooperative dairy—together with Valio and Hankkija—expanded the facilities to include a dried potato plant. The company Tyrnävä Kuivaperuna Oy operated until 1963. Sawing activity continued into the early 1980s, and milling persisted until January 1993, when the mill relocated to new premises. In 1987, the Municipality of Tyrnävä purchased the 1913 cheese dairy and its adjacent cottage. Two years later, the dairy board agreed in principle to sell the remaining properties to the municipality. Though the area appeared dilapidated, local leaders shared a vision: the site must be preserved for its profound historical and landscape value. With support from the Ministry of the Environment, Tyrnävä purchased the entire dairy complex in 1991, ensuring its survival for future generations. The transformation of Tyrnävä’s historic dairy district into its present form took place gradually between 1991 and 2011, through eleven carefully planned renovation projects. Each phase was guided by a deep respect for history and craftsmanship. The architectural plans were created by local architects Maija Niemelä and Pentti Myllymäki, whose vision combined preservation with modern functionality. The total cost of the restoration reached €4.44 million, of which €2.92 million was covered by the municipality after receiving various project-based grants. The underlying principle was simple yet profound: to preserve the district’s history within its buildings and surroundings—as far as new uses and safety standards would allow. The result is a rare example of how industrial heritage can be seamlessly integrated into the rhythm of modern community life. **Mill Library** The renewal of the dairy district began in 1994 with the restoration of the mill, power station, and office building, which were transformed into the town’s public library. The renovation was carried out largely by the municipality’s own workforce—a true community effort. The roof regained its original skylights, whose inner frames had remarkably survived within the old ceiling structure. One of the mill’s original cast grinding stones was embedded in the floor of the lending hall, a subtle tribute to the building’s industrious past. Most of the library’s spaces occupy the mill’s original rooms, preserving the sense of authenticity. A new entrance was built directly into what was once the power station room, now serving as the lending point. The mill chamber was opened up to its full height, with the adult collection on the ground floor and an exhibition area on the former mill loft. The reading room and children’s and youth sections were placed in the old boiler room at the southern end, while the staff offices found a new home in the former mill break rooms on the attic floor. During the 2010 expansion, the reading room was moved to the old dairy building, and a second entrance with automatic doors was added from the new riverside parking area. The Tyrnävä Mill Library has received two prestigious honors: - The Viisikanta Award from the _Oulu Provincial Building Preservation Committee_ (1995) - The Art Prize from the _Oulu Provincial Arts Committee_ (1995) Today, Mill Library is not only a place of knowledge but also a symbol of Tyrnävä’s successful fusion of history, architecture, and community life. **Juustola** For decades, the cheese dairy hall (Juustola) served various purposes, even housing a car repair shop until 1994. In 1995, the municipality restored the cheese cellars into a local heritage archive and municipal command center, while the apartments above were refurbished for modern living. In 1998, the upper section of the cheese dairy was adapted for educational use. It became home to Tyrnävä’s remote high school, operating under Oulun Lyseo Upper Secondary School. This pioneering institution functioned between 1998 and 2011 as a unique multiform learning environment, from which nearly a hundred students graduated as Finnish high school graduates (ylioppilaat). The program ended in 2011 following administrative disagreements between the Ministry of Education and the City of Oulu regarding licensing. In 2018, the remote high school was relaunched under a new name, honoring its founder and mentor: The August Sahlsten Unit, after the master cheesemaker who once trained Finland’s first cheese artisans in the same building. **Kivipirtti** In 1998, the old dairy building’s wooden windows were replaced following the original design, and its roofing was renewed. The building then awaited a new purpose—until 2010, when the library expanded through a connecting corridor linking it directly to the dairy. Inside the dairy hall, a reading room and meeting area were created, while the southern section of the building was converted into rental business premises. Today, the building is affectionately known as Kivipirtti, the _Stone Cottage_, and its forecourt—Maitotori (Milk Square)—serves as a charming venue for small-scale theatre and music performances during local events along Meijerikatu. The blend of history and creativity gives the area an inviting, lively atmosphere. **Luostarila** The residential house once built for the dairymaids, long known as Luostarila, was carefully renovated in 1996 by the municipality and converted into rental apartments. Its nickname, _The Convent_, still lingers fondly, evoking memories of the young women who lived, worked, and studied within its walls while learning the art of cheesemaking. **Pömilä** The name Pömilä was once a common nickname for cafés around the Oulu region. The word _pömiseminen_ means “chatting,” and indeed, this was the place where local farmers gathered to talk and relax after delivering milk to the dairy. After a thorough renovation, Pömilä has returned to its original purpose as a café and lunch restaurant, where locals and visitors alike can still enjoy the warm, welcoming atmosphere of old Tyrnävä hospitality. **Tapulipuisto** As part of the area’s renewal in 2010, a new thematic park called Tapulipuisto was built on the old sawmill yard. This landscape design serves as a poetic reminder of Meijerikatu’s industrial past. The park’s low-growing, wind-tossed plants evoke the open, breezy meadows that once sustained Tyrnävä’s livestock and led to the rise of its dairy culture. The rectangular planting beds, bordered by spruce planks, symbolize the neatly stacked logs and timber piles that once lined the sawmill yard and riverbank. The crosswise planks embedded in the pathways recall the tracks along which timber was transported, while the central tables represent the carriages that once carried the wood. Even the stone river, bordered by trees and filled with smaller pebbles, poetically illustrates the flowing water of the nearby Tyrnävä River. **Sources:** - Niemelä, Maija & Myllymäki, Pentti. 2012. _Tyrnävän Meijerikatu 1906–2010: Tyrnävän meijerialueen peruskorjaus uuteen käyttötarkoitukseen 1987–2010_ [Tyrnävä Dairy Street 1906–2010: Restoration of Tyrnävä’s Dairy District for New Use, 1987–2010]. 27 pp. - National Land Survey of Finland (Maanmittauslaitos). 1952. _Map of Tyrnävä Village. _[vanhatpainetutkartat.maanmittauslaitos.fi](http://vanhatpainetutkartat.maanmittauslaitos.fi/). Accessed May 20, 2022. _**Let’s continue our journey to the fitness trail along the Tyrnävä River, passing by the Luostarila yard and following the walkway beside Kivipirtti. The gravel-surfaced fitness trail runs behind the Planing Mill.**_ 1af:T297d,_**From a unique early-20th-century industrial setting to an oasis of knowledge and culture…**_ **Dairy Street** The story of Meijerikatu—literally _Dairy Street_—unfolds as a living chronicle of Tyrnävä’s industrious spirit. This unique street took shape gradually, as the first dairy buildings were constructed—beginning from the southern end and extending toward the old highway. Each industrial structure rose where it best served its purpose, forming a dynamic cluster of enterprise that would define the area for decades. The first buildings emerged in the early 20th century: the dairy (1906; today known as Kivipirtti, renovated in 2010), the residential house for dairymaids (1906; converted into rental apartments in 1996), and the first cheese dairy (1913; now the Auditorium, restored in 2010). Following the traditional layout of the open plains, these buildings formed a square courtyard at the southern end of what is now Meijerikatu. Soon after, a cooperative store was erected at the northern end of the street. Over the next few years, more buildings joined the ensemble: the second cheese dairy (1917; later restored for use as apartments and the local heritage archive in 1995, and as a high school in 1998), and across the street, a mill, power station, and office building (1919; now the public library, renovated in 1994). The entire area pulsed with industrial activity. For farmers waiting with empty milk cans, the cooperative dairy built a wooden cottage (1919; today Pömilä Café, restored in 2006), where the cooperative store soon opened a café and dining service. The cobblestone path running through the area became affectionately known as the street. Until 1913, the Tyrnävä dairy produced only butter. With the founding of the Meijerikatu Cheese Dairy, Tyrnävä made history as Finland’s first training dairy for cheesemaking. Its first instructor, Master Cheesemaker August Sahlsten, had received his professional education under the renowned Swiss cheesemaker Christian Oesch. The facility was equipped with authentic Emmental machinery, and Valio organized the training program. Over a decade, Sahlsten trained twenty master cheesemakers, leaving a lasting mark on Finland’s dairy industry. Each year, a new group of trainee dairymaids moved into the residential building—soon nicknamed “the Convent” (Luostarila) due to the quiet dedication of its young residents and their disciplined routines. The dairy’s activity began to wane in the 1940s. Cheese production ceased in 1940, and the cheese kitchen along Meijerikatu was first taken over by a wheat mill, later replaced by the cooperative dairy’s machine wash facility (1949–1988). Milk reception ended in 1947, after which all milk was transported to Oulu. The original dairy building served as a warehouse, though financial transactions were still handled at the long-standing dairy office. In 1960, the southern cheese dairy was converted into a potato flake factory, as the cooperative dairy—together with Valio and Hankkija—expanded the facilities to include a dried potato plant. The company Tyrnävä Kuivaperuna Oy operated until 1963. Sawing activity continued into the early 1980s, and milling persisted until January 1993, when the mill relocated to new premises. In 1987, the Municipality of Tyrnävä purchased the 1913 cheese dairy and its adjacent cottage. Two years later, the dairy board agreed in principle to sell the remaining properties to the municipality. Though the area appeared dilapidated, local leaders shared a vision: the site must be preserved for its profound historical and landscape value. With support from the Ministry of the Environment, Tyrnävä purchased the entire dairy complex in 1991, ensuring its survival for future generations. The transformation of Tyrnävä’s historic dairy district into its present form took place gradually between 1991 and 2011, through eleven carefully planned renovation projects. Each phase was guided by a deep respect for history and craftsmanship. The architectural plans were created by local architects Maija Niemelä and Pentti Myllymäki, whose vision combined preservation with modern functionality. The total cost of the restoration reached €4.44 million, of which €2.92 million was covered by the municipality after receiving various project-based grants. The underlying principle was simple yet profound: to preserve the district’s history within its buildings and surroundings—as far as new uses and safety standards would allow. The result is a rare example of how industrial heritage can be seamlessly integrated into the rhythm of modern community life. **Mill Library** The renewal of the dairy district began in 1994 with the restoration of the mill, power station, and office building, which were transformed into the town’s public library. The renovation was carried out largely by the municipality’s own workforce—a true community effort. The roof regained its original skylights, whose inner frames had remarkably survived within the old ceiling structure. One of the mill’s original cast grinding stones was embedded in the floor of the lending hall, a subtle tribute to the building’s industrious past. Most of the library’s spaces occupy the mill’s original rooms, preserving the sense of authenticity. A new entrance was built directly into what was once the power station room, now serving as the lending point. The mill chamber was opened up to its full height, with the adult collection on the ground floor and an exhibition area on the former mill loft. The reading room and children’s and youth sections were placed in the old boiler room at the southern end, while the staff offices found a new home in the former mill break rooms on the attic floor. During the 2010 expansion, the reading room was moved to the old dairy building, and a second entrance with automatic doors was added from the new riverside parking area. The Tyrnävä Mill Library has received two prestigious honors: - The Viisikanta Award from the _Oulu Provincial Building Preservation Committee_ (1995) - The Art Prize from the _Oulu Provincial Arts Committee_ (1995) Today, Mill Library is not only a place of knowledge but also a symbol of Tyrnävä’s successful fusion of history, architecture, and community life. **Juustola** For decades, the cheese dairy hall (Juustola) served various purposes, even housing a car repair shop until 1994. In 1995, the municipality restored the cheese cellars into a local heritage archive and municipal command center, while the apartments above were refurbished for modern living. In 1998, the upper section of the cheese dairy was adapted for educational use. It became home to Tyrnävä’s remote high school, operating under Oulun Lyseo Upper Secondary School. This pioneering institution functioned between 1998 and 2011 as a unique multiform learning environment, from which nearly a hundred students graduated as Finnish high school graduates (ylioppilaat). The program ended in 2011 following administrative disagreements between the Ministry of Education and the City of Oulu regarding licensing. In 2018, the remote high school was relaunched under a new name, honoring its founder and mentor: The August Sahlsten Unit, after the master cheesemaker who once trained Finland’s first cheese artisans in the same building. **Kivipirtti** In 1998, the old dairy building’s wooden windows were replaced following the original design, and its roofing was renewed. The building then awaited a new purpose—until 2010, when the library expanded through a connecting corridor linking it directly to the dairy. Inside the dairy hall, a reading room and meeting area were created, while the southern section of the building was converted into rental business premises. Today, the building is affectionately known as Kivipirtti, the _Stone Cottage_, and its forecourt—Maitotori (Milk Square)—serves as a charming venue for small-scale theatre and music performances during local events along Meijerikatu. The blend of history and creativity gives the area an inviting, lively atmosphere. **Luostarila** The residential house once built for the dairymaids, long known as Luostarila, was carefully renovated in 1996 by the municipality and converted into rental apartments. Its nickname, _The Convent_, still lingers fondly, evoking memories of the young women who lived, worked, and studied within its walls while learning the art of cheesemaking. **Pömilä** The name Pömilä was once a common nickname for cafés around the Oulu region. The word _pömiseminen_ means “chatting,” and indeed, this was the place where local farmers gathered to talk and relax after delivering milk to the dairy. After a thorough renovation, Pömilä has returned to its original purpose as a café and lunch restaurant, where locals and visitors alike can still enjoy the warm, welcoming atmosphere of old Tyrnävä hospitality. **Tapulipuisto** As part of the area’s renewal in 2010, a new thematic park called Tapulipuisto was built on the old sawmill yard. This landscape design serves as a poetic reminder of Meijerikatu’s industrial past. The park’s low-growing, wind-tossed plants evoke the open, breezy meadows that once sustained Tyrnävä’s livestock and led to the rise of its dairy culture. The rectangular planting beds, bordered by spruce planks, symbolize the neatly stacked logs and timber piles that once lined the sawmill yard and riverbank. The crosswise planks embedded in the pathways recall the tracks along which timber was transported, while the central tables represent the carriages that once carried the wood. Even the stone river, bordered by trees and filled with smaller pebbles, poetically illustrates the flowing water of the nearby Tyrnävä River. **Sources:** - Niemelä, Maija & Myllymäki, Pentti. 2012. _Tyrnävän Meijerikatu 1906–2010: Tyrnävän meijerialueen peruskorjaus uuteen käyttötarkoitukseen 1987–2010_ [Tyrnävä Dairy Street 1906–2010: Restoration of Tyrnävä’s Dairy District for New Use, 1987–2010]. 27 pp. - National Land Survey of Finland (Maanmittauslaitos). 1952. _Map of Tyrnävä Village. _[vanhatpainetutkartat.maanmittauslaitos.fi](http://vanhatpainetutkartat.maanmittauslaitos.fi/). Accessed May 20, 2022. _**Let’s continue our journey to the fitness trail along the Tyrnävä River, passing by the Luostarila yard and following the walkway beside Kivipirtti. The gravel-surfaced fitness trail runs behind the Planing Mill.**_ 1b0:Tdc2,_**Who was the famous ‘Mirror Boy’ of Tyrnävä?**_ The _Mirror Boy of Tyrnävä_ was a well-known local clairvoyant and wise man about whom numerous stories circulate. His real name was Armas Pasanen, born in 1894 in Korvenkylä, Tyrnävä, into a farming family. He was said to see murderers, lost objects, and thieves; to locate the drowned; and to help others see their future spouses through a mirror. According to legend, he was even invited to work as a criminal investigator in Helsinki—but _the Mirror Boy refused to go._ Armas first discovered his gift as a young teenager while playing a fortune-telling game called _Onnenpeili_ (“the Mirror of Fortune”). Urged on by his older brothers, he looked into a mirror by candlelight and saw more in the reflection than anyone else did. From then on, he used his abilities—first to glimpse the sweethearts of the local boys, then to help with small matters. His mother’s uncle had also been known as a seer. At age 21, Armas Pasanen married, built his own house, farmed the land, and worked as a blacksmith, carpenter, and joiner. Over the years, the _Mirror Boy’s_ reputation and number of clients grew steadily. According to journalist Kalle Väänänen, writing in _Suomen Kuvalehti_, one day an official from a Swedish city came to visit Pasanen. A large sum of money—160,000 Finnish marks—had disappeared from the office funds. The official, though suspected of the crime, knew himself to be innocent. He brought with him a photograph of the entire office staff—about thirty people—and asked Pasanen to see whether the thief might be among them. Pasanen looked into his mirror, studied the photograph, and pointed to one individual as the guilty party. A couple of weeks later, he received a letter from the official, happily reporting that he had been cleared of suspicion—the person identified by Pasanen had confessed. At its height in the 1930s, the fame of the _Mirror Boy of Tyrnävä_ spread far and wide. Letters arrived from all over Finland, some addressed simply to _“Mr. Mirror, Tyrnävä.”_ Looking into the mirror required deep concentration and was physically exhausting if done many times a day. _The Mirror Boy_ died in 1937. In his memory, Peilipojantie (“Mirror Boy Road”) in Tyrnävä bears his name. His famous mirror is preserved in the Tyrnävä Museum of Artifacts, where visitors can also view a scrapbook telling the story of his life. **Sources:** - Asunmaa, Martti. 2005. _Peilipoika _[The Mirror Boy], pp. 442–443. In Asunmaa M. & Matinolli K. (eds.) _Merestä noussut maa. Tyrnävän historia 1800–2000_ [Land Risen from the Sea. The History of Tyrnävä 1800–2000]. - Mattila, Tiina. 2011. _Armas Pasanen – kaikkien tuntema Peilipoika_ [Armas Pasanen – the man everyone knows as “the Mirror Boy”], pp. 95–108. In Alasaarela, Matti, Erkki & Esko (eds.) _Muistojen tulva. Tarinoita Tyrnävän Korvesta _[A Flood of Memories: Stories from Tyrnävä’s Wilderness]. - Tyrnävä Local Heritage and Museum Association. [https://www.tyrnavanmuseo.fi/](https://www.tyrnavanmuseo.fi/). Accessed May 20, 2022. - Väänänen, Kalle. 1937. _Tyrnävän kaukonäkijän puheilla_ [In Conversation with Tyrnävä’s Visionary]. Suomen Kuvalehti, pp. 1626–1627. 16.10.1937 no. 42. National Library of Finland Digital Archives. [https://digi.kansalliskirjasto.fi/aikakausi/binding/888976?page=26](https://digi.kansalliskirjasto.fi/aikakausi/binding/888976?page=26). Accessed May 20, 2022. 1b1:Tdc2,_**Who was the famous ‘Mirror Boy’ of Tyrnävä?**_ The _Mirror Boy of Tyrnävä_ was a well-known local clairvoyant and wise man about whom numerous stories circulate. His real name was Armas Pasanen, born in 1894 in Korvenkylä, Tyrnävä, into a farming family. He was said to see murderers, lost objects, and thieves; to locate the drowned; and to help others see their future spouses through a mirror. According to legend, he was even invited to work as a criminal investigator in Helsinki—but _the Mirror Boy refused to go._ Armas first discovered his gift as a young teenager while playing a fortune-telling game called _Onnenpeili_ (“the Mirror of Fortune”). Urged on by his older brothers, he looked into a mirror by candlelight and saw more in the reflection than anyone else did. From then on, he used his abilities—first to glimpse the sweethearts of the local boys, then to help with small matters. His mother’s uncle had also been known as a seer. At age 21, Armas Pasanen married, built his own house, farmed the land, and worked as a blacksmith, carpenter, and joiner. Over the years, the _Mirror Boy’s_ reputation and number of clients grew steadily. According to journalist Kalle Väänänen, writing in _Suomen Kuvalehti_, one day an official from a Swedish city came to visit Pasanen. A large sum of money—160,000 Finnish marks—had disappeared from the office funds. The official, though suspected of the crime, knew himself to be innocent. He brought with him a photograph of the entire office staff—about thirty people—and asked Pasanen to see whether the thief might be among them. Pasanen looked into his mirror, studied the photograph, and pointed to one individual as the guilty party. A couple of weeks later, he received a letter from the official, happily reporting that he had been cleared of suspicion—the person identified by Pasanen had confessed. At its height in the 1930s, the fame of the _Mirror Boy of Tyrnävä_ spread far and wide. Letters arrived from all over Finland, some addressed simply to _“Mr. Mirror, Tyrnävä.”_ Looking into the mirror required deep concentration and was physically exhausting if done many times a day. _The Mirror Boy_ died in 1937. In his memory, Peilipojantie (“Mirror Boy Road”) in Tyrnävä bears his name. His famous mirror is preserved in the Tyrnävä Museum of Artifacts, where visitors can also view a scrapbook telling the story of his life. **Sources:** - Asunmaa, Martti. 2005. _Peilipoika _[The Mirror Boy], pp. 442–443. In Asunmaa M. & Matinolli K. (eds.) _Merestä noussut maa. Tyrnävän historia 1800–2000_ [Land Risen from the Sea. The History of Tyrnävä 1800–2000]. - Mattila, Tiina. 2011. _Armas Pasanen – kaikkien tuntema Peilipoika_ [Armas Pasanen – the man everyone knows as “the Mirror Boy”], pp. 95–108. In Alasaarela, Matti, Erkki & Esko (eds.) _Muistojen tulva. Tarinoita Tyrnävän Korvesta _[A Flood of Memories: Stories from Tyrnävä’s Wilderness]. - Tyrnävä Local Heritage and Museum Association. [https://www.tyrnavanmuseo.fi/](https://www.tyrnavanmuseo.fi/). Accessed May 20, 2022. - Väänänen, Kalle. 1937. _Tyrnävän kaukonäkijän puheilla_ [In Conversation with Tyrnävä’s Visionary]. Suomen Kuvalehti, pp. 1626–1627. 16.10.1937 no. 42. National Library of Finland Digital Archives. [https://digi.kansalliskirjasto.fi/aikakausi/binding/888976?page=26](https://digi.kansalliskirjasto.fi/aikakausi/binding/888976?page=26). Accessed May 20, 2022. 1b2:Ta93,_**What’s inside that large building across the river?**_ Standing proudly on the riverbank, the historic Tyrnävä Leather Factory, _Nahkuri_, together with its adjacent residential buildings and the nearby shoe factory, forms a remarkable ensemble that tells the story of Tyrnävä’s industrial past. The leather factory was founded in the early 1900s by tanner Kaakinen. Between 1916 and 1933, it was owned by the Tyrnävä Cooperative Bank, after which it remained in the hands of the master tanner Salmenhaara and his son until 1955. At the factory, hides brought in by local villagers were tanned and turned into supple leather, which the neighboring shoe factory transformed into traditional _lapikas_ boots. The lower floor of the factory once housed the “wet room,” where hides were soaked in round wooden vats and greased on sturdy tables. Upstairs, the leather was dried and polished to perfection. The tanning process relied on willow bark collected and sold to the factory by local residents—several thousand kilos every summer. Only in the final vat, in the strongest solution, was imported “kooprakko” (quebracho extract) used to achieve the finest finish. Architecturally, the leather factory is a two-story building made partly of brick and partly of timber. Originally heated by stoves, the building was upgraded in the 1920s with a central steam-heating system. A boiler room extension was added to the south end, built in concrete. The upper floor’s northern section includes a room with log walls and a wooden ceiling, while the rest of the space is an attic with timber trusses and partition walls. In the 1970s and 1980s, the old factory served a new purpose as the local school’s woodworking and metal workshops. During this period, many interior changes were made, and the original tanning vats were removed. During Kaakinen’s time, a small one-story house stood in the factory yard. In the 1920s, during the Cooperative Bank era, a new two-story residence was built. After the wars, the old house was raised, and the two buildings were connected into an L-shaped complex. The lower section remained inhabited until the 2010s, though the taller wing has since settled and shows signs of age. **Sources:** - Council of Oulu Region (Pohjois-Pohjanmaan liitto). 2015. _Tyrnävä. Pohjois-Pohjanmaan rakennettu kulttuuriympäristö_ [Tyrnävä – Built Cultural Environments of North Ostrobothnia]. - Mäkiniemi, Kaisa (ed.). 2018. _Tyrnävän nahkatehdas _[Tyrnävä Leather Factory], p. 351. In _Kymmenen virran varrelta. Muuttuva kulttuuriympäristö Pohjois-Pohjanmaalla _[Along the Ten Rivers: Changing Cultural Environment in Northern Ostrobothnia]. 1b3:Ta93,_**What’s inside that large building across the river?**_ Standing proudly on the riverbank, the historic Tyrnävä Leather Factory, _Nahkuri_, together with its adjacent residential buildings and the nearby shoe factory, forms a remarkable ensemble that tells the story of Tyrnävä’s industrial past. The leather factory was founded in the early 1900s by tanner Kaakinen. Between 1916 and 1933, it was owned by the Tyrnävä Cooperative Bank, after which it remained in the hands of the master tanner Salmenhaara and his son until 1955. At the factory, hides brought in by local villagers were tanned and turned into supple leather, which the neighboring shoe factory transformed into traditional _lapikas_ boots. The lower floor of the factory once housed the “wet room,” where hides were soaked in round wooden vats and greased on sturdy tables. Upstairs, the leather was dried and polished to perfection. The tanning process relied on willow bark collected and sold to the factory by local residents—several thousand kilos every summer. Only in the final vat, in the strongest solution, was imported “kooprakko” (quebracho extract) used to achieve the finest finish. Architecturally, the leather factory is a two-story building made partly of brick and partly of timber. Originally heated by stoves, the building was upgraded in the 1920s with a central steam-heating system. A boiler room extension was added to the south end, built in concrete. The upper floor’s northern section includes a room with log walls and a wooden ceiling, while the rest of the space is an attic with timber trusses and partition walls. In the 1970s and 1980s, the old factory served a new purpose as the local school’s woodworking and metal workshops. During this period, many interior changes were made, and the original tanning vats were removed. During Kaakinen’s time, a small one-story house stood in the factory yard. In the 1920s, during the Cooperative Bank era, a new two-story residence was built. After the wars, the old house was raised, and the two buildings were connected into an L-shaped complex. The lower section remained inhabited until the 2010s, though the taller wing has since settled and shows signs of age. **Sources:** - Council of Oulu Region (Pohjois-Pohjanmaan liitto). 2015. _Tyrnävä. Pohjois-Pohjanmaan rakennettu kulttuuriympäristö_ [Tyrnävä – Built Cultural Environments of North Ostrobothnia]. - Mäkiniemi, Kaisa (ed.). 2018. _Tyrnävän nahkatehdas _[Tyrnävä Leather Factory], p. 351. In _Kymmenen virran varrelta. Muuttuva kulttuuriympäristö Pohjois-Pohjanmaalla _[Along the Ten Rivers: Changing Cultural Environment in Northern Ostrobothnia]. 1b4:Tea7,_**Tyrnävä’s new church was built where the roads meet...**_ Standing gracefully at the crossroads of Tyrnävä, the town’s new church is a beautiful example of Finnish Neo-Gothic wooden architecture. Designed by provincial architect F.W. Lüchow, construction of the church began in 1873 and was completed in 1881. This is the third church built in Tyrnävä’s history. The wooden long church features a tall four-gabled tower, short transepts on both sides, and a lower sacristy behind the chancel. Apart from the pews and altar rail, the church’s fixed interior follows Lüchow’s original drawings. With seating for approximately 650 people, the church was consecrated by Vicar Samuel Strömmer in 1881. Formerly part of the Liminka parish, Tyrnävä became an independent parish in 1889. Since 2001, the nearby Temmes chapel has also belonged to the Tyrnävä parish. The church’s outer cladding dates from 1879. Originally, the interior walls were unpaneled – the log walls were painted yellow with oil paint, while the ceiling and pillars shone in blue. The interior paneling was added in 1906, and electric lighting followed in 1924. During a major renovation in 1954, both heating and electrical systems were modernized. Just six years later, in 1960, a fire broke out during a Sunday service. Thanks to the quick response of the local community, the structure was saved, though much of the interior – including the altar and pews – was destroyed. Restoration began soon after: the central aisle was widened, new pews were installed, and the organ gallery was extended. Further renovations continued from the 1970s onward. The current warm-toned interior dates mostly from the 1981 renovation led by architect Matti Piukkula, which also included repainting and thermal improvements. The most recent restoration, completed in 2020, renewed the flooring, roof, windows, and doors. The church’s altarpiece, _“The Adoration of the Shepherds”_ (_Paimenten kumarrus_), was painted in 1907 by Finnish artist T. J. Tuhkanen. Two historic bells ring from the tower – one cast in 1727, rescued from the old church’s bell tower after a fire, and another from 1908. When the new church was built, the old belfry was dismantled, and its materials were reused for construction. During the Continuation War, in September 1941, the Tyrnävä municipal council decided to honor the memory of fallen soldiers by founding a memorial statue fund instead of laying wreaths. The memorial, designed by sculptor Ilmari Wirkkala, was unveiled and dedicated to the parish in July 1949. Today, the New Church of Tyrnävä stands as a cherished spiritual and cultural landmark – a place where history, craftsmanship, and community spirit meet under one soaring wooden roof. **Opening hours** June–July: Tuesday, Thursday, Saturday & Sunday, 12:00–16:00. **Sources:** - Tyrnävä Parish. [www.tyrnavanseurakunta.fi/tyrnavan-kirkko](http://www.tyrnavanseurakunta.fi/tyrnavan-kirkko). Accessed May 20, 2022. - Tyrnävä Parish. [www.tyrnavanseurakunta.fi/info-ja-asiointi/historiaa](http://www.tyrnavanseurakunta.fi/info-ja-asiointi/historiaa). Accessed May 20, 2022. - Finnish Heritage Agency. _The Church of Tyrnävä_. [https://www.kyppi.fi/to.aspx?id=130.200674](https://www.kyppi.fi/to.aspx?id=130.200674). Accessed May 20, 2022. - Matinolli, Eeva & Kyllikki. 1989. _Tyrnävän seurakunnan historia_ [History of the Tyrnävä Parish], pp. 27–36. - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Selviämistalkoot ja suruviestit_ [Recovery Efforts and Messages of Mourning], pp. 383–384. In _Merestä noussut maa. Tyrnävän historia 1800–2000_ [Land Risen from the Sea. The History of Tyrnävä 1800–2000]. 1b5:Tea7,_**Tyrnävä’s new church was built where the roads meet...**_ Standing gracefully at the crossroads of Tyrnävä, the town’s new church is a beautiful example of Finnish Neo-Gothic wooden architecture. Designed by provincial architect F.W. Lüchow, construction of the church began in 1873 and was completed in 1881. This is the third church built in Tyrnävä’s history. The wooden long church features a tall four-gabled tower, short transepts on both sides, and a lower sacristy behind the chancel. Apart from the pews and altar rail, the church’s fixed interior follows Lüchow’s original drawings. With seating for approximately 650 people, the church was consecrated by Vicar Samuel Strömmer in 1881. Formerly part of the Liminka parish, Tyrnävä became an independent parish in 1889. Since 2001, the nearby Temmes chapel has also belonged to the Tyrnävä parish. The church’s outer cladding dates from 1879. Originally, the interior walls were unpaneled – the log walls were painted yellow with oil paint, while the ceiling and pillars shone in blue. The interior paneling was added in 1906, and electric lighting followed in 1924. During a major renovation in 1954, both heating and electrical systems were modernized. Just six years later, in 1960, a fire broke out during a Sunday service. Thanks to the quick response of the local community, the structure was saved, though much of the interior – including the altar and pews – was destroyed. Restoration began soon after: the central aisle was widened, new pews were installed, and the organ gallery was extended. Further renovations continued from the 1970s onward. The current warm-toned interior dates mostly from the 1981 renovation led by architect Matti Piukkula, which also included repainting and thermal improvements. The most recent restoration, completed in 2020, renewed the flooring, roof, windows, and doors. The church’s altarpiece, _“The Adoration of the Shepherds”_ (_Paimenten kumarrus_), was painted in 1907 by Finnish artist T. J. Tuhkanen. Two historic bells ring from the tower – one cast in 1727, rescued from the old church’s bell tower after a fire, and another from 1908. When the new church was built, the old belfry was dismantled, and its materials were reused for construction. During the Continuation War, in September 1941, the Tyrnävä municipal council decided to honor the memory of fallen soldiers by founding a memorial statue fund instead of laying wreaths. The memorial, designed by sculptor Ilmari Wirkkala, was unveiled and dedicated to the parish in July 1949. Today, the New Church of Tyrnävä stands as a cherished spiritual and cultural landmark – a place where history, craftsmanship, and community spirit meet under one soaring wooden roof. **Opening hours** June–July: Tuesday, Thursday, Saturday & Sunday, 12:00–16:00. **Sources:** - Tyrnävä Parish. [www.tyrnavanseurakunta.fi/tyrnavan-kirkko](http://www.tyrnavanseurakunta.fi/tyrnavan-kirkko). Accessed May 20, 2022. - Tyrnävä Parish. [www.tyrnavanseurakunta.fi/info-ja-asiointi/historiaa](http://www.tyrnavanseurakunta.fi/info-ja-asiointi/historiaa). Accessed May 20, 2022. - Finnish Heritage Agency. _The Church of Tyrnävä_. [https://www.kyppi.fi/to.aspx?id=130.200674](https://www.kyppi.fi/to.aspx?id=130.200674). Accessed May 20, 2022. - Matinolli, Eeva & Kyllikki. 1989. _Tyrnävän seurakunnan historia_ [History of the Tyrnävä Parish], pp. 27–36. - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Selviämistalkoot ja suruviestit_ [Recovery Efforts and Messages of Mourning], pp. 383–384. In _Merestä noussut maa. Tyrnävän historia 1800–2000_ [Land Risen from the Sea. The History of Tyrnävä 1800–2000]. 1b6:Td20,_**What has been behind the stone wall?**_ The Church of Tyrnävä once stood on the riverbank at the site of the old cemetery. The first church, mentioned as early as 1647, was likely a modest preaching house serving a parish without a resident priest. When the people of Tyrnävä were granted chapel rights in 1655, construction of a new church soon began on the same site. The buttressed church, completed in 1664 and featuring a western tower, was very similar in style to the church in the neighboring parish of Kempele, which was built a little later. The builders were likely local church craftsmen, Matti Härmä and Pietari and Matti Suorsa. The church’s belfry was completed at the same time. This belfry was sold at auction in 1769, having already been replaced in 1762 by a new one built by Heikki Väänänen from Kiiminki. The old Tyrnävä church was built on the bank of the Tyrnävä River, surrounded by a stone wall enclosing the graveyard — now known as the old cemetery. The church was a rectangular log building without cladding, and its interior ceiling formed a curved vault. In 1865, the 201-year-old church was destroyed in an arson fire. Construction of the current church began in 1873. The cemetery around the church was closed in 1881 due to lack of space. Among those buried there are the renowned church builder Matti Härmä and the first large-scale potato farmer of Tyrnävä, Ulof Andreaksenpoika Herranen. Matti Joosepinpoika Härmä, born in the village of Ängeslevä, was a 17th-century church builder best known for his work on Tornio Church and its belfry (1684–1688) as well as the old church of Kempele (1688–1691). In 1965, the Tyrnävä Parish erected a memorial on the old cemetery to commemorate the old church of Tyrnävä. The memorial was designed by artist and cemetery architect Ilmari Wirkkala, the father of internationally renowned designer and artist Tapio Wirkkala. **Sources:** - Tyrnävä Parish. [https://www.tyrnavanseurakunta.fi/info-ja-asiointi/historiaa](https://www.tyrnavanseurakunta.fi/info-ja-asiointi/historiaa). Accessed May 20, 2022. - Finnish Heritage Agency. _Memorial Stone of the Old Church of Tyrnävä_. [https://www.kyppi.fi/to.aspx?id=119.2392](https://www.kyppi.fi/to.aspx?id=119.2392). Accessed May 20, 2022. - Arviiti. The Historical Database of Kaustinen. _Wirkkala, Ilmari_. [https://www.arviiti.fi/wirkkala-ilmari/](https://www.arviiti.fi/wirkkala-ilmari/). Accessed May 20, 2022. - Huurre, Matti & Vahtola, Jouko. 1991. _Kirkkoja kyliin_ [Churches for the Villages], pp. 272–273_._ In _Oulujokilaakson historia_ [The History of the Oulujoki Valley]. - Huurre, Matti & Vahtola, Jouko. 1991. _Kirkot_ [_Churches_], p. 470_._ In _Oulujokilaakson historia_ [The History of the Oulujoki Valley]. - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Uudistilallisia, salakauppiaita ja kirkonrakentajia_ [New Settlers, Smugglers, and Church Builders], p. 31. In _Merestä noussut maa. Tyrnävän historia 1800–2000 _[Land Risen from the Sea. The History of Tyrnävä 1800–2000]. - Vahtola, Jouko. 8.6.2004. _Härmä, Matti Joosefinpoika (17th century)_. National Biography of Finland, online publication. [https://kansallisbiografia.fi/kansallisbiografia/henkilo/2657](https://kansallisbiografia.fi/kansallisbiografia/henkilo/2657). Accessed May 20, 2022. 1b7:Td20,_**What has been behind the stone wall?**_ The Church of Tyrnävä once stood on the riverbank at the site of the old cemetery. The first church, mentioned as early as 1647, was likely a modest preaching house serving a parish without a resident priest. When the people of Tyrnävä were granted chapel rights in 1655, construction of a new church soon began on the same site. The buttressed church, completed in 1664 and featuring a western tower, was very similar in style to the church in the neighboring parish of Kempele, which was built a little later. The builders were likely local church craftsmen, Matti Härmä and Pietari and Matti Suorsa. The church’s belfry was completed at the same time. This belfry was sold at auction in 1769, having already been replaced in 1762 by a new one built by Heikki Väänänen from Kiiminki. The old Tyrnävä church was built on the bank of the Tyrnävä River, surrounded by a stone wall enclosing the graveyard — now known as the old cemetery. The church was a rectangular log building without cladding, and its interior ceiling formed a curved vault. In 1865, the 201-year-old church was destroyed in an arson fire. Construction of the current church began in 1873. The cemetery around the church was closed in 1881 due to lack of space. Among those buried there are the renowned church builder Matti Härmä and the first large-scale potato farmer of Tyrnävä, Ulof Andreaksenpoika Herranen. Matti Joosepinpoika Härmä, born in the village of Ängeslevä, was a 17th-century church builder best known for his work on Tornio Church and its belfry (1684–1688) as well as the old church of Kempele (1688–1691). In 1965, the Tyrnävä Parish erected a memorial on the old cemetery to commemorate the old church of Tyrnävä. The memorial was designed by artist and cemetery architect Ilmari Wirkkala, the father of internationally renowned designer and artist Tapio Wirkkala. **Sources:** - Tyrnävä Parish. [https://www.tyrnavanseurakunta.fi/info-ja-asiointi/historiaa](https://www.tyrnavanseurakunta.fi/info-ja-asiointi/historiaa). Accessed May 20, 2022. - Finnish Heritage Agency. _Memorial Stone of the Old Church of Tyrnävä_. [https://www.kyppi.fi/to.aspx?id=119.2392](https://www.kyppi.fi/to.aspx?id=119.2392). Accessed May 20, 2022. - Arviiti. The Historical Database of Kaustinen. _Wirkkala, Ilmari_. [https://www.arviiti.fi/wirkkala-ilmari/](https://www.arviiti.fi/wirkkala-ilmari/). Accessed May 20, 2022. - Huurre, Matti & Vahtola, Jouko. 1991. _Kirkkoja kyliin_ [Churches for the Villages], pp. 272–273_._ In _Oulujokilaakson historia_ [The History of the Oulujoki Valley]. - Huurre, Matti & Vahtola, Jouko. 1991. _Kirkot_ [_Churches_], p. 470_._ In _Oulujokilaakson historia_ [The History of the Oulujoki Valley]. - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Uudistilallisia, salakauppiaita ja kirkonrakentajia_ [New Settlers, Smugglers, and Church Builders], p. 31. In _Merestä noussut maa. Tyrnävän historia 1800–2000 _[Land Risen from the Sea. The History of Tyrnävä 1800–2000]. - Vahtola, Jouko. 8.6.2004. _Härmä, Matti Joosefinpoika (17th century)_. National Biography of Finland, online publication. [https://kansallisbiografia.fi/kansallisbiografia/henkilo/2657](https://kansallisbiografia.fi/kansallisbiografia/henkilo/2657). Accessed May 20, 2022. 1b8:T2602,_**The many-layered journey of education from 18th-century parish clerk schools to the modern day…**_ **The Stages of Basic Education in Tyrnävä** For centuries, the Church was responsible for public education in Finland. During the 18th and 19th centuries, every parishioner was expected to learn to read and acquire a basic understanding of Christian doctrine – and, ideally, to master the art of writing as well. Early childhood education was, in principle, the responsibility of families and parents. In the 1700s, _parish clerk schools_ (_lukkarinkoulut_) were established to support this system. Parents were required to pay a fee to send their children to study under the parish clerk’s guidance. In Tyrnävä, the first _travelling school_ (_kiertokoulu_) began operating in 1865. Alongside these itinerant schools, a permanent school was opened at Murto prayer house in 1916. The role of travelling schools grew stronger with the founding of public elementary schools, as these new institutions did not initially include basic instruction in their curriculum. Travelling schools gradually disappeared in the 1920s, as lower elementary schools were established alongside the new national schools. Tyrnävä’s last travelling school closed its doors in 1946. **From Parish to Municipality** The year 1865 marked an important shift, when the Church and local municipalities were separated by law. Responsibility for public education was transferred to municipal authorities. The national framework for public schooling was set by decree in 1866: rural elementary schools were to have four grades and to offer instruction in religion, history, natural sciences, writing, arithmetic, crafts, singing, drawing, and physical education. In Tyrnävä, the proposal to establish a public school was discussed at a municipal meeting on June 15, 1874. The governor confirmed the decision in October of that year. Tyrnävä’s first elementary school was built in 1876, with an annex added in 1921. Both buildings were designed by master builder J. Karvonen, who also designed most of Tyrnävä’s schools up to the early 1950s. The first Tyrnävä National School and its annex still stand at the northern end of Kuulampi School, along Tupostie road. The large stone-built school in the village center was completed in 1955, designed by engineering office Eino Niemelä. This building now forms part of today’s Kirkkomännikkö School. A gymnasium was added between 1969 and 1970, and an architecturally striking extension designed by Maija Niemelä and Pentti Myllymäki was completed in 1997. **The Village Schools of Tyrnävä** Over the years, several smaller village schools operated alongside the central school. The second elementary school, Ängeslevä School, served the community from 1893 until 2000. The third, Kolmikanta School, opened in 1906 and remained active until 1999; its later building, constructed closer to Suutarinkylä in 1961, is now used by the local village committee. Other schools included Ängeslevän Ylipää School (1919–1974), Suutarinkylä School (1919–1961), Murto School (opened in 1921 and still operating), Partaa School (1927–1970), and Jokisilta, or Alapää School (from the 1940s to the 2000s). Rauhionoja School functioned from 1927 to 1963, Markkuu School from 1954 into the 2000s, and Koivikko School from 1938 to 1970. In Ylipää, the travelling school remained active until 1946, after which the Kallinen School operated there until 1961. **Secondary Education in Tyrnävä** Until 1953, Tyrnävä students attended secondary school in Oulu. That year, the municipality founded its own private middle school, _Tyrnävän Yhteiskoulu_, operating in connection with the local elementary school. Initially a four-year school – considered suitable for a rural setting – it expanded to five years in 1961. A new school building was completed in 1962, and the school became municipal in 1968, giving its students equal social and educational benefits as those in public schools. During Finland’s transition to the comprehensive school system, Tyrnävä received temporary permission to establish its own upper level in 1973, following a summer visit by the Minister of Agriculture. The permission was made permanent in 1979, supported by strong local economic and land-use policies that boosted population growth beyond expectations. Kuulampi School was renovated and expanded in 1990, giving the municipality its first proper sports facilities. The most recent extension was completed in 2001. **From Reading Circles to the Modern Mill Library** Tyrnävä’s tradition of self-education extends beyond its schools. The first _Reading Society_ was founded in 1866 and met in the Alasiira house, where members gathered on Sunday evenings. Although the society soon dissolved, it sparked an enduring local interest in books. A fundraising campaign in 1869–1870 collected 144 marks to establish a lending library. The municipality contributed 100 marks, and the reading society’s publications were added to the new collection. The library was first located in the village of Ängeslevä, with Iisak Alasiira serving as unpaid librarian for three years. It was formally registered in 1871 and received official regulations in 1877, beginning with a modest collection of 102 books. After 1876, the library was moved to the national school in the village center, stored in an impressive book cabinet and managed by the teacher. Over the years, the main library has also operated in Lukkarila and at the local Post Office. The organization of library services in the outlying villages changed frequently. The largest number of branch libraries belonging to Tyrnävä’s main library existed during the 1970s. Tyrnävä Library received its first dedicated premises in 1953, located on the upper floor of the Fire Station. The new space quickly became a popular meeting place. For many years, the librarian’s position was part-time, until in 1981 it became a full-time post in municipalities with more than 3,000 residents. At the Fire Station, Tyrnävä’s 119-square-metre library began to feel cramped as early as the 1970s. The question of a new library location was discussed for many years, and the first plan, drafted in 1982, was never realized. Five potential plots were considered, along with various spatial solutions. When the municipality purchased laundry facilities from the local dairy cooperative, the adjacent building—known as the _Juustola House_—was proposed as a possible library. However, the building was considered too large and multi-levelled to be practically renovated for that purpose. Around the same time, the idea emerged to convert the old mill into a library. The Ministry of the Environment granted 600,000 marks for the purchase of a site, enabling the municipality to buy the entire former dairy property in 1991. The redevelopment of the dairy area began soon after, culminating in the transformation of the mill into a library while carefully preserving its historic appearance. The new library opened in 1994, instantly quadrupling Tyrnävä’s library space. In 2010, the library was further expanded, with a new reading hall located in the old dairy building. Today, the _Mill Library_ houses the collections of Tyrnävä-born author Väinö Kirstinä as well as those of Lauri and Hannu Mustakallio. It also maintains a regional heritage collection featuring literature, newspaper clippings, and works related to Tyrnävä and its authors. Tyrnävä Library joined the Fintek library system in 1993 and later became part of the _Outi_ network of Oulu region municipalities in 2004. **Education and Learning in Modern Tyrnävä** Today, Tyrnävä offers high-quality early childhood and educational services for its family-oriented community. Daycare centers and primary schools are located in local population centers, while the upper school operates in the village center. Upper secondary education is provided through Oulu Lyceum’s distance-learning program at the _August Sahlsten Upper Secondary School_ on Meijerikatu. Tyrnävä is also a member of the Oulu Region Vocational College (OSAO), which offers professional training across eight campuses in Oulu and nearby municipalities. The goal of _liberal adult education_ in Tyrnävä is to promote lifelong learning, social inclusion, equality, and the well-being of residents. Participation is open to everyone, and courses are non-degree-oriented, with content and curricula determined by the organizing institutions. _Basic education in the arts_ provides extracurricular creative instruction primarily for children and young people, developing both artistic skills and self-expression. Lakeus Adult Education Centre and Liminka Region Music Institute offer courses in visual arts, music, and dance. **Sources:** - Huurre, Matti & Vahtola, Jouko. 1991. _Kansanopetus _[Public Education], p. 505. In _Oulujokilaakson historia_ [The History of the Oulujoki Valley]. - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Tyrnävän kansakoulu / Kirkkomännikön koulu _[Tyrnävä Elementary School / Kirkkomännikkö School], pp. 270–283. In _Merestä noussut maa. Tyrnävän historia 1800–2000_ [Land Risen from the Sea. The History of Tyrnävä 1800–2000]. - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Kirjasto_ [Library], pp. 289–296. In _Merestä noussut maa. Tyrnävän historia 1800–2000_ [Land Risen from the Sea. The History of Tyrnävä 1800–2000]. - Municipality of Tyrnävä: [https://www.tyrnava.fi/koulutus-ja-kasvatus](https://www.tyrnava.fi/koulutus-ja-kasvatus). Accessed May 20, 2022. 1b9:T2602,_**The many-layered journey of education from 18th-century parish clerk schools to the modern day…**_ **The Stages of Basic Education in Tyrnävä** For centuries, the Church was responsible for public education in Finland. During the 18th and 19th centuries, every parishioner was expected to learn to read and acquire a basic understanding of Christian doctrine – and, ideally, to master the art of writing as well. Early childhood education was, in principle, the responsibility of families and parents. In the 1700s, _parish clerk schools_ (_lukkarinkoulut_) were established to support this system. Parents were required to pay a fee to send their children to study under the parish clerk’s guidance. In Tyrnävä, the first _travelling school_ (_kiertokoulu_) began operating in 1865. Alongside these itinerant schools, a permanent school was opened at Murto prayer house in 1916. The role of travelling schools grew stronger with the founding of public elementary schools, as these new institutions did not initially include basic instruction in their curriculum. Travelling schools gradually disappeared in the 1920s, as lower elementary schools were established alongside the new national schools. Tyrnävä’s last travelling school closed its doors in 1946. **From Parish to Municipality** The year 1865 marked an important shift, when the Church and local municipalities were separated by law. Responsibility for public education was transferred to municipal authorities. The national framework for public schooling was set by decree in 1866: rural elementary schools were to have four grades and to offer instruction in religion, history, natural sciences, writing, arithmetic, crafts, singing, drawing, and physical education. In Tyrnävä, the proposal to establish a public school was discussed at a municipal meeting on June 15, 1874. The governor confirmed the decision in October of that year. Tyrnävä’s first elementary school was built in 1876, with an annex added in 1921. Both buildings were designed by master builder J. Karvonen, who also designed most of Tyrnävä’s schools up to the early 1950s. The first Tyrnävä National School and its annex still stand at the northern end of Kuulampi School, along Tupostie road. The large stone-built school in the village center was completed in 1955, designed by engineering office Eino Niemelä. This building now forms part of today’s Kirkkomännikkö School. A gymnasium was added between 1969 and 1970, and an architecturally striking extension designed by Maija Niemelä and Pentti Myllymäki was completed in 1997. **The Village Schools of Tyrnävä** Over the years, several smaller village schools operated alongside the central school. The second elementary school, Ängeslevä School, served the community from 1893 until 2000. The third, Kolmikanta School, opened in 1906 and remained active until 1999; its later building, constructed closer to Suutarinkylä in 1961, is now used by the local village committee. Other schools included Ängeslevän Ylipää School (1919–1974), Suutarinkylä School (1919–1961), Murto School (opened in 1921 and still operating), Partaa School (1927–1970), and Jokisilta, or Alapää School (from the 1940s to the 2000s). Rauhionoja School functioned from 1927 to 1963, Markkuu School from 1954 into the 2000s, and Koivikko School from 1938 to 1970. In Ylipää, the travelling school remained active until 1946, after which the Kallinen School operated there until 1961. **Secondary Education in Tyrnävä** Until 1953, Tyrnävä students attended secondary school in Oulu. That year, the municipality founded its own private middle school, _Tyrnävän Yhteiskoulu_, operating in connection with the local elementary school. Initially a four-year school – considered suitable for a rural setting – it expanded to five years in 1961. A new school building was completed in 1962, and the school became municipal in 1968, giving its students equal social and educational benefits as those in public schools. During Finland’s transition to the comprehensive school system, Tyrnävä received temporary permission to establish its own upper level in 1973, following a summer visit by the Minister of Agriculture. The permission was made permanent in 1979, supported by strong local economic and land-use policies that boosted population growth beyond expectations. Kuulampi School was renovated and expanded in 1990, giving the municipality its first proper sports facilities. The most recent extension was completed in 2001. **From Reading Circles to the Modern Mill Library** Tyrnävä’s tradition of self-education extends beyond its schools. The first _Reading Society_ was founded in 1866 and met in the Alasiira house, where members gathered on Sunday evenings. Although the society soon dissolved, it sparked an enduring local interest in books. A fundraising campaign in 1869–1870 collected 144 marks to establish a lending library. The municipality contributed 100 marks, and the reading society’s publications were added to the new collection. The library was first located in the village of Ängeslevä, with Iisak Alasiira serving as unpaid librarian for three years. It was formally registered in 1871 and received official regulations in 1877, beginning with a modest collection of 102 books. After 1876, the library was moved to the national school in the village center, stored in an impressive book cabinet and managed by the teacher. Over the years, the main library has also operated in Lukkarila and at the local Post Office. The organization of library services in the outlying villages changed frequently. The largest number of branch libraries belonging to Tyrnävä’s main library existed during the 1970s. Tyrnävä Library received its first dedicated premises in 1953, located on the upper floor of the Fire Station. The new space quickly became a popular meeting place. For many years, the librarian’s position was part-time, until in 1981 it became a full-time post in municipalities with more than 3,000 residents. At the Fire Station, Tyrnävä’s 119-square-metre library began to feel cramped as early as the 1970s. The question of a new library location was discussed for many years, and the first plan, drafted in 1982, was never realized. Five potential plots were considered, along with various spatial solutions. When the municipality purchased laundry facilities from the local dairy cooperative, the adjacent building—known as the _Juustola House_—was proposed as a possible library. However, the building was considered too large and multi-levelled to be practically renovated for that purpose. Around the same time, the idea emerged to convert the old mill into a library. The Ministry of the Environment granted 600,000 marks for the purchase of a site, enabling the municipality to buy the entire former dairy property in 1991. The redevelopment of the dairy area began soon after, culminating in the transformation of the mill into a library while carefully preserving its historic appearance. The new library opened in 1994, instantly quadrupling Tyrnävä’s library space. In 2010, the library was further expanded, with a new reading hall located in the old dairy building. Today, the _Mill Library_ houses the collections of Tyrnävä-born author Väinö Kirstinä as well as those of Lauri and Hannu Mustakallio. It also maintains a regional heritage collection featuring literature, newspaper clippings, and works related to Tyrnävä and its authors. Tyrnävä Library joined the Fintek library system in 1993 and later became part of the _Outi_ network of Oulu region municipalities in 2004. **Education and Learning in Modern Tyrnävä** Today, Tyrnävä offers high-quality early childhood and educational services for its family-oriented community. Daycare centers and primary schools are located in local population centers, while the upper school operates in the village center. Upper secondary education is provided through Oulu Lyceum’s distance-learning program at the _August Sahlsten Upper Secondary School_ on Meijerikatu. Tyrnävä is also a member of the Oulu Region Vocational College (OSAO), which offers professional training across eight campuses in Oulu and nearby municipalities. The goal of _liberal adult education_ in Tyrnävä is to promote lifelong learning, social inclusion, equality, and the well-being of residents. Participation is open to everyone, and courses are non-degree-oriented, with content and curricula determined by the organizing institutions. _Basic education in the arts_ provides extracurricular creative instruction primarily for children and young people, developing both artistic skills and self-expression. Lakeus Adult Education Centre and Liminka Region Music Institute offer courses in visual arts, music, and dance. **Sources:** - Huurre, Matti & Vahtola, Jouko. 1991. _Kansanopetus _[Public Education], p. 505. In _Oulujokilaakson historia_ [The History of the Oulujoki Valley]. - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Tyrnävän kansakoulu / Kirkkomännikön koulu _[Tyrnävä Elementary School / Kirkkomännikkö School], pp. 270–283. In _Merestä noussut maa. Tyrnävän historia 1800–2000_ [Land Risen from the Sea. The History of Tyrnävä 1800–2000]. - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Kirjasto_ [Library], pp. 289–296. In _Merestä noussut maa. Tyrnävän historia 1800–2000_ [Land Risen from the Sea. The History of Tyrnävä 1800–2000]. - Municipality of Tyrnävä: [https://www.tyrnava.fi/koulutus-ja-kasvatus](https://www.tyrnava.fi/koulutus-ja-kasvatus). Accessed May 20, 2022. 1ba:T7fe,_**Several stories have survived about the origin of the name Tyrnävä...**_ According to an explanation recorded in the Finnish Folklore Archives in 1936, the entire region of Lakeus — including what is now Tyrnävä — was once covered by water. A sea captain sailing nearby ran his ship aground on a rocky islet and exclaimed, _“That was quite a crash!”_ In Finnish dialect, his words were remembered as _“Olipas sekin töörnäys!”_ The islet became known as Töörnäys islet, later evolving linguistically into Töörnävä. When the land gradually rose from the sea and the waters receded, a church was built on that very spot where the captain’s mishap had occurred — giving rise to the name _Tyrnävä Church_. Old maps and documents show several early forms of the name, including Törnäue, Tyrnäuä, Törnewä, and Törnäwä. According to another interpretation, the name Tyrnävä does not come from the Finnish verb _törmätä_ (“to collide”) but rather from _törnätä_, meaning “to gush,” “to bubble up,” or “to overflow” — a word that evokes the image of a flooding river. This old dialect word has been used in Southwest Finland, Satakunta, and Western Uusimaa. The name Tyrnävä may therefore refer to the brownish river that flows through the area. Its water was said to be _tyrnävä_ — dense, thick, and strong, much like beer. In these western dialects, _tyrnävä_ is an adjective describing something rich and full-bodied. The earliest people to travel through the area — and later settle permanently on the open plains — came from southern Finland. The name Tyrnävä is thought to reflect the fertility and richness of the land, a tribute to the lush soil and abundant harvests that have long defined the region. **Sources:** - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Nimistön alkuperä_ [Origin of Place Names], pp. 24–25_._ In _Merestä noussut maa. Tyrnävän historia 1800–2000_ [Land Risen from the Sea. The History of Tyrnävä 1800–2000]. 1bb:T7fe,_**Several stories have survived about the origin of the name Tyrnävä...**_ According to an explanation recorded in the Finnish Folklore Archives in 1936, the entire region of Lakeus — including what is now Tyrnävä — was once covered by water. A sea captain sailing nearby ran his ship aground on a rocky islet and exclaimed, _“That was quite a crash!”_ In Finnish dialect, his words were remembered as _“Olipas sekin töörnäys!”_ The islet became known as Töörnäys islet, later evolving linguistically into Töörnävä. When the land gradually rose from the sea and the waters receded, a church was built on that very spot where the captain’s mishap had occurred — giving rise to the name _Tyrnävä Church_. Old maps and documents show several early forms of the name, including Törnäue, Tyrnäuä, Törnewä, and Törnäwä. According to another interpretation, the name Tyrnävä does not come from the Finnish verb _törmätä_ (“to collide”) but rather from _törnätä_, meaning “to gush,” “to bubble up,” or “to overflow” — a word that evokes the image of a flooding river. This old dialect word has been used in Southwest Finland, Satakunta, and Western Uusimaa. The name Tyrnävä may therefore refer to the brownish river that flows through the area. Its water was said to be _tyrnävä_ — dense, thick, and strong, much like beer. In these western dialects, _tyrnävä_ is an adjective describing something rich and full-bodied. The earliest people to travel through the area — and later settle permanently on the open plains — came from southern Finland. The name Tyrnävä is thought to reflect the fertility and richness of the land, a tribute to the lush soil and abundant harvests that have long defined the region. **Sources:** - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Nimistön alkuperä_ [Origin of Place Names], pp. 24–25_._ In _Merestä noussut maa. Tyrnävän historia 1800–2000_ [Land Risen from the Sea. The History of Tyrnävä 1800–2000]. 1bc:T1454,_**From the potato fields of Tyrnävä to the ranks of the world’s finest vodkas…**_ The roots of Shaman Spirits reach back to the late 19th century, when Finland was still a Grand Duchy under the Russian Empire. In February 1860, a potato farmer from Tyrnävä named Juhan Matinolli received a distillation license from Tsar Alexander II. The license covered the very site where Shaman Spirits stands today. The original document still resides in the distillery’s office — it authorized Matinolli to produce 46 cans, equivalent to roughly 23 liters of vodka. On June 1, 1917, Finland introduced nationwide Prohibition, bringing all alcohol production to a halt. Although the law was repealed in 1931, the state retained a monopoly on alcohol manufacturing and sales until 1995, when Finland joined the European Union. EU membership finally opened the door for private distilleries once again. The idea to establish a local “potato spirit” distillery in Tyrnävä came from local potato farmers seeking to make use of their surplus potatoes. The project was initiated by Jari Matinolli, a descendant of the original license holder. In 1998, what is believed to be the northernmost distillery in the world was established in Tyrnävä, in the premises of a former laundry facility. An on-site distillery was built alongside. The company’s first product, Tyrnävä Potato Spirit, distilled from surplus potatoes, hit the market in 2002. Over time, several variations of the spirit were developed. As production volumes grew, the local potato supply could no longer meet demand, and the distillery began using grain spirit imported from France. The distillery produced, among other things, specialty spirits, flavored vodkas, and also developed non-alcoholic alternatives. In addition to producing its own products, the company also operated as a contract manufacturer for various vodka brands and acted as an importer of alcoholic beverages. According to studies, the water used in Shaman Spirits products — drawn from Lake Hirsijärvi — ranks among the purest in the world. This exceptional water quality is the secret behind the smooth taste and character of Shaman Spirits vodkas. The purity of the water has been admired even in the United States, and the company’s products have earned numerous international awards for excellence. By 2008, exports accounted for about 20 percent of the company’s turnover. Over the following decade, Shaman Spirits successfully expanded into global markets — by 2018, exports represented 80 percent of production, with products shipped to 25 countries worldwide. However, in February 2025, Shaman Spirits was declared bankrupt due to financial difficulties. Later that year, The Pure Essence Distillery Oy acquired the distillery property, equipment, and machinery from the bankruptcy estate. If the necessary permits are approved, distilling operations could resume by the end of 2025 — continuing the story that began more than 160 years ago on the same Tyrnävä soil. **Sources:** - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Siemenperunakeskus Tyrnävälle _[Seed Potato Center for Tyrnävä], pp. 424–425. In_ Merestä noussut maa. Tyrnävän historia 1800–2000 _[Land Risen from the Sea – The History of Tyrnävä 1800–2000]_._ - Shaman Spirits Oy. [www.shamanspirits.com/tarina](https://www.shamanspirits.com/tarina). Accessed November 13, 2025. - Suomen Tietotoimisto. _Suomalainen perunavotka yrittää maailmalle_. [A Finnish Potato Vodka Sets Its Sights on the World]. Ilta-Sanomat / Taloussanomat, May 3, 2008. [https://www.is.fi/taloussanomat/art-2000001567499.html](https://www.is.fi/taloussanomat/art-2000001567499.html). Accessed November 13, 2025. - Soile Suvanto. 2013. _Finland on viinapullon kyljessä valtti_ [Finland: A Selling Point on the Bottle of Spirits]. Yle News, August 8, 2013. [https://yle.fi/a/3-6768325](https://yle.fi/a/3-6768325). Accessed November 13, 2025. - Laura Matilainen. 2018. _Suomalaistislaamon vodka puhuttaa maailmalla! Veden puhtautta ihmetelty aina Amerikkaa myöten – ”ei tällaista vettä ole olemassakaan”_ [“Finnish distillery’s vodka making waves worldwide – the purity of the water amazes even Americans”]. MTV News, September 8, 2018. [https://www.mtvuutiset.fi/makuja/artikkeli/suomalaistislaamon-vodka-puhuttaa-maailmalla-veden-puhtautta-ihmetelty-aina-amerikkaa-myoten-ei-tallaista-vetta-ole-olemassakaan/7062206](https://www.mtvuutiset.fi/makuja/artikkeli/suomalaistislaamon-vodka-puhuttaa-maailmalla-veden-puhtautta-ihmetelty-aina-amerikkaa-myoten-ei-tallaista-vetta-ole-olemassakaan/7062206). Accessed November 13, 2025. - Anna Eveliina Hänninen & Henna Lammi. 2025. _Viinan valmistus jatkuu Tyrnävällä – Tislaamon osti yritys, jossa on henkilöitä Shaman Spiritsistä ja Israelista_ [“Vodka production continues in Tyrnävä – Distillery purchased by company with ties to Shaman Spirits and Israel”]. Kaleva, October 15, 2025. [https://www.kaleva.fi/viinan-valmistus-jatkuu-tyrnavalla-tislaamon-osti/12269922](https://www.kaleva.fi/viinan-valmistus-jatkuu-tyrnavalla-tislaamon-osti/12269922). Accessed November 13, 2025. 1bd:T1454,_**From the potato fields of Tyrnävä to the ranks of the world’s finest vodkas…**_ The roots of Shaman Spirits reach back to the late 19th century, when Finland was still a Grand Duchy under the Russian Empire. In February 1860, a potato farmer from Tyrnävä named Juhan Matinolli received a distillation license from Tsar Alexander II. The license covered the very site where Shaman Spirits stands today. The original document still resides in the distillery’s office — it authorized Matinolli to produce 46 cans, equivalent to roughly 23 liters of vodka. On June 1, 1917, Finland introduced nationwide Prohibition, bringing all alcohol production to a halt. Although the law was repealed in 1931, the state retained a monopoly on alcohol manufacturing and sales until 1995, when Finland joined the European Union. EU membership finally opened the door for private distilleries once again. The idea to establish a local “potato spirit” distillery in Tyrnävä came from local potato farmers seeking to make use of their surplus potatoes. The project was initiated by Jari Matinolli, a descendant of the original license holder. In 1998, what is believed to be the northernmost distillery in the world was established in Tyrnävä, in the premises of a former laundry facility. An on-site distillery was built alongside. The company’s first product, Tyrnävä Potato Spirit, distilled from surplus potatoes, hit the market in 2002. Over time, several variations of the spirit were developed. As production volumes grew, the local potato supply could no longer meet demand, and the distillery began using grain spirit imported from France. The distillery produced, among other things, specialty spirits, flavored vodkas, and also developed non-alcoholic alternatives. In addition to producing its own products, the company also operated as a contract manufacturer for various vodka brands and acted as an importer of alcoholic beverages. According to studies, the water used in Shaman Spirits products — drawn from Lake Hirsijärvi — ranks among the purest in the world. This exceptional water quality is the secret behind the smooth taste and character of Shaman Spirits vodkas. The purity of the water has been admired even in the United States, and the company’s products have earned numerous international awards for excellence. By 2008, exports accounted for about 20 percent of the company’s turnover. Over the following decade, Shaman Spirits successfully expanded into global markets — by 2018, exports represented 80 percent of production, with products shipped to 25 countries worldwide. However, in February 2025, Shaman Spirits was declared bankrupt due to financial difficulties. Later that year, The Pure Essence Distillery Oy acquired the distillery property, equipment, and machinery from the bankruptcy estate. If the necessary permits are approved, distilling operations could resume by the end of 2025 — continuing the story that began more than 160 years ago on the same Tyrnävä soil. **Sources:** - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Siemenperunakeskus Tyrnävälle _[Seed Potato Center for Tyrnävä], pp. 424–425. In_ Merestä noussut maa. Tyrnävän historia 1800–2000 _[Land Risen from the Sea – The History of Tyrnävä 1800–2000]_._ - Shaman Spirits Oy. [www.shamanspirits.com/tarina](https://www.shamanspirits.com/tarina). Accessed November 13, 2025. - Suomen Tietotoimisto. _Suomalainen perunavotka yrittää maailmalle_. [A Finnish Potato Vodka Sets Its Sights on the World]. Ilta-Sanomat / Taloussanomat, May 3, 2008. [https://www.is.fi/taloussanomat/art-2000001567499.html](https://www.is.fi/taloussanomat/art-2000001567499.html). Accessed November 13, 2025. - Soile Suvanto. 2013. _Finland on viinapullon kyljessä valtti_ [Finland: A Selling Point on the Bottle of Spirits]. Yle News, August 8, 2013. [https://yle.fi/a/3-6768325](https://yle.fi/a/3-6768325). Accessed November 13, 2025. - Laura Matilainen. 2018. _Suomalaistislaamon vodka puhuttaa maailmalla! Veden puhtautta ihmetelty aina Amerikkaa myöten – ”ei tällaista vettä ole olemassakaan”_ [“Finnish distillery’s vodka making waves worldwide – the purity of the water amazes even Americans”]. MTV News, September 8, 2018. [https://www.mtvuutiset.fi/makuja/artikkeli/suomalaistislaamon-vodka-puhuttaa-maailmalla-veden-puhtautta-ihmetelty-aina-amerikkaa-myoten-ei-tallaista-vetta-ole-olemassakaan/7062206](https://www.mtvuutiset.fi/makuja/artikkeli/suomalaistislaamon-vodka-puhuttaa-maailmalla-veden-puhtautta-ihmetelty-aina-amerikkaa-myoten-ei-tallaista-vetta-ole-olemassakaan/7062206). Accessed November 13, 2025. - Anna Eveliina Hänninen & Henna Lammi. 2025. _Viinan valmistus jatkuu Tyrnävällä – Tislaamon osti yritys, jossa on henkilöitä Shaman Spiritsistä ja Israelista_ [“Vodka production continues in Tyrnävä – Distillery purchased by company with ties to Shaman Spirits and Israel”]. Kaleva, October 15, 2025. [https://www.kaleva.fi/viinan-valmistus-jatkuu-tyrnavalla-tislaamon-osti/12269922](https://www.kaleva.fi/viinan-valmistus-jatkuu-tyrnavalla-tislaamon-osti/12269922). Accessed November 13, 2025. 1be:T133b,_**It took a long time before the low-lying coast rose from the sea…**_ Around two thousand years ago, the sea began to retreat from what is now Tyrnävä. As the shoreline moved westward, fertile lowland emerged—open meadows that soon became valuable grazing land. By the late 1500s, permanent settlements began to take shape along the rivers and streams that crossed the rising plains. The lush meadows provided hay for winter feed, making year-round living possible. Among the first to be settled were the banks of the Ängeslevä River, where the earliest houses were built in the 1540s. The village was first recorded in Crown accounts in 1559, listing five households. By the 1570s, nearby Temmes and Tyrnävä were administratively counted within Ängeslevä. Temmes saw its first permanent dwelling in 1548, and Tyrnävä’s oldest known homesteads date to 1566. Tyrnävä appeared as its own village for the first time in 1581, with two houses—growing to five the following year and eight the year after. In the 1590s, several families from Savo—displaced by Russian raids—relocated to Tyrnävä. Ängeslevä suffered heavy destruction in 1590, when five houses were burned, and Temmes lost two more to the same attacks. In the 1600s, Sweden’s national land surveyors mapped the region for taxation and military planning. On engineer Claes Claesson’s 1653 map, the farms of Tyrnävä parish are clearly marked: 73 homesteads in total along the Ängeslevä River and its tributaries—Rauhionoja, Luonunginoja, and Kivioja—as well as the Tyrnävä River and Leppioja. During this century, settlement across the Temmes–Tyrnävä–Ängeslevä region strengthened significantly. New residents arrived from both the Bothnian Bay coastline and the Savo region. By the early 1600s, local farmers had also discovered the economic value of tar production. In fact, a 1624 land assessment already highlighted the area’s excellent conditions for making tar—a major export product of the time. The villages of Temmes, Tyrnävä, and Ängeslevä produced tar in the upland forests of Liminka, traditionally using stumps and standing deadwood. The late 1600s also saw skilled master builders emerge from Tyrnävä, including Matti Joosepinpoika from Ängeslevä, best known for constructing the church and bell tower in Tornio. Tyrnävä became a chapel parish within Liminka, and its population grew rapidly throughout the 1700s and 1800s. One of the finest examples of an Ostrobothnian closed courtyard—the Hirvelä estate, built in the 1700s—still stands in the village center. The municipality purchased the building for public use in the late 1900s. At the beginning of the 18th century, the Oulu River Valley had only two main year-round roads. The most significant infrastructure project of the 1700s was the development of the Savontie road from Liminka’s Haaransilta through Temmes, Rantsila, and Pulkkila, continuing all the way to Kuopio. Previously, the route had been used only as a winter road and a summer riding trail. By the late 1700s, carts could already travel from Muhos to the Ängeslevä River, and another cart road connected Tyrnävä’s church village to Savontie. Throughout the 1700s and 1800s, repeated attempts were made to split Liminka parish. The long, often inconvenient distance between the main parish and its largest chapel created tension—and even friendly rivalry. Liminka residents jokingly referred to Tyrnävä locals as _turpeenkääntäjät_ ("peat turners"), while Tyrnävä people nicknamed Liminka residents _norssihousut_ ("leather-breeches"). Local councils debated both secular and spiritual matters, with forest resources, road maintenance responsibilities, and other practical issues often sparking disagreement. Tyrnävä eventually gained independence as a municipality in 1867, and as an independent parish in 1889. **Sources:** - Huurre, Matti & Vahtola, Jouko. 1991. _Ängeslevä, Temmes, and Tyrnävä_, pp. 113–114; _Asutus rannikolla _[Settlement on the Coast], pp. 176–177; _Kädentaitoja_ [Craftsmanship], pp. 238–239; _Liikenteen runkoväylät_ [Main Transport Routes], pp. 446–447. In _Oulujokilaakson historia_ [The History of the Oulujoki Valley]. - Matinolli, Eeva & Kyllikki. 1989. _Tyrnävän seurakunnan historia_ [History of the Parish of Tyrnävä]. - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Turpeenkääntäjät ja norssihousut _[Peat Turners and Leather-Breeches], pp. 130–131. In _Merestä noussut maa. Tyrnävän historia 1800–2000 _[Land Risen from the Sea – The History of Tyrnävä 1800–2000]. - Niemelä, Maija & Myllymäki, Pentti. 2012. _Tyrnävän Meijerikatu 1906–2010: Tyrnävän meijerialueen peruskorjaus uuteen käyttötarkoitukseen 1987–2010_ [Dairy Street in Tyrnävä 1906–2010: The Renovation of the Tyrnävä Dairy District for New Use, 1987–2010]. 27 pp. 1bf:T133b,_**It took a long time before the low-lying coast rose from the sea…**_ Around two thousand years ago, the sea began to retreat from what is now Tyrnävä. As the shoreline moved westward, fertile lowland emerged—open meadows that soon became valuable grazing land. By the late 1500s, permanent settlements began to take shape along the rivers and streams that crossed the rising plains. The lush meadows provided hay for winter feed, making year-round living possible. Among the first to be settled were the banks of the Ängeslevä River, where the earliest houses were built in the 1540s. The village was first recorded in Crown accounts in 1559, listing five households. By the 1570s, nearby Temmes and Tyrnävä were administratively counted within Ängeslevä. Temmes saw its first permanent dwelling in 1548, and Tyrnävä’s oldest known homesteads date to 1566. Tyrnävä appeared as its own village for the first time in 1581, with two houses—growing to five the following year and eight the year after. In the 1590s, several families from Savo—displaced by Russian raids—relocated to Tyrnävä. Ängeslevä suffered heavy destruction in 1590, when five houses were burned, and Temmes lost two more to the same attacks. In the 1600s, Sweden’s national land surveyors mapped the region for taxation and military planning. On engineer Claes Claesson’s 1653 map, the farms of Tyrnävä parish are clearly marked: 73 homesteads in total along the Ängeslevä River and its tributaries—Rauhionoja, Luonunginoja, and Kivioja—as well as the Tyrnävä River and Leppioja. During this century, settlement across the Temmes–Tyrnävä–Ängeslevä region strengthened significantly. New residents arrived from both the Bothnian Bay coastline and the Savo region. By the early 1600s, local farmers had also discovered the economic value of tar production. In fact, a 1624 land assessment already highlighted the area’s excellent conditions for making tar—a major export product of the time. The villages of Temmes, Tyrnävä, and Ängeslevä produced tar in the upland forests of Liminka, traditionally using stumps and standing deadwood. The late 1600s also saw skilled master builders emerge from Tyrnävä, including Matti Joosepinpoika from Ängeslevä, best known for constructing the church and bell tower in Tornio. Tyrnävä became a chapel parish within Liminka, and its population grew rapidly throughout the 1700s and 1800s. One of the finest examples of an Ostrobothnian closed courtyard—the Hirvelä estate, built in the 1700s—still stands in the village center. The municipality purchased the building for public use in the late 1900s. At the beginning of the 18th century, the Oulu River Valley had only two main year-round roads. The most significant infrastructure project of the 1700s was the development of the Savontie road from Liminka’s Haaransilta through Temmes, Rantsila, and Pulkkila, continuing all the way to Kuopio. Previously, the route had been used only as a winter road and a summer riding trail. By the late 1700s, carts could already travel from Muhos to the Ängeslevä River, and another cart road connected Tyrnävä’s church village to Savontie. Throughout the 1700s and 1800s, repeated attempts were made to split Liminka parish. The long, often inconvenient distance between the main parish and its largest chapel created tension—and even friendly rivalry. Liminka residents jokingly referred to Tyrnävä locals as _turpeenkääntäjät_ ("peat turners"), while Tyrnävä people nicknamed Liminka residents _norssihousut_ ("leather-breeches"). Local councils debated both secular and spiritual matters, with forest resources, road maintenance responsibilities, and other practical issues often sparking disagreement. Tyrnävä eventually gained independence as a municipality in 1867, and as an independent parish in 1889. **Sources:** - Huurre, Matti & Vahtola, Jouko. 1991. _Ängeslevä, Temmes, and Tyrnävä_, pp. 113–114; _Asutus rannikolla _[Settlement on the Coast], pp. 176–177; _Kädentaitoja_ [Craftsmanship], pp. 238–239; _Liikenteen runkoväylät_ [Main Transport Routes], pp. 446–447. In _Oulujokilaakson historia_ [The History of the Oulujoki Valley]. - Matinolli, Eeva & Kyllikki. 1989. _Tyrnävän seurakunnan historia_ [History of the Parish of Tyrnävä]. - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Turpeenkääntäjät ja norssihousut _[Peat Turners and Leather-Breeches], pp. 130–131. In _Merestä noussut maa. Tyrnävän historia 1800–2000 _[Land Risen from the Sea – The History of Tyrnävä 1800–2000]. - Niemelä, Maija & Myllymäki, Pentti. 2012. _Tyrnävän Meijerikatu 1906–2010: Tyrnävän meijerialueen peruskorjaus uuteen käyttötarkoitukseen 1987–2010_ [Dairy Street in Tyrnävä 1906–2010: The Renovation of the Tyrnävä Dairy District for New Use, 1987–2010]. 27 pp. 1c0:T11e0,_**Two historic cultural parishes merged in 2001.**_ The boundaries between the Lakeus municipalities—Liminka, Lumijoki, Rantsila, Temmes, and Tyrnävä—have historically been fragmented and scattered. Each municipality contained separate areas, or enclaves, belonging to neighboring municipalities. In May 1998, the Finnish government mandated these municipalities to carry out a consolidation process under the Municipal Structure Act, aimed at unifying municipal territories into contiguous parcels and centralizing services and functions for residents within a single local center. The consolidation plans were to be completed by the end of March 2000. Negotiations began in Temmes regarding cooperation and a potential municipal merger with Liminka, Rantsila, and Tyrnävä. While Temmes initially wished to join the Oulu region, following consultations and a municipal survey, the Temmes council decided to merge with Tyrnävä. The Finnish government approved the Temmes-Tyrnävä merger in June 2000, along with the territorial consolidation of the Lakeus municipalities, effective from the start of 2001. Temmes’ local identity continues to be preserved within the larger Tyrnävä municipality. With the merger, Tyrnävä now comprises two historically strong cultural parishes. Today, the municipality has two churches and two dairies. **Temmes Church** Temmes Church was designed and built by self-taught local church builder and farmer Antti Kallenpoika Louet (Andreas Louwet) between 1766 and 1767, but it was not consecrated until 1774. The church is a west-towered timber-framed structure, with the tower partially embedded at the west end of the nave. It is the last wooden church in Ostrobothnia constructed using the traditional log-frame method. The north side features a small sacristy, and a “little church” was added to the south side in 1847. Interior decorations, including the pulpit and altarpiece, were painted by Raahe master painter Carl Christoffer Stadigh in 1847. The church can accommodate around 200 people. Next to the church is a cemetery, enclosed by a stone wall featuring a timber gatehouse built by Louet in 1771. In front of the gatehouse, along the old Savontie road, stands a large wooden beggar figure with a hat, carved in 1858 by skilled craftsman Juho Kandelberg. Temmes was established as a chapel parish of Liminka in 1766 and became a full parish in 1918. Following the 2001 municipal merger, Temmes became a chapel within Tyrnävä parish. Temmes Church forms part of a nationally significant cultural environment, together with the Haapaseppä estate—one of the oldest properties in Temmes church village. Both the church and estate represent the historic, linear settlement pattern along the rivers typical of Ostrobothnian villages. The church is open in June and July on Tuesdays, Thursdays, Saturdays, and Sundays from 12:00 to 16:00. **Temmes Dairy** The old dairy was completed in 1923 and operated until 1949. Since then, it has served various purposes, including as a mill and auto repair shop. At one point, the municipal office was also located in this large building. Today, the dairy’s ground floor functions as business space. The dairy, along with its adjacent square, remains a prominent spot in the heart of Temmes, now managed by the active entrepreneur behind Hinkkilä, a buy-and-sell shop offering home décor, furniture, and clothing. **Sources:** - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Lakeuden kuntajaon eheyttäminen ja Temmes–Tyrnävä-kuntaliitos _[Consolidation of Lakeus Municipalities and the Temmes-Tyrnävä Merger], pp. 425–426. In _Merestä noussut maa. Tyrnävän historia 1800–2000_ [Land Risen from the Sea: The History of Tyrnävä 1800–2000]. - Finnish Heritage Agency. _Temmes Church_. [https://www.kyppi.fi/to.aspx?id=130.200669](https://www.kyppi.fi/to.aspx?id=130.200669). Accessed May 20, 2022. - Finnish Heritage Agency. 22.12.2009. _Haapaseppä Estate and Temmes Church_. [http://www.rky.fi/read/asp/r\_kohde\_det.aspx?KOHDE\_ID=2075](http://www.rky.fi/read/asp/r_kohde_det.aspx?KOHDE_ID=2075). Accessed May 20, 2022. - Mäkiniemi, Kaisa (ed.). 2018. _Temmeksen kirkko _[Temmes Church], p. 291. In _Kymmenen virran varrelta. Muuttuva kulttuuriympäristö Pohjois-Pohjanmaalla_ [Along the Ten Rivers: Changing Cultural Environment in Northern Ostrobothnia]. - Parish of Tyrnävä. _Temmes Church_. [https://www.tyrnavanseurakunta.fi/temmeksen-kirkko](https://www.tyrnavanseurakunta.fi/temmeksen-kirkko). Accessed May 20, 2022. 1c1:T11e0,_**Two historic cultural parishes merged in 2001.**_ The boundaries between the Lakeus municipalities—Liminka, Lumijoki, Rantsila, Temmes, and Tyrnävä—have historically been fragmented and scattered. Each municipality contained separate areas, or enclaves, belonging to neighboring municipalities. In May 1998, the Finnish government mandated these municipalities to carry out a consolidation process under the Municipal Structure Act, aimed at unifying municipal territories into contiguous parcels and centralizing services and functions for residents within a single local center. The consolidation plans were to be completed by the end of March 2000. Negotiations began in Temmes regarding cooperation and a potential municipal merger with Liminka, Rantsila, and Tyrnävä. While Temmes initially wished to join the Oulu region, following consultations and a municipal survey, the Temmes council decided to merge with Tyrnävä. The Finnish government approved the Temmes-Tyrnävä merger in June 2000, along with the territorial consolidation of the Lakeus municipalities, effective from the start of 2001. Temmes’ local identity continues to be preserved within the larger Tyrnävä municipality. With the merger, Tyrnävä now comprises two historically strong cultural parishes. Today, the municipality has two churches and two dairies. **Temmes Church** Temmes Church was designed and built by self-taught local church builder and farmer Antti Kallenpoika Louet (Andreas Louwet) between 1766 and 1767, but it was not consecrated until 1774. The church is a west-towered timber-framed structure, with the tower partially embedded at the west end of the nave. It is the last wooden church in Ostrobothnia constructed using the traditional log-frame method. The north side features a small sacristy, and a “little church” was added to the south side in 1847. Interior decorations, including the pulpit and altarpiece, were painted by Raahe master painter Carl Christoffer Stadigh in 1847. The church can accommodate around 200 people. Next to the church is a cemetery, enclosed by a stone wall featuring a timber gatehouse built by Louet in 1771. In front of the gatehouse, along the old Savontie road, stands a large wooden beggar figure with a hat, carved in 1858 by skilled craftsman Juho Kandelberg. Temmes was established as a chapel parish of Liminka in 1766 and became a full parish in 1918. Following the 2001 municipal merger, Temmes became a chapel within Tyrnävä parish. Temmes Church forms part of a nationally significant cultural environment, together with the Haapaseppä estate—one of the oldest properties in Temmes church village. Both the church and estate represent the historic, linear settlement pattern along the rivers typical of Ostrobothnian villages. The church is open in June and July on Tuesdays, Thursdays, Saturdays, and Sundays from 12:00 to 16:00. **Temmes Dairy** The old dairy was completed in 1923 and operated until 1949. Since then, it has served various purposes, including as a mill and auto repair shop. At one point, the municipal office was also located in this large building. Today, the dairy’s ground floor functions as business space. The dairy, along with its adjacent square, remains a prominent spot in the heart of Temmes, now managed by the active entrepreneur behind Hinkkilä, a buy-and-sell shop offering home décor, furniture, and clothing. **Sources:** - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Lakeuden kuntajaon eheyttäminen ja Temmes–Tyrnävä-kuntaliitos _[Consolidation of Lakeus Municipalities and the Temmes-Tyrnävä Merger], pp. 425–426. In _Merestä noussut maa. Tyrnävän historia 1800–2000_ [Land Risen from the Sea: The History of Tyrnävä 1800–2000]. - Finnish Heritage Agency. _Temmes Church_. [https://www.kyppi.fi/to.aspx?id=130.200669](https://www.kyppi.fi/to.aspx?id=130.200669). Accessed May 20, 2022. - Finnish Heritage Agency. 22.12.2009. _Haapaseppä Estate and Temmes Church_. [http://www.rky.fi/read/asp/r\_kohde\_det.aspx?KOHDE\_ID=2075](http://www.rky.fi/read/asp/r_kohde_det.aspx?KOHDE_ID=2075). Accessed May 20, 2022. - Mäkiniemi, Kaisa (ed.). 2018. _Temmeksen kirkko _[Temmes Church], p. 291. In _Kymmenen virran varrelta. Muuttuva kulttuuriympäristö Pohjois-Pohjanmaalla_ [Along the Ten Rivers: Changing Cultural Environment in Northern Ostrobothnia]. - Parish of Tyrnävä. _Temmes Church_. [https://www.tyrnavanseurakunta.fi/temmeksen-kirkko](https://www.tyrnavanseurakunta.fi/temmeksen-kirkko). Accessed May 20, 2022. 1c2:T1003,_**Fields stretching to the horizon, riverside settlements, and migrating birds…**_ Liminka Plain (Lakeus) is one of Finland’s largest cultivated plains, characterized by open, low-lying fields and long, uninterrupted views. The plain is traversed by narrow rivers—Tyrnävänjoki, Ängeslevänjoki, Temmesjoki, Lumijoki, and Vanha Liminganjoki—that flow into Liminganlahti, a nature area of international significance. Post-glacial land uplift continues to shape the coastline, creating distinctive vegetation zones. Permanent settlement in the Liminka region dates back to the 14th century. The earliest fields and homes were arranged in long, narrow strips along the rivers, and by the 16th century, the riverbanks were densely settled. Agriculture and livestock farming became the region’s main livelihoods, with riverside meadows providing pasture. Livestock farming also influenced local industry: in the early 20th century, the Tyrnävä and Liminka cooperative dairies were important production centers, and their large buildings became local landmarks. The meadows of Liminka are unique and scenically valuable. They have been admired by naturalist Carl von Linné in the 1730s and by agronomist and professor Iivari Leiviskä in the 1920s. Linné described the meadows in his diary in 1732: _"The famous vast meadows of Liminka, at least as seen from the road, appear completely covered in grass. These meadows are one of Ostrobothnia’s three most valuable natural treasures, along with the salmon fishing in Kemi and the fields of Isokyrö."_ Traditional meadow farming continued until the 1950s, and many species-rich meadows still remain. Today, cultivated fields form a broad, open landscape, with settlement arranged in ribbon-like patterns along rivers and main roads. The main centers of population and services are the urban areas of Tyrnävä, Liminka, and Lumijoki, as well as Murto, Ängeslevä, and Ala-Temmes. The built cultural landscape is characterized by layers of history and the influence of traditional agriculture. Farm buildings from past centuries coexist with modern, tall production structures. Prominent landmarks include churches, windmills, machinery halls, barns, grain dryers, and feed silos. Historically significant buildings and complexes can be found along the Ängeslevä and Tyrnävä rivers, in Ala-Temmes, Keskikylä, Hirvasniemi, Virkkula, Rantakylä, Lapinkylä, and the church villages of Tyrnävä, Liminka, and Lumijoki. **Tyrnävä River Area** The Tyrnävä river area is a representative example of the ribbon-like riverside settlements typical of Liminka Plain. The first permanent residents built homes along the Tyrnävä and Ängeslevä rivers around the mid-16th century, and the area still has numerous traditional buildings dating back to the 1700s. The granaries depicted in the municipal coat of arms are also characteristic elements of the cultural landscape. Riverside settlements are surrounded by expansive fields stretching to the horizon. These open fields provide a vital resting area each year for large numbers of migratory birds, attracting birdwatchers and photographers from near and far. Farmsteads are located on riverbanks, with long lanes leading from the roads to the yards. Wooden bridges across the rivers are a distinctive feature of the landscape. Traditional farm buildings along the rivers include Kirstinä granary, Kursula, Leskelä (Palkki), Yli-Palkki, Pajulahti (Lotta-cottage), Pirkola, Ranta-Kaakila, Tyrnävä Local History Museum, Tihinen heritage house, Uusi-Anttila, Anttila, Juottola, Ala-Keränen, Ala-Turunen, Yli-Ikola, Ala-Ikola, and Koivikko School. Most of these estates still function as active production farms today. **Sources:** - Mäkiniemi, Kaisa (ed.). 2018. _Limingan lakeuden kulttuurimaisema_ [The Cultural Landscape of Liminka Plain], p. 36 and _Tyrnävänjokivarsi _[Tyrnävä River Area], p. 71. In _Kymmenen virran varrelta. Muuttuva kulttuuriympäristö Pohjois-Pohjanmaalla_ [Along the Ten Rivers: Changing Cultural Environment in Northern Ostrobothnia]. 1c3:T1003,_**Fields stretching to the horizon, riverside settlements, and migrating birds…**_ Liminka Plain (Lakeus) is one of Finland’s largest cultivated plains, characterized by open, low-lying fields and long, uninterrupted views. The plain is traversed by narrow rivers—Tyrnävänjoki, Ängeslevänjoki, Temmesjoki, Lumijoki, and Vanha Liminganjoki—that flow into Liminganlahti, a nature area of international significance. Post-glacial land uplift continues to shape the coastline, creating distinctive vegetation zones. Permanent settlement in the Liminka region dates back to the 14th century. The earliest fields and homes were arranged in long, narrow strips along the rivers, and by the 16th century, the riverbanks were densely settled. Agriculture and livestock farming became the region’s main livelihoods, with riverside meadows providing pasture. Livestock farming also influenced local industry: in the early 20th century, the Tyrnävä and Liminka cooperative dairies were important production centers, and their large buildings became local landmarks. The meadows of Liminka are unique and scenically valuable. They have been admired by naturalist Carl von Linné in the 1730s and by agronomist and professor Iivari Leiviskä in the 1920s. Linné described the meadows in his diary in 1732: _"The famous vast meadows of Liminka, at least as seen from the road, appear completely covered in grass. These meadows are one of Ostrobothnia’s three most valuable natural treasures, along with the salmon fishing in Kemi and the fields of Isokyrö."_ Traditional meadow farming continued until the 1950s, and many species-rich meadows still remain. Today, cultivated fields form a broad, open landscape, with settlement arranged in ribbon-like patterns along rivers and main roads. The main centers of population and services are the urban areas of Tyrnävä, Liminka, and Lumijoki, as well as Murto, Ängeslevä, and Ala-Temmes. The built cultural landscape is characterized by layers of history and the influence of traditional agriculture. Farm buildings from past centuries coexist with modern, tall production structures. Prominent landmarks include churches, windmills, machinery halls, barns, grain dryers, and feed silos. Historically significant buildings and complexes can be found along the Ängeslevä and Tyrnävä rivers, in Ala-Temmes, Keskikylä, Hirvasniemi, Virkkula, Rantakylä, Lapinkylä, and the church villages of Tyrnävä, Liminka, and Lumijoki. **Tyrnävä River Area** The Tyrnävä river area is a representative example of the ribbon-like riverside settlements typical of Liminka Plain. The first permanent residents built homes along the Tyrnävä and Ängeslevä rivers around the mid-16th century, and the area still has numerous traditional buildings dating back to the 1700s. The granaries depicted in the municipal coat of arms are also characteristic elements of the cultural landscape. Riverside settlements are surrounded by expansive fields stretching to the horizon. These open fields provide a vital resting area each year for large numbers of migratory birds, attracting birdwatchers and photographers from near and far. Farmsteads are located on riverbanks, with long lanes leading from the roads to the yards. Wooden bridges across the rivers are a distinctive feature of the landscape. Traditional farm buildings along the rivers include Kirstinä granary, Kursula, Leskelä (Palkki), Yli-Palkki, Pajulahti (Lotta-cottage), Pirkola, Ranta-Kaakila, Tyrnävä Local History Museum, Tihinen heritage house, Uusi-Anttila, Anttila, Juottola, Ala-Keränen, Ala-Turunen, Yli-Ikola, Ala-Ikola, and Koivikko School. Most of these estates still function as active production farms today. **Sources:** - Mäkiniemi, Kaisa (ed.). 2018. _Limingan lakeuden kulttuurimaisema_ [The Cultural Landscape of Liminka Plain], p. 36 and _Tyrnävänjokivarsi _[Tyrnävä River Area], p. 71. In _Kymmenen virran varrelta. Muuttuva kulttuuriympäristö Pohjois-Pohjanmaalla_ [Along the Ten Rivers: Changing Cultural Environment in Northern Ostrobothnia]. 1c4:T18ee,_**Tyrnävä is widely known for its potato cultivation — and it’s no wonder. More than 60% of all Finnish seed potatoes are produced here.**_ Once the bottom of an ancient sea, the region’s stone-free, sandy soils and long, bright summer nights make Tyrnävä one of the best potato-growing areas in the country. Potato cultivation began in the Oulu region as early as the 1740s. From the 1760s onward, it gradually expanded from the coastal parishes across the entire province. The Oulu County Economic Society, founded in 1828, helped accelerate this development. By the 1840s, the region already had large-scale farmers — among them the distinguished juror Olli Herrala from Tyrnävä, whose annual harvest was estimated at 140 barrels (1 barrel = 1.649 hectolitres; 1 hectolitre = 100 litres). Records show that in 1878, Tyrnävä sowed 371 barrels and harvested 1,140 barrels of potatoes. Until the 1950s and 1960s, potato cultivation remained largely for household use. In the 1960s, Tyrnävä’s farms began specialising in commercial and industrial potato production. In 1960, Tyrnävä Dairy, together with Valio and Hankkija, founded Tyrnävän Kuivaperuna Oy, a potato flake manufacturer. The company operated only a few years due to storage issues. Mechanisation increased cultivation areas and led to the establishment of the region’s first specialised farms, such as those run by Esko Keränen, Esko Heikkinen, Antti Matinolli and Martti Väliaho. Many farms produced more potatoes than they needed, and merchant Eino Ylitalo delivered the surplus to Oulu, where Tyrnävä potatoes found their market among shops, wholesalers and restaurants. During the 1960s, a critical issue in Finnish potato cultivation became clear: the state lacked a proper seed potato supply system. Old varieties were weakened by disease and mixed types. After a rainy summer in 1974, Finland had to import more than 10 million kilos of seed potatoes, bringing new plant diseases with them. This led to the establishment of the Seed Potato Centre (SPK) in 1976. Ilmajoki in Southern Ostrobothnia was first proposed as the location for the centre, followed by Liminka. However, the discovery of potato cyst nematode — one of the most serious threats to potato cultivation — in the fields of Alatemmes changed the plan. Tyrnävä, with its ideal conditions, became the final choice. The municipality had already anticipated the need: by autumn 1977 a 1,200-ton seed potato storage facility was completed, and by 1985 capacity had risen to 8,000 tons. In the late 1990s, additional storage built by contract growers increased total capacity to 10,000 tons, making SPK the largest seed potato storage centre in the Nordic region. By the end of the 1980s, Finland had achieved full seed potato self-sufficiency. With Finland’s EU membership, the Tyrnävä–Liminka area was approved in 1995 as one of four High Grade regions in Europe, producing seed and table potatoes that meet the highest quality requirements. SPK’s operations ended in 2002, and its work was continued by the Finnish Seed Potato Centre Ltd. SPK had more than 40 contract farms in the 1980s, with the number decreasing to 29 by the 1990s. Tyrnävä also gained international attention for Tyrnävä vodka, distilled from surplus potatoes. The region revived its traditional distilling heritage when the “Potato Vodka Factory” opened in 1998 in the former municipal laundry building. In 2024, Tyrnävä had 11,073 hectares of farmland, of which approximately 1,320 hectares were used for potato cultivation. There were 38 potato farms in the municipality. About 62% of all Finnish seed potatoes were produced in Tyrnävä in 2024. A total of 26 farms cultivated seed potatoes on 638 hectares. Each year, the High Grade area produces about 17–18 million kilos of seed potatoes, with roughly one quarter exported abroad. The popular Tyrnävä Potato Market was held for the first time in 1991. Today, it is the largest open-air marketplace event in Northern Ostrobothnia — a tribute to Tyrnävä’s agricultural expertise, local food and long potato-growing tradition. The event hosts around 200 vendors and attracts nearly 10,000 visitors in a single day. The Potato Market is organised by Lions Club Tyrnävä in cooperation with the municipality, sports clubs, volunteer groups and local associations. **Sources:** - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Tyrnävän Peruna_ [The Potato of Tyrnävä], pp. 419–425. In _Merestä noussut maa. Tyrnävän historia 1800–2000_ [Land Risen from the Sea. The History of Tyrnävä 1800–2000]. - Natural Resources Institute Finland (Luonnonvarakeskus). June 26, 2025. _Käytössä oleva maatalousmaa kunnittain_ [Agricultural Land in Use by Municipality]. Selected variables: 2024, Tyrnävä, cultivation area (ha), number of farms and potato. [https://statdb.luke.fi/PxWeb/pxweb/fi/LUKE/LUKE\_\_maa\_\_kamama/0200\_kamama.px/](https://statdb.luke.fi/PxWeb/pxweb/fi/LUKE/LUKE__maa__kamama/0200_kamama.px/). Accessed December 11, 2025. - Finnish Seed Potato Centre Ltd. (Suomen Siemenperunakeskus Oy). 2020. _Suomalaista siemenperunaa High Grade -alueelta_ [Finnish Seed Potatoes from the High Grade Area]. [https://www.spk.fi/files/dokumentit/esitteet/spk-yleisesite-2020.pdf](https://www.spk.fi/files/dokumentit/esitteet/spk-yleisesite-2020.pdf). Accessed December 11, 2025. - Central Union of Agricultural Producers and Forest Owners (MTK). February 1, 2025. _Perunan ja sokerijuurikkaan tuotanto_ [Production of Potatoes and Sugar Beet]. [https://www.mtk.fi/-/peruna-ja-sokerijuurikas](https://www.mtk.fi/-/peruna-ja-sokerijuurikas). Accessed December 11, 2025. - Natural Resources Institute Finland (Luonnonvarakeskus). October 3, 2022. _Siemenperunan tuotantoalue_ [Seed Potato Production Area]. [https://projects.luke.fi/ruokafakta/peltomaan\_kasvit/siemenperunan-tuotantoalue/](https://projects.luke.fi/ruokafakta/peltomaan_kasvit/siemenperunan-tuotantoalue/). Accessed December 11, 2025. - Lions Club Tyrnävä / Potato Market (n.d.). _Tyrnävän perunan historia_ [The History of the Tyrnävä Potato]. [https://www.perunamarkkinat.fi/single-post/2017/06/17/tyrn%C3%A4v%C3%A4n-perunan-historia](https://www.perunamarkkinat.fi/single-post/2017/06/17/tyrn%C3%A4v%C3%A4n-perunan-historia). Accessed December 11, 2025. 1c5:T18ee,_**Tyrnävä is widely known for its potato cultivation — and it’s no wonder. More than 60% of all Finnish seed potatoes are produced here.**_ Once the bottom of an ancient sea, the region’s stone-free, sandy soils and long, bright summer nights make Tyrnävä one of the best potato-growing areas in the country. Potato cultivation began in the Oulu region as early as the 1740s. From the 1760s onward, it gradually expanded from the coastal parishes across the entire province. The Oulu County Economic Society, founded in 1828, helped accelerate this development. By the 1840s, the region already had large-scale farmers — among them the distinguished juror Olli Herrala from Tyrnävä, whose annual harvest was estimated at 140 barrels (1 barrel = 1.649 hectolitres; 1 hectolitre = 100 litres). Records show that in 1878, Tyrnävä sowed 371 barrels and harvested 1,140 barrels of potatoes. Until the 1950s and 1960s, potato cultivation remained largely for household use. In the 1960s, Tyrnävä’s farms began specialising in commercial and industrial potato production. In 1960, Tyrnävä Dairy, together with Valio and Hankkija, founded Tyrnävän Kuivaperuna Oy, a potato flake manufacturer. The company operated only a few years due to storage issues. Mechanisation increased cultivation areas and led to the establishment of the region’s first specialised farms, such as those run by Esko Keränen, Esko Heikkinen, Antti Matinolli and Martti Väliaho. Many farms produced more potatoes than they needed, and merchant Eino Ylitalo delivered the surplus to Oulu, where Tyrnävä potatoes found their market among shops, wholesalers and restaurants. During the 1960s, a critical issue in Finnish potato cultivation became clear: the state lacked a proper seed potato supply system. Old varieties were weakened by disease and mixed types. After a rainy summer in 1974, Finland had to import more than 10 million kilos of seed potatoes, bringing new plant diseases with them. This led to the establishment of the Seed Potato Centre (SPK) in 1976. Ilmajoki in Southern Ostrobothnia was first proposed as the location for the centre, followed by Liminka. However, the discovery of potato cyst nematode — one of the most serious threats to potato cultivation — in the fields of Alatemmes changed the plan. Tyrnävä, with its ideal conditions, became the final choice. The municipality had already anticipated the need: by autumn 1977 a 1,200-ton seed potato storage facility was completed, and by 1985 capacity had risen to 8,000 tons. In the late 1990s, additional storage built by contract growers increased total capacity to 10,000 tons, making SPK the largest seed potato storage centre in the Nordic region. By the end of the 1980s, Finland had achieved full seed potato self-sufficiency. With Finland’s EU membership, the Tyrnävä–Liminka area was approved in 1995 as one of four High Grade regions in Europe, producing seed and table potatoes that meet the highest quality requirements. SPK’s operations ended in 2002, and its work was continued by the Finnish Seed Potato Centre Ltd. SPK had more than 40 contract farms in the 1980s, with the number decreasing to 29 by the 1990s. Tyrnävä also gained international attention for Tyrnävä vodka, distilled from surplus potatoes. The region revived its traditional distilling heritage when the “Potato Vodka Factory” opened in 1998 in the former municipal laundry building. In 2024, Tyrnävä had 11,073 hectares of farmland, of which approximately 1,320 hectares were used for potato cultivation. There were 38 potato farms in the municipality. About 62% of all Finnish seed potatoes were produced in Tyrnävä in 2024. A total of 26 farms cultivated seed potatoes on 638 hectares. Each year, the High Grade area produces about 17–18 million kilos of seed potatoes, with roughly one quarter exported abroad. The popular Tyrnävä Potato Market was held for the first time in 1991. Today, it is the largest open-air marketplace event in Northern Ostrobothnia — a tribute to Tyrnävä’s agricultural expertise, local food and long potato-growing tradition. The event hosts around 200 vendors and attracts nearly 10,000 visitors in a single day. The Potato Market is organised by Lions Club Tyrnävä in cooperation with the municipality, sports clubs, volunteer groups and local associations. **Sources:** - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Tyrnävän Peruna_ [The Potato of Tyrnävä], pp. 419–425. In _Merestä noussut maa. Tyrnävän historia 1800–2000_ [Land Risen from the Sea. The History of Tyrnävä 1800–2000]. - Natural Resources Institute Finland (Luonnonvarakeskus). June 26, 2025. _Käytössä oleva maatalousmaa kunnittain_ [Agricultural Land in Use by Municipality]. Selected variables: 2024, Tyrnävä, cultivation area (ha), number of farms and potato. [https://statdb.luke.fi/PxWeb/pxweb/fi/LUKE/LUKE\_\_maa\_\_kamama/0200\_kamama.px/](https://statdb.luke.fi/PxWeb/pxweb/fi/LUKE/LUKE__maa__kamama/0200_kamama.px/). Accessed December 11, 2025. - Finnish Seed Potato Centre Ltd. (Suomen Siemenperunakeskus Oy). 2020. _Suomalaista siemenperunaa High Grade -alueelta_ [Finnish Seed Potatoes from the High Grade Area]. [https://www.spk.fi/files/dokumentit/esitteet/spk-yleisesite-2020.pdf](https://www.spk.fi/files/dokumentit/esitteet/spk-yleisesite-2020.pdf). Accessed December 11, 2025. - Central Union of Agricultural Producers and Forest Owners (MTK). February 1, 2025. _Perunan ja sokerijuurikkaan tuotanto_ [Production of Potatoes and Sugar Beet]. [https://www.mtk.fi/-/peruna-ja-sokerijuurikas](https://www.mtk.fi/-/peruna-ja-sokerijuurikas). Accessed December 11, 2025. - Natural Resources Institute Finland (Luonnonvarakeskus). October 3, 2022. _Siemenperunan tuotantoalue_ [Seed Potato Production Area]. [https://projects.luke.fi/ruokafakta/peltomaan\_kasvit/siemenperunan-tuotantoalue/](https://projects.luke.fi/ruokafakta/peltomaan_kasvit/siemenperunan-tuotantoalue/). Accessed December 11, 2025. - Lions Club Tyrnävä / Potato Market (n.d.). _Tyrnävän perunan historia_ [The History of the Tyrnävä Potato]. [https://www.perunamarkkinat.fi/single-post/2017/06/17/tyrn%C3%A4v%C3%A4n-perunan-historia](https://www.perunamarkkinat.fi/single-post/2017/06/17/tyrn%C3%A4v%C3%A4n-perunan-historia). Accessed December 11, 2025. 1c6:T1398,_**Historic buildings and valuable cultural heritage…**_ Tyrnävä Local Heritage Museum consists of numerous historic buildings, the oldest dating back to the 18th century. The construction of the museum area began in 1967, and it includes Tyrnävä Local Heritage House (Tihinen House), Rauhio Smoke Sauna, Männikkö Threshing Barn, Shingle Cutter, Kesti Loft, Smithy, the Tihinen, Pisilä, and Tyyskä Granaries, Wood Shed, Wind Well, Milk Platform, Agricultural Machinery Museum, Turpasmökki, Lottapirtti, Tuovinen Sauna, and the Loan Grain Storehouse. Organized local heritage activities in Finland began in 1894 but expanded nationwide only after World War II, when the Civil Guard and Lotta organizations were dissolved. Many local heritage associations were established with the support of the National Federation of Local Heritage Associations and the Finnish Museum Association. In Tyrnävä, the Local Heritage and Museum Association was founded on December 26, 1949, at Tyrnävä Education Hall with the aim of creating a parish museum. The association acquired a decommissioned grain storehouse as a museum, with the land leased from the parish free of charge for 50 years in 1957. The association initially focused on recruiting members, collecting donations, and promoting its mission through local events, such as heritage evenings. Activities remained relatively simple at least until the 1970s; long-time secretary Toivo Laatikainen described them as “delightfully primitive, without proper bookkeeping.” Volunteer work and dedicated leaders enabled the completion of major projects. Past chairpersons include Perttu Ikonen, Hannes Kangas, R. J. and Antti Matinolli, Niilo Turunen, and Erkki Saikkonen. The conversion of the grain storehouse into a museum began with volunteer work in April 1951. The originally two-story building was modified into three stories. The museum opened in June 1951 and was completed in 1953 for the agricultural exhibitions, supported by a municipal grant of 40,000 marks. Initially, board members handled museum tours, and the first paid curator was student Väinö Kirstinä. The museum holds between 1,500 and 2,500 objects, including an extensive ski collection, photographs, and records of main farms and property marks. Significant donations include Hilja Kirstinä’s home museum and the Matinolli family collection. The association has received financial and labor support from the municipality and the Finnish Heritage Agency. Between 1977 and 1980, Tyrnävä Local Heritage Museum produced one of Finland’s first detailed object catalogues. The Local Heritage House project emerged from the need for additional space. It was located centrally in the village, in the Seppälä area. Tihinen House, originally located in Ängeslevä Ylipää, with its oldest part, the smoke cabin, dating from the 18th century and an extension from the 1840s, was moved to its current location in 1984. The house measures 9 x 32 meters. The core volunteer team consisted of 5–8 retired men working for several months, with additional help from the local Lions Club and Tyrnävä Women in Agriculture. The yard was later supplemented with a loft, smithy, smoke sauna, threshing barn, and granaries. The Local Heritage House was in use from 1989 and officially inaugurated in 1992. It was established as a living museum, hosting midsummer celebrations, heritage festivals, and singing evenings, and is available for meetings and family events. The upper floor houses a school museum and a general store museum from the estate of merchant Jere Takalo. The association also maintains a local archive and documents significant sites. Later additions include Turpasmökki (2007) and the Agricultural Machinery Museum (2013), which presents the history of farming and forestry through machinery and artifacts. Its mission is to preserve cultural heritage and convey knowledge, stories, and experiences to future generations. Between 2021 and 2025, the Lottapirtti, built in 1750 and used by Lotta women during the wars, was relocated and restored, and Tuovinen Sauna was renovated with an accessible restroom, all as part of an EU-funded project. The Loan Grain Storehouse near Tyrnävä Church, built in the 1860s and opened as a museum in 1951, showcases artifacts and tells the story of local luminary Armas Pasanen, known as the “Mirror Boy of Tyrnävä,” who solved crimes, even murders, by looking into two mirrors. The artifact museum and the heritage area are open mainly in summer and during major events, such as the Night of the Arts and the Potato Market. **Sources:** - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Kotiseututyö_ [Local Heritage Work], pp. 330–334. In _Merestä noussut maa. Tyrnävän historia 1800–2000_ [Land Risen from the Sea. The History of Tyrnävä 1800–2000]. - Tyrnävä Local Heritage and Museum Association. [https://www.tyrnavanmuseo.fi/](https://www.tyrnavanmuseo.fi/). Accessed December 12, 2025. 1c7:T1398,_**Historic buildings and valuable cultural heritage…**_ Tyrnävä Local Heritage Museum consists of numerous historic buildings, the oldest dating back to the 18th century. The construction of the museum area began in 1967, and it includes Tyrnävä Local Heritage House (Tihinen House), Rauhio Smoke Sauna, Männikkö Threshing Barn, Shingle Cutter, Kesti Loft, Smithy, the Tihinen, Pisilä, and Tyyskä Granaries, Wood Shed, Wind Well, Milk Platform, Agricultural Machinery Museum, Turpasmökki, Lottapirtti, Tuovinen Sauna, and the Loan Grain Storehouse. Organized local heritage activities in Finland began in 1894 but expanded nationwide only after World War II, when the Civil Guard and Lotta organizations were dissolved. Many local heritage associations were established with the support of the National Federation of Local Heritage Associations and the Finnish Museum Association. In Tyrnävä, the Local Heritage and Museum Association was founded on December 26, 1949, at Tyrnävä Education Hall with the aim of creating a parish museum. The association acquired a decommissioned grain storehouse as a museum, with the land leased from the parish free of charge for 50 years in 1957. The association initially focused on recruiting members, collecting donations, and promoting its mission through local events, such as heritage evenings. Activities remained relatively simple at least until the 1970s; long-time secretary Toivo Laatikainen described them as “delightfully primitive, without proper bookkeeping.” Volunteer work and dedicated leaders enabled the completion of major projects. Past chairpersons include Perttu Ikonen, Hannes Kangas, R. J. and Antti Matinolli, Niilo Turunen, and Erkki Saikkonen. The conversion of the grain storehouse into a museum began with volunteer work in April 1951. The originally two-story building was modified into three stories. The museum opened in June 1951 and was completed in 1953 for the agricultural exhibitions, supported by a municipal grant of 40,000 marks. Initially, board members handled museum tours, and the first paid curator was student Väinö Kirstinä. The museum holds between 1,500 and 2,500 objects, including an extensive ski collection, photographs, and records of main farms and property marks. Significant donations include Hilja Kirstinä’s home museum and the Matinolli family collection. The association has received financial and labor support from the municipality and the Finnish Heritage Agency. Between 1977 and 1980, Tyrnävä Local Heritage Museum produced one of Finland’s first detailed object catalogues. The Local Heritage House project emerged from the need for additional space. It was located centrally in the village, in the Seppälä area. Tihinen House, originally located in Ängeslevä Ylipää, with its oldest part, the smoke cabin, dating from the 18th century and an extension from the 1840s, was moved to its current location in 1984. The house measures 9 x 32 meters. The core volunteer team consisted of 5–8 retired men working for several months, with additional help from the local Lions Club and Tyrnävä Women in Agriculture. The yard was later supplemented with a loft, smithy, smoke sauna, threshing barn, and granaries. The Local Heritage House was in use from 1989 and officially inaugurated in 1992. It was established as a living museum, hosting midsummer celebrations, heritage festivals, and singing evenings, and is available for meetings and family events. The upper floor houses a school museum and a general store museum from the estate of merchant Jere Takalo. The association also maintains a local archive and documents significant sites. Later additions include Turpasmökki (2007) and the Agricultural Machinery Museum (2013), which presents the history of farming and forestry through machinery and artifacts. Its mission is to preserve cultural heritage and convey knowledge, stories, and experiences to future generations. Between 2021 and 2025, the Lottapirtti, built in 1750 and used by Lotta women during the wars, was relocated and restored, and Tuovinen Sauna was renovated with an accessible restroom, all as part of an EU-funded project. The Loan Grain Storehouse near Tyrnävä Church, built in the 1860s and opened as a museum in 1951, showcases artifacts and tells the story of local luminary Armas Pasanen, known as the “Mirror Boy of Tyrnävä,” who solved crimes, even murders, by looking into two mirrors. The artifact museum and the heritage area are open mainly in summer and during major events, such as the Night of the Arts and the Potato Market. **Sources:** - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Kotiseututyö_ [Local Heritage Work], pp. 330–334. In _Merestä noussut maa. Tyrnävän historia 1800–2000_ [Land Risen from the Sea. The History of Tyrnävä 1800–2000]. - Tyrnävä Local Heritage and Museum Association. [https://www.tyrnavanmuseo.fi/](https://www.tyrnavanmuseo.fi/). Accessed December 12, 2025. 1c8:T1edd,_**Finland’s First Ski Races, Elite Athletes, and Sports Clubs…**_ Modern sports in Tyrnävä was inspired by international role models, local traditions, and physical education in schools, with early involvement from youth associations and workers’ clubs. Regular training was rare, and official sports clubs only began forming after Finland’s independence, gaining momentum after 1919 with the split of the Finnish Gymnastics and Sports Federation (SVUL) and the Finnish Workers’ Sports Federation (TUL). Strength sports and wrestling were particularly popular, and oral tradition remembers Tyrnävä’s famed strongmen, such as Vahva Laitinen and Antti Ollila. School gymnastics laid the foundation for many young people to pursue regular sports activities. **Finland’s First Public Ski Races** In March 1879, Tyrnävä hosted Finland’s first public ski races, widely reported in newspapers. Organized by shopkeeper Antti Bäck and schoolteacher Antti Härkönen, around 70 participants competed—including a few women—on a three-kilometer course skied three times. Hundreds of spectators braved heavy snowfall to watch. Local strongman Antti Ollila won the race and received a prize of three marks. The event included choir performances and speeches celebrating Finland’s long skiing tradition dating back to Kalevala times. These races became a recurring highlight in Tyrnävä, later attracting some of Finland’s top skiers. Today, a statue by Tauno Seppänen near Tyrnävä Church commemorates these historic first ski races. **Tyrnävän Tempaus – History and Achievements** The Tyrnävä Gymnastics and Sports Club, Tempaus, was founded on October 30, 1921 (registered October 10, 1922), with 55 members, including 15 women, and U. J. Ranta as its first chairman. The club offered a wide range of sports, including athletics, skiing, wrestling, cycling, swimming, and ski jumping. Friendly competitions with neighboring municipalities, as well as regional contests, became regular. After World War II, club activities resumed in 1944 with support from Sokat Oy and Tyrnävän Tempaus Tuki, funding equipment and facility improvements. The club established sections for various sports, separate boys’ and girls’ teams, an education committee, and village branches. Membership grew to 294 after the war, reaching 386 by 1958. Activities expanded to orienteering, basketball, and weightlifting, though some were short-lived. The completion of the Seurojentalo club house in 1961 allowed for more versatile programming, funded by dances and other events. In the 1970s, Tempaus restructured, reducing sections to four (athletics, skiing, baseball, and entertainment—later finance), clarifying responsibilities, and hiring a sports and operations coordinator. Athletics and baseball gained national prominence, volleyball was added, and membership exceeded 300. In 1986, the club purchased and renovated the Seurojentalo, turning dances into its primary revenue source. In 1989, the club set a record audience of 1,030 ticket holders. The women’s dances became a rare nationwide event. By 2001 only about 10% of the audience came from Tyrnävä. Funding also came from auctions, advertising, sponsorships, and rentals, turning the club into a small enterprise with a million-mark budget. Skiing became Tempaus’s flagship sport from the 1940s, putting Tyrnävä on the national map. Major anniversary races were held in 1949 (70 years since the first ski races) and 1979 (100 years). Niilo Turunen from Tyrnävä won the 1949 main race. National-level competitions were possible thanks to skilled local skiers. Large races, however, faced challenges due to the flat terrain and often limited snow. Competitive skiing declined by the mid-1960s but revived in the late 1990s. Athletics was another key sport from the start. By the 1970s, the club became nationally significant, especially in throwing events, producing top athletes and coaches. In 1972, Tempaus was recognized as a development club by the Finnish Sports Federation. Hammer throwers brought multiple regional championships, with national-level athletes competing in world championships and Olympic-level events. Notable athletes included Antti and Jari Matinolli and Jorma Markus. Originally developed for military purposes, baseball became the club’s main sport from the 1940s. Men’s teams frequently reached the national series, while women’s baseball began in the 1980s and reached the top league by 2000. Baseball united a broad base of enthusiasts with high-level competition, making Tyrnävä renowned for player development. Volleyball joined in the 1970s but declined in the early 1990s due to hall fees. In 1996, Tempaus began organizing its own tournament during the potato market, and these so-called "potato tournaments" soon became an annual tradition. Recreational sports were formalized from the 1970s, including skiing, running, Nordic walking, tennis, badminton, and floorball. The recreational sports committee collaborated with the municipality, Tyrnävän Valpas, and local parish to develop inclusive programs for all ages. Chair Pirjo Pakonen received the municipal sports award in 1987 for her work. Tempaus also honors its top athletes, with javelin thrower Jorma Markus receiving the most awards. **Other Sports Clubs** The Tyrnävä Workers’ Association engaged in sports activities, which in 1922 split off to form the Gymnastics and Sports Club Valpas. Activities focused on the workers’ hall and an adjacent field renovated through volunteer work, with athletics, skiing, and gymnastics as the main sports. In 1928, the club built its own facility in the village of Markku, but it was closed in 1930 by the Lapua Movement. Left-wing members then founded a new club, Tyrnävän Voima, which continued competitions and field activities. After the war, the club once again took the name Valpas in 1946, gained access to the Tempaus field, and membership grew from 50 to 85 in two years. Activities expanded beyond gymnastics, skiing competitions, and social events to include wrestling, baseball, football, and table tennis. In the 1950s and 1960s, dances at the workers’ hall were also very popular. Activities declined due to financial difficulties and members moving away, but a revival meeting in 1976 restarted the club’s sports program, including volleyball, athletics, skiing, football, wrestling, and fitness. When the workers’ hall was converted into the Sepäntupa restaurant in 1985, activity decreased. Tyrnävä has hosted several sports clubs: Tyrnävän Valpas (founded 1922), Tyrnävän Naisvoimistelijat (1951), Murron Erä, Tyrnävän Palloseura (1985), Tyrnävän Hunting Club/Riistansuojelijat (1958), Lakeuden Urheiluautoilijat (1988), and FC Murto (1999). Qualifying rounds for the Finnish Tractor Pulling Championships have been held in Tyrnävä since 1988. Tyrnävä also has a tradition of horse sports and archery, as well as successful athletes such as Heikki Lautaoja, Leena Väärä, and Mikko Kesti. The clubs’ shared facility, Valistustalo, was built in 1947 with the support of Sokat Oy in an old pigsty, and the new Seurojentalo was completed in 1961 according to the designs of architect Martti Torvikoski. The building offered spaces for celebrations, sports, and meetings, funded by fundraising, bingo, and rentals. Eventually, Seurojentalo was transferred to Tyrnävän Tempaus and has since been integral to the club’s history. The association emphasized: “The hall shall continue to serve the youth and be available for all to hold meetings.” **Sources:** - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Urheileva Tyrnävä_ [Sporty Tyrnävä], pp. 304–330. In _Merestä noussut maa. Tyrnävän historia 1800–2000 _[Land Risen from the Sea: The History of Tyrnävä 1800–2000]. 1c9:T1edd,_**Finland’s First Ski Races, Elite Athletes, and Sports Clubs…**_ Modern sports in Tyrnävä was inspired by international role models, local traditions, and physical education in schools, with early involvement from youth associations and workers’ clubs. Regular training was rare, and official sports clubs only began forming after Finland’s independence, gaining momentum after 1919 with the split of the Finnish Gymnastics and Sports Federation (SVUL) and the Finnish Workers’ Sports Federation (TUL). Strength sports and wrestling were particularly popular, and oral tradition remembers Tyrnävä’s famed strongmen, such as Vahva Laitinen and Antti Ollila. School gymnastics laid the foundation for many young people to pursue regular sports activities. **Finland’s First Public Ski Races** In March 1879, Tyrnävä hosted Finland’s first public ski races, widely reported in newspapers. Organized by shopkeeper Antti Bäck and schoolteacher Antti Härkönen, around 70 participants competed—including a few women—on a three-kilometer course skied three times. Hundreds of spectators braved heavy snowfall to watch. Local strongman Antti Ollila won the race and received a prize of three marks. The event included choir performances and speeches celebrating Finland’s long skiing tradition dating back to Kalevala times. These races became a recurring highlight in Tyrnävä, later attracting some of Finland’s top skiers. Today, a statue by Tauno Seppänen near Tyrnävä Church commemorates these historic first ski races. **Tyrnävän Tempaus – History and Achievements** The Tyrnävä Gymnastics and Sports Club, Tempaus, was founded on October 30, 1921 (registered October 10, 1922), with 55 members, including 15 women, and U. J. Ranta as its first chairman. The club offered a wide range of sports, including athletics, skiing, wrestling, cycling, swimming, and ski jumping. Friendly competitions with neighboring municipalities, as well as regional contests, became regular. After World War II, club activities resumed in 1944 with support from Sokat Oy and Tyrnävän Tempaus Tuki, funding equipment and facility improvements. The club established sections for various sports, separate boys’ and girls’ teams, an education committee, and village branches. Membership grew to 294 after the war, reaching 386 by 1958. Activities expanded to orienteering, basketball, and weightlifting, though some were short-lived. The completion of the Seurojentalo club house in 1961 allowed for more versatile programming, funded by dances and other events. In the 1970s, Tempaus restructured, reducing sections to four (athletics, skiing, baseball, and entertainment—later finance), clarifying responsibilities, and hiring a sports and operations coordinator. Athletics and baseball gained national prominence, volleyball was added, and membership exceeded 300. In 1986, the club purchased and renovated the Seurojentalo, turning dances into its primary revenue source. In 1989, the club set a record audience of 1,030 ticket holders. The women’s dances became a rare nationwide event. By 2001 only about 10% of the audience came from Tyrnävä. Funding also came from auctions, advertising, sponsorships, and rentals, turning the club into a small enterprise with a million-mark budget. Skiing became Tempaus’s flagship sport from the 1940s, putting Tyrnävä on the national map. Major anniversary races were held in 1949 (70 years since the first ski races) and 1979 (100 years). Niilo Turunen from Tyrnävä won the 1949 main race. National-level competitions were possible thanks to skilled local skiers. Large races, however, faced challenges due to the flat terrain and often limited snow. Competitive skiing declined by the mid-1960s but revived in the late 1990s. Athletics was another key sport from the start. By the 1970s, the club became nationally significant, especially in throwing events, producing top athletes and coaches. In 1972, Tempaus was recognized as a development club by the Finnish Sports Federation. Hammer throwers brought multiple regional championships, with national-level athletes competing in world championships and Olympic-level events. Notable athletes included Antti and Jari Matinolli and Jorma Markus. Originally developed for military purposes, baseball became the club’s main sport from the 1940s. Men’s teams frequently reached the national series, while women’s baseball began in the 1980s and reached the top league by 2000. Baseball united a broad base of enthusiasts with high-level competition, making Tyrnävä renowned for player development. Volleyball joined in the 1970s but declined in the early 1990s due to hall fees. In 1996, Tempaus began organizing its own tournament during the potato market, and these so-called "potato tournaments" soon became an annual tradition. Recreational sports were formalized from the 1970s, including skiing, running, Nordic walking, tennis, badminton, and floorball. The recreational sports committee collaborated with the municipality, Tyrnävän Valpas, and local parish to develop inclusive programs for all ages. Chair Pirjo Pakonen received the municipal sports award in 1987 for her work. Tempaus also honors its top athletes, with javelin thrower Jorma Markus receiving the most awards. **Other Sports Clubs** The Tyrnävä Workers’ Association engaged in sports activities, which in 1922 split off to form the Gymnastics and Sports Club Valpas. Activities focused on the workers’ hall and an adjacent field renovated through volunteer work, with athletics, skiing, and gymnastics as the main sports. In 1928, the club built its own facility in the village of Markku, but it was closed in 1930 by the Lapua Movement. Left-wing members then founded a new club, Tyrnävän Voima, which continued competitions and field activities. After the war, the club once again took the name Valpas in 1946, gained access to the Tempaus field, and membership grew from 50 to 85 in two years. Activities expanded beyond gymnastics, skiing competitions, and social events to include wrestling, baseball, football, and table tennis. In the 1950s and 1960s, dances at the workers’ hall were also very popular. Activities declined due to financial difficulties and members moving away, but a revival meeting in 1976 restarted the club’s sports program, including volleyball, athletics, skiing, football, wrestling, and fitness. When the workers’ hall was converted into the Sepäntupa restaurant in 1985, activity decreased. Tyrnävä has hosted several sports clubs: Tyrnävän Valpas (founded 1922), Tyrnävän Naisvoimistelijat (1951), Murron Erä, Tyrnävän Palloseura (1985), Tyrnävän Hunting Club/Riistansuojelijat (1958), Lakeuden Urheiluautoilijat (1988), and FC Murto (1999). Qualifying rounds for the Finnish Tractor Pulling Championships have been held in Tyrnävä since 1988. Tyrnävä also has a tradition of horse sports and archery, as well as successful athletes such as Heikki Lautaoja, Leena Väärä, and Mikko Kesti. The clubs’ shared facility, Valistustalo, was built in 1947 with the support of Sokat Oy in an old pigsty, and the new Seurojentalo was completed in 1961 according to the designs of architect Martti Torvikoski. The building offered spaces for celebrations, sports, and meetings, funded by fundraising, bingo, and rentals. Eventually, Seurojentalo was transferred to Tyrnävän Tempaus and has since been integral to the club’s history. The association emphasized: “The hall shall continue to serve the youth and be available for all to hold meetings.” **Sources:** - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Urheileva Tyrnävä_ [Sporty Tyrnävä], pp. 304–330. In _Merestä noussut maa. Tyrnävän historia 1800–2000 _[Land Risen from the Sea: The History of Tyrnävä 1800–2000]. 1ca:T72b,_**Jorma Markus was arguably Tyrnävä’s most famous elite athlete.**_ Jorma Aimo Antero Markus stands out as one of Tyrnävä’s most celebrated athletes. Born on November 28, 1952, in Tyrnävä, Jorma specialized in javelin throw and built a career full of remarkable achievements. Among his accolades are the World Championship gold for 40-year-olds in 1993, European Championship gold in 1994, and European Championship gold for 45-year-olds in 2000. Jorma claimed second place in the prestigious Kaleva Games in 1984 and 1985, represented Finland at the 1986 European Championships in Stuttgart, and competed in senior international matches from 1982 to 1986, achieving his best result with a silver medal in Stockholm in 1985. His personal best throw with the old javelin model, an impressive 90.18 meters, was set in Tyrnävä on June 6, 1982 – at that time, only nine athletes worldwide had surpassed the 90-meter mark. A proud representative of Tyrnävän Tempaus, Jorma is the club’s most decorated athlete, and his expertise has shaped the careers of elite throwers such as Seppo Räty, Päivi Alafrantti, and Sami Sax. **Sources:** - Wikipedia. _Jorma Markus_. [https://fi.wikipedia.org/wiki/Jorma\_Markus](https://fi.wikipedia.org/wiki/Jorma_Markus). Accessed December 16, 2025. - Tapanainen, Sami. 2023. _Hurjien heittäjien Tyrnävän Tempaus – Miesten tilasto suorastaan pursuaa Suomen huipulla kilpailevia urheilijoita_ [The Tyrnävän Tempaus of the Wild Throwers – the men’s statistics are positively brimming with athletes competing at the very top level in Finland]. Rantalakeus, 21.11.2023. [https://www.rantalakeus.fi/hurjien-heittajien-tyrnavan-tempaus-miesten-tilast/6050845](https://www.rantalakeus.fi/hurjien-heittajien-tyrnavan-tempaus-miesten-tilast/6050845). Accessed December 16, 2025. 1cb:T72b,_**Jorma Markus was arguably Tyrnävä’s most famous elite athlete.**_ Jorma Aimo Antero Markus stands out as one of Tyrnävä’s most celebrated athletes. Born on November 28, 1952, in Tyrnävä, Jorma specialized in javelin throw and built a career full of remarkable achievements. Among his accolades are the World Championship gold for 40-year-olds in 1993, European Championship gold in 1994, and European Championship gold for 45-year-olds in 2000. Jorma claimed second place in the prestigious Kaleva Games in 1984 and 1985, represented Finland at the 1986 European Championships in Stuttgart, and competed in senior international matches from 1982 to 1986, achieving his best result with a silver medal in Stockholm in 1985. His personal best throw with the old javelin model, an impressive 90.18 meters, was set in Tyrnävä on June 6, 1982 – at that time, only nine athletes worldwide had surpassed the 90-meter mark. A proud representative of Tyrnävän Tempaus, Jorma is the club’s most decorated athlete, and his expertise has shaped the careers of elite throwers such as Seppo Räty, Päivi Alafrantti, and Sami Sax. **Sources:** - Wikipedia. _Jorma Markus_. [https://fi.wikipedia.org/wiki/Jorma\_Markus](https://fi.wikipedia.org/wiki/Jorma_Markus). Accessed December 16, 2025. - Tapanainen, Sami. 2023. _Hurjien heittäjien Tyrnävän Tempaus – Miesten tilasto suorastaan pursuaa Suomen huipulla kilpailevia urheilijoita_ [The Tyrnävän Tempaus of the Wild Throwers – the men’s statistics are positively brimming with athletes competing at the very top level in Finland]. Rantalakeus, 21.11.2023. [https://www.rantalakeus.fi/hurjien-heittajien-tyrnavan-tempaus-miesten-tilast/6050845](https://www.rantalakeus.fi/hurjien-heittajien-tyrnavan-tempaus-miesten-tilast/6050845). Accessed December 16, 2025. 1cc:Ta38,_**80 kilometres of history, nature, and riverside settlement…**_ The roughly 80-kilometre Tyrnävänjoki River begins in the wetlands of Pelso’s Veneneva, an aapa mire dotted with small ponds and lakes. It joins the Temmes–Ängeslevänjoki River before flowing into Liminganlahti Bay. Along its course, Tyrnävänjoki meanders through traditional agricultural landscapes, carving deep ravines in places. During the Middle Ages, the banks of the Tyrnävänjoki and Ängeslevänjoki rivers served as wilderness areas for coastal inhabitants. The first permanent resident of Tyrnävä, Hannu Kaakinen, settled along this same river in the 1540s. By the 1550s, more settlers arrived from the coast and from Savo. The earliest cultivated fields and homesteads formed long, ribbon-like chains along the riverbanks. Settlement in the ancient Liminka parish and its villages, including Tyrnävä, was not without danger. Russia claimed these lands as its own and repeatedly destroyed the settlements that had formed under Swedish rule. A devastating blow came during the Great Wrath (1714), when Russian forces systematically burned settlements to the ground. In Tyrnävä, as many as 848 people may have been killed. Conditions began to stabilise after the Treaty of Nystad was signed in August 1721. The destruction of communities along the Tyrnävänjoki and its surroundings came to an end with the Great Wrath. The prized species of the Tyrnävänjoki has long been the noble crayfish. However, crayfish plague wiped out the population in the late 1990s. Catches also declined due to peat production, drainage, and environmental runoff. In the early 1970s, Timo Pakonen studied the fish populations of Tyrnävänjoki. Over four years he caught nearly 100 kilograms of fish—about 90% of which were roach. The next most common species were ruffe, dace, and perch. Occasional pike appeared in summer, burbot in mid-winter, and even grayling and ide were recorded. **Sources:** - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Luonnonolosuhteita _[Natural Conditions], pp. 26–28. In _Merestä noussut maa. Tyrnävän historia 1800–2000 _[Land Risen from the Sea: The History of Tyrnävä 1800–2000]_._ - Pohjois-Pohjanmaan seutukaavaliitto. 1993. _Tyrnävä_, p. 68. _Pohjois-Pohjanmaan kulttuurihistoriallisesti merkittävät kohteet. Osa 2 _[Culturally Significant Sites of Northern Ostrobothnia. Part 2]. - Wikipedia. _Tyrnävänjoki_ [Tyrnävä River]. [https://fi.wikipedia.org/wiki/Tyrn%C3%A4v%C3%A4njoki](https://fi.wikipedia.org/wiki/Tyrn%C3%A4v%C3%A4njoki). Accessed December 12, 2025. 1cd:Ta38,_**80 kilometres of history, nature, and riverside settlement…**_ The roughly 80-kilometre Tyrnävänjoki River begins in the wetlands of Pelso’s Veneneva, an aapa mire dotted with small ponds and lakes. It joins the Temmes–Ängeslevänjoki River before flowing into Liminganlahti Bay. Along its course, Tyrnävänjoki meanders through traditional agricultural landscapes, carving deep ravines in places. During the Middle Ages, the banks of the Tyrnävänjoki and Ängeslevänjoki rivers served as wilderness areas for coastal inhabitants. The first permanent resident of Tyrnävä, Hannu Kaakinen, settled along this same river in the 1540s. By the 1550s, more settlers arrived from the coast and from Savo. The earliest cultivated fields and homesteads formed long, ribbon-like chains along the riverbanks. Settlement in the ancient Liminka parish and its villages, including Tyrnävä, was not without danger. Russia claimed these lands as its own and repeatedly destroyed the settlements that had formed under Swedish rule. A devastating blow came during the Great Wrath (1714), when Russian forces systematically burned settlements to the ground. In Tyrnävä, as many as 848 people may have been killed. Conditions began to stabilise after the Treaty of Nystad was signed in August 1721. The destruction of communities along the Tyrnävänjoki and its surroundings came to an end with the Great Wrath. The prized species of the Tyrnävänjoki has long been the noble crayfish. However, crayfish plague wiped out the population in the late 1990s. Catches also declined due to peat production, drainage, and environmental runoff. In the early 1970s, Timo Pakonen studied the fish populations of Tyrnävänjoki. Over four years he caught nearly 100 kilograms of fish—about 90% of which were roach. The next most common species were ruffe, dace, and perch. Occasional pike appeared in summer, burbot in mid-winter, and even grayling and ide were recorded. **Sources:** - Matinolli, Kyllikki & Asunmaa, Martti (eds.). 2005. _Luonnonolosuhteita _[Natural Conditions], pp. 26–28. In _Merestä noussut maa. Tyrnävän historia 1800–2000 _[Land Risen from the Sea: The History of Tyrnävä 1800–2000]_._ - Pohjois-Pohjanmaan seutukaavaliitto. 1993. _Tyrnävä_, p. 68. _Pohjois-Pohjanmaan kulttuurihistoriallisesti merkittävät kohteet. Osa 2 _[Culturally Significant Sites of Northern Ostrobothnia. Part 2]. - Wikipedia. _Tyrnävänjoki_ [Tyrnävä River]. [https://fi.wikipedia.org/wiki/Tyrn%C3%A4v%C3%A4njoki](https://fi.wikipedia.org/wiki/Tyrn%C3%A4v%C3%A4njoki). Accessed December 12, 2025. 1ce:T799,**Tyrnävä's Dairy Street (Finnish: Meijerikatu) forms the heart of a unique, beautifully restored historic industrial environment from the early 1900s.** In the early 1900s, the Dairy Street was a busy industrial disctrict hosting one of Finland’s leading dairies as well as cheese factories, a flour mill, tanner’s and cobbler’s workshops, a power station and a sawmill. The Tyrnävä Cooperative Dairy (Finnish: Tyrnävän Osuusmeijeri), which serviced the entire territory of the municipality at the time, was founded in 1905 and the dairy building was completed in 1906. In the 1910s-1930s, the Tyrnävä Cooperative Dairy grew into one of the most important Emmental cheese factories in all of the Nordic countries. Its products were exported all the way to England. Today, the buildings in the area have been beautifully restored, most notably the iconic Mill Library, which is architecturally one of Tyrnävä’s major destinations. Within its walls, the spirit of storytelling and the richness of local culture thrive. The Dairy Street has been rated as “a unique old industrial environment in Northern Finland” for its great cultural and historic value. Take a guided walking tour ([https://www.windland.fi/](https://www.windland.fi/), [https://www.goarctic.fi/kavelykierrokset-tyrnavalla/](https://www.goarctic.fi/kavelykierrokset-tyrnavalla/)) or experience the beautiful Dairy Street independently: [https://www.tyrnava.fi/kulttuuri-ja-vapaa-aika/kirjasto.html](https://www.tyrnava.fi/kulttuuri-ja-vapaa-aika/kirjasto.html). **The old dairy district is now a lively, year-round destination for all ages:** - Scenic mini golf and a cozy outdoor living room - Rotating exhibitions at Tyrnävä’s municipal art gallery - Community events like the Night of the Arts and Marrastulet Festival - Versatile venues: Kivipirtti, Leaf Hall, and Meijerikatu Auditorium - The 2.8 km Tyrnävä Story Trail along the riverside 1cf:T799,**Tyrnävä's Dairy Street (Finnish: Meijerikatu) forms the heart of a unique, beautifully restored historic industrial environment from the early 1900s.** In the early 1900s, the Dairy Street was a busy industrial disctrict hosting one of Finland’s leading dairies as well as cheese factories, a flour mill, tanner’s and cobbler’s workshops, a power station and a sawmill. The Tyrnävä Cooperative Dairy (Finnish: Tyrnävän Osuusmeijeri), which serviced the entire territory of the municipality at the time, was founded in 1905 and the dairy building was completed in 1906. In the 1910s-1930s, the Tyrnävä Cooperative Dairy grew into one of the most important Emmental cheese factories in all of the Nordic countries. Its products were exported all the way to England. Today, the buildings in the area have been beautifully restored, most notably the iconic Mill Library, which is architecturally one of Tyrnävä’s major destinations. Within its walls, the spirit of storytelling and the richness of local culture thrive. The Dairy Street has been rated as “a unique old industrial environment in Northern Finland” for its great cultural and historic value. Take a guided walking tour ([https://www.windland.fi/](https://www.windland.fi/), [https://www.goarctic.fi/kavelykierrokset-tyrnavalla/](https://www.goarctic.fi/kavelykierrokset-tyrnavalla/)) or experience the beautiful Dairy Street independently: [https://www.tyrnava.fi/kulttuuri-ja-vapaa-aika/kirjasto.html](https://www.tyrnava.fi/kulttuuri-ja-vapaa-aika/kirjasto.html). **The old dairy district is now a lively, year-round destination for all ages:** - Scenic mini golf and a cozy outdoor living room - Rotating exhibitions at Tyrnävä’s municipal art gallery - Community events like the Night of the Arts and Marrastulet Festival - Versatile venues: Kivipirtti, Leaf Hall, and Meijerikatu Auditorium - The 2.8 km Tyrnävä Story Trail along the riverside 1d0:T891,**Welcome to the Markkuu Nature Trail!** Pine forests with lichen-covered undergrowth, meandering river gorges, lush groves and meadows. The Markkuu nature trail with its forests is a natural treasure that you don’t expect to find in the surroundings dominated by fields and open landscape as far as the eye can see. The nature trail, with its wren (in Finnish, peukaloinen) habitats, provide you with a unique nature experience only half an hour's drive from Oulu. The circular route is about 10 kilometers in length around the River Ängeslevänjoki and its tributaries. One of the cutest inhabitants of the diverse nature along the trail is Markkuu’s mascot bird, the wren. On your excursion, you can also explore the traces and geological formations left by the Ice Age and the history of the region. There are also bits of Finnish poetry and literature on plaques, encouraging you to take a break and enjoy the scenery. The path initially runs through a gentle cultural landscape. A suspension bridge about one kilometer from the starting point takes you over the river into a forested area. The route can be occasionally demanding as it travels along the steep river slopes. There are two well-equipped campfire sites along the trail. Right at the beginning of the nature trail, during the first 100 meters, you can find a children’s adventure course The Forest elves’ path, and after 700 meters, you will find the first campsite with a wooden tipi-like hut, a spot for campfire, toilet and even a small playground for children. You will find the second campsite halfway through the route, after about 5 kilometers, with a wooden lean-to shelter and a spot for a campfire. Both of the campsites allow you to spend the night there, either using the huts and shelters or with your own tent. The nature trail begins at the Nature and wellness center Peukaloinen, address Ängeslevän Ylipääntie 6, Tyrnävä. The nature trail has been established and is maintained by the local village association Markkuun Seudun Kyläyhdistys ry. **Explore the printable **[**guide map**](https://markkuu.fi/wordpress/wp-content/uploads/2020/10/Markkuun-luontopolku-opastekartta.pdf)**.** 1d1:T891,**Welcome to the Markkuu Nature Trail!** Pine forests with lichen-covered undergrowth, meandering river gorges, lush groves and meadows. The Markkuu nature trail with its forests is a natural treasure that you don’t expect to find in the surroundings dominated by fields and open landscape as far as the eye can see. The nature trail, with its wren (in Finnish, peukaloinen) habitats, provide you with a unique nature experience only half an hour's drive from Oulu. The circular route is about 10 kilometers in length around the River Ängeslevänjoki and its tributaries. One of the cutest inhabitants of the diverse nature along the trail is Markkuu’s mascot bird, the wren. On your excursion, you can also explore the traces and geological formations left by the Ice Age and the history of the region. There are also bits of Finnish poetry and literature on plaques, encouraging you to take a break and enjoy the scenery. The path initially runs through a gentle cultural landscape. A suspension bridge about one kilometer from the starting point takes you over the river into a forested area. The route can be occasionally demanding as it travels along the steep river slopes. There are two well-equipped campfire sites along the trail. Right at the beginning of the nature trail, during the first 100 meters, you can find a children’s adventure course The Forest elves’ path, and after 700 meters, you will find the first campsite with a wooden tipi-like hut, a spot for campfire, toilet and even a small playground for children. You will find the second campsite halfway through the route, after about 5 kilometers, with a wooden lean-to shelter and a spot for a campfire. Both of the campsites allow you to spend the night there, either using the huts and shelters or with your own tent. The nature trail begins at the Nature and wellness center Peukaloinen, address Ängeslevän Ylipääntie 6, Tyrnävä. The nature trail has been established and is maintained by the local village association Markkuun Seudun Kyläyhdistys ry. **Explore the printable **[**guide map**](https://markkuu.fi/wordpress/wp-content/uploads/2020/10/Markkuun-luontopolku-opastekartta.pdf)**.** 1d2:T716,_The Quiet Flow of Jouttenoinen Carries the Centuries-Old Stories of Ojakylä…_ In Temmes’ Ojakylä, a deep and at times wide riverbed still traces the path of Jouttenoinen, flowing into the Temmes River. The once-mighty current has slowed, but water still courses through the channel. In spring, the river babbles and rushes with renewed life, while during floods, it spreads widely across the riverbed’s natural pools. The banks of Jouttenoinen have witnessed a long history of settlement, with Stone Age artifacts discovered in the area. In earlier times, one of the three homesteads of the Mankinen brothers was moved across the river. According to local lore, the relocated site was first called Prokko (later Korkala); the name shifted again as the dwelling moved slightly, eventually becoming Perälä. In 2022, Torsti Aaltokangas unearthed coins and artifacts dating back to the 1700s and 1800s on the fields of present-day Perälä. Nearby, the old crossing once connected the Mankinen family estates. Locally, Jouttenoinen has long been called Sorkkaoja, likely because, as settlement expanded, the riverbanks served as grazing land for livestock. Over centuries, the bridge carried people to fields and neighbors, as well as to nearby parishes and far-off lands. It connected people, homes, and the river landscape itself. During the construction of Ojakyläntie around 1970, the crossing of Jouttenoinen was moved slightly downstream. In a 1965 road plan, the bridge was named the Joutsenoja Bridge. The bridge was completed in 1971. The new bridge was a simple wooden beam structure with a 12-ton load capacity. In 1987, the bridge was replaced by a steel pipe culvert bridge. This bridge also reached the end of its service life and was replaced by a completely new culvert bridge in 2022. 1d3:T716,_The Quiet Flow of Jouttenoinen Carries the Centuries-Old Stories of Ojakylä…_ In Temmes’ Ojakylä, a deep and at times wide riverbed still traces the path of Jouttenoinen, flowing into the Temmes River. The once-mighty current has slowed, but water still courses through the channel. In spring, the river babbles and rushes with renewed life, while during floods, it spreads widely across the riverbed’s natural pools. The banks of Jouttenoinen have witnessed a long history of settlement, with Stone Age artifacts discovered in the area. In earlier times, one of the three homesteads of the Mankinen brothers was moved across the river. According to local lore, the relocated site was first called Prokko (later Korkala); the name shifted again as the dwelling moved slightly, eventually becoming Perälä. In 2022, Torsti Aaltokangas unearthed coins and artifacts dating back to the 1700s and 1800s on the fields of present-day Perälä. Nearby, the old crossing once connected the Mankinen family estates. Locally, Jouttenoinen has long been called Sorkkaoja, likely because, as settlement expanded, the riverbanks served as grazing land for livestock. Over centuries, the bridge carried people to fields and neighbors, as well as to nearby parishes and far-off lands. It connected people, homes, and the river landscape itself. During the construction of Ojakyläntie around 1970, the crossing of Jouttenoinen was moved slightly downstream. In a 1965 road plan, the bridge was named the Joutsenoja Bridge. The bridge was completed in 1971. The new bridge was a simple wooden beam structure with a 12-ton load capacity. In 1987, the bridge was replaced by a steel pipe culvert bridge. This bridge also reached the end of its service life and was replaced by a completely new culvert bridge in 2022. 1d4:T6a6,_An old mill holds many stories — if only the heart is quiet enough to listen…_ Mikkola Mill, a turbine-powered water mill and saw, originally operated as both a sawmill and a flour mill. Jaakko Mikkola first built the water saw in 1887–1888, followed by the mill in 1889–1890. In 1924, Mikkola sold the property to the municipality. In the 1930s, miller Johan Porkka replaced the old waterwheel with a turbine and purchased a frame saw and planer from the Pöyry Sawmill. Later, in 1938, Abram Kelhä bought the mill and carried out major upgrades, adding two pairs of millstones, a cooling system, and likely an auxiliary turbine. The saw section was expanded in 1939, the roof structure was modified, and a circular saw was installed. Operations at the mill and sawmill ceased in 1962, when the drainage of nearby peatlands reduced the Temmes River’s flow, leaving too little water to power the turbines. In 1976, the then-owner donated the buildings to the Temmes Local Heritage Association, which has since restored and maintained them. In the same yard stands the miller’s residence, built in the early 1950s using lumber sawn at the mill itself. The earlier residence — “Myllypirtti,” a log house assembled by Johan Porkka from two drying barns in the 1930s — was relocated about 3 km south along the Temmes River once the new house was completed. **Your journey continues...** - South along Lännentie towards Vikiö Bridge (approx. 1.5 km), or - South along Haurukyläntie – Tomperintie towards Vikiö Bridge (approx. 2 km), or - North along Lännentie towards Mäkelä Bridge (approx. 3 km), or - North along Haurukyläntie towards Mäkelä Bridge (approx. 2 km). 1d5:T6a6,_An old mill holds many stories — if only the heart is quiet enough to listen…_ Mikkola Mill, a turbine-powered water mill and saw, originally operated as both a sawmill and a flour mill. Jaakko Mikkola first built the water saw in 1887–1888, followed by the mill in 1889–1890. In 1924, Mikkola sold the property to the municipality. In the 1930s, miller Johan Porkka replaced the old waterwheel with a turbine and purchased a frame saw and planer from the Pöyry Sawmill. Later, in 1938, Abram Kelhä bought the mill and carried out major upgrades, adding two pairs of millstones, a cooling system, and likely an auxiliary turbine. The saw section was expanded in 1939, the roof structure was modified, and a circular saw was installed. Operations at the mill and sawmill ceased in 1962, when the drainage of nearby peatlands reduced the Temmes River’s flow, leaving too little water to power the turbines. In 1976, the then-owner donated the buildings to the Temmes Local Heritage Association, which has since restored and maintained them. In the same yard stands the miller’s residence, built in the early 1950s using lumber sawn at the mill itself. The earlier residence — “Myllypirtti,” a log house assembled by Johan Porkka from two drying barns in the 1930s — was relocated about 3 km south along the Temmes River once the new house was completed. **Your journey continues...** - South along Lännentie towards Vikiö Bridge (approx. 1.5 km), or - South along Haurukyläntie – Tomperintie towards Vikiö Bridge (approx. 2 km), or - North along Lännentie towards Mäkelä Bridge (approx. 3 km), or - North along Haurukyläntie towards Mäkelä Bridge (approx. 2 km). 1d6:T6a9,**Asuinkerrostalo, Valtatie 54** **Ilana Pichon** _Ovensuussa, 2023_ _seinämaalaus_ _10,5 x 11,5 m_ _ulkoteos_ Kuvataiteilija Ilana Pichon on kuvaillut maalauksen taustalla olevia ajatuksia: ”Teoksen raikkaat värit kuvastavat tervetullutta tunnetta, jonka koin Tuirassa viettäminäni viikkoina. Sävyt poimin ympäröivästä pohjoisen luonnosta, kuten vaaleanpunaisesta ja malvanvärisestä aamutaivaasta, mintunvihreistä ja hopeanhohtoisista pajunlehdistä sekä okrankeltaisista männynneulasista. Teos on naapuruston maamerkki, jonka värit elävät auringon liikkeiden ja vuodenaikojen vaihteluiden mukaan vuorovaikutuksessa ympäristön kanssa. Tavallisesti haen teoksiini inspiraatiota ympäristön isoista muodoista, mutta zoomatessani alueen karttaa huomioni kiinnittyi kävelyteiden kiinnostavaan sijoitteluun ja kiemurtelevaan muotoon niiden johtaessa pihoille ja asuintalojen sisäänkäynneille ja ovensuihin eri puolilla Tuiraa.” Ilana Pichonin seinämaalauksen rahoitti Oulun kulttuurisäätiö osana Euroopan kulttuuripääkaupunki Oulu2026 -kulttuuriohjelmaa. Vuosina 2022–2026 Oulu sai viisi laadukasta muraalia, joiden sijoituspaikat valittiin pääosin kansalaisäänestyksellä. Taiteilijahaut toteutettiin yhtä lukuun ottamatta kansainvälisenä portfoliohakuna. Hankkeen tuottajana toimi julkiseen taiteeseen erikoistunut helsinkiläinen yritys Upeart. Sveitsissä syntynyt, Kanadan Quebecissä asuva Ilana Pichon on koulutukseltaan arkkitehti ja kuvataiteilija. **Tehtäväideoita** - **Teoksen värit ovat luonnon inspiroimia. Mitä värejä sinä löydät ympäröivästä luonnosta? Käytä väripaperia tai -kartonkia ja tee oma luontoaiheinen teoksesi.** 1d7:T8b0,**Tervaporvarin puisto** **Sanna Koivisto (s. 1955)** _Virran voimaa, 2008_ _pronssi, graniitti_ _osa 1: 175 x 340 x 63 cm; osa 2: 176 x 215 x 44 cm; osa 3: 255 x 370 x 45 cm_ _ulkoteos_ Oulun Energia tilasi kuvanveistäjä Sanna Koivistolta Virran voimaa -muistomerkin Merikosken voimalaitoksen rakentajien ja rakentamisen muistoksi vuonna 2008, jolloin vesivoimalaitoksen rakentamisesta ja käyttöönotosta oli kulunut 60 vuotta. Oulun Energia lahjoitti muistomerkin Oulun kaupungin omistukseen. Taustatyönä Sanna Koivisto tutki Oulun Energian vanhoja kuva-albumeja. Teoskokonaisuus koostuu kolmesta patomuurin rakennetta muistuttavasta kivimuurista, joihin on upotettu yhdeksän pronssireliefiä. Kuva-aiheet kertovat Oulujoen ja voimalaitoksen historiasta ja nykyisyydestä. Ensimmäisessä kivimuurissa on käsitelty Oulujokea. Suurimman reliefin aiheena on kuohuva virta. Pienemmissä reliefeissä on kuvattu joen hyödyntämistä kalastuksessa, tukinuitossa ja tervankuljetuksessa. Keskimmäisessä kivimuuri käsittelee voimalaitoksen historiaa. Ensimmäisessä reliefissä on rakennustoimikunnassa vaikuttaneiden Yrjö Hervan, Otto Karhin, E. Alpo Aution, Viljo Lehdon ja Eino J. Leinon kasvokuvat ja signeeraukset. Toisessa reliefissä on kuvattu rakennustyötä sekä sähköntuotantoesineistöä ja luontoa. Kolmannessa on tuotu esille ihmisen työ suuren haasteen edessä. Neljännestä reliefistä löytyy Merikosken voimalaitoksen päärakennuksen silhuetti. Viidenteen reliefiin on kuvattu näkymä yläkanavasta, kun vesi päästetään virtaamaan patosillan alta kohti turbiineja. Viimeinen eli kolmas kivimuuri liittyy tulevaisuuteen. Toivoa kuvastava kivimuurin nouseva linja päättyy oven puolikkaaseen. Oululaissyntyinen, Iissä asuva kuvataiteilija ja kuvanveistäjä Sanna Koivisto on toteuttanut lukuisia julkisia tilausteoksia Oulun seudulla. Koiviston pronssiveistokset Tiernapojat (2014) ja Ajankulku (2005) sijaitsevat Oulun keskustassa. **Tehtäväideoita** - **Muureissa olevat reliefit eli kohokuvat liittyvät voimalaitoksen historiaan. Mitä kuvissa on ja millaisen tarinan ne kertovat? Kerro, kirjoita tai esitä oma tulkintasi voimalaitoksen historiasta joen äärellä.** 1d8:T48d,**Raatin uimahalli, Raatintie 2** **Karoliina Niemelä (s. 1960)** _Siirto, 2010_ _valkoinen kivitavarasavi, lasitteet_ _á halkaisija 22 cm_ _sisäteos_ Lasitetusta keramiikasta valmistettu moniosainen teoskokonaisuus sijoittuu Raatin uimahallin lastenaltaan päätyseinälle. Pyöreät, pehmeät muodot luovat oivallisen vastaparin tilan pysty- ja vaakasuorille linjoille. Teosnimi ja pienten kuperien merkkien epäsymmetrinen sijoittelu johdattavat ajatukset lasten lautapeleihin ja peli- ja urheilumaailmaan laajemminkin. Tarkkasilmäisimmät kävijät huomaavat, että vastaavanlainen erivärisistä laatoista koostuva ruudukkorakenne on löydettävissä myös altaan pohjasta. Teos on toteutettu prosenttiperusteisena taidehankintana Raatin uimahallin peruskorjauksen yhteydessä. Karoliina Niemelä on oululainen kuvanveistoon, keramiikkaan ja mediataiteeseen suuntautunut kuvataiteilija ja visuaalisen suunnittelun opettaja. **Tehtäväideoita** - **Teosnimi Siirto johdattaa ajatukset lautapeleihin. Huomaatko altaan pohjassa olevan ruudukon? Keksittekö, mitä peliä voisi pelata altaassa ruutuja käyttäen? Voitte keksiä myös oman pelin.** 1d9:T6fe,**Avojalkasenpolku, Raatinsaari** **Jouko Toiviainen (s. 1946)** _Punavankien muistomerkki, 1988_ _pronssi, sementti, betoni_ _85 x 242 x 176 cm_ _ulkoteos_ Oulun kaupunginhallitus antoi kuvataidelautakunnalle tehtäväksi valmistella punavankien muistomerkkiä vuoteen 1988 mennessä, jolloin Raatin vankileirin tapahtumista oli kulunut 70 vuotta. Oulussa ei tuolloin ollut yhtään selkeästi työväenliikkeen toiminnalle omistettua teosta. Raatin vankileiri toimi maaliskuun lopusta elokuuhun 1918. Punavankeja oli enimmillään n. 900 henkilöä. Miesvangit asuivat venäläisten rakentamissa parakeissa, naiset naisvankilassa ja johtohenkilöt lääninvankilassa. Kuolemaantuomittujen joukossa oli mm. Yrjö Kallinen, mutta rangaistusta ei pantu täytäntöön. Kallinen vapautettiin elinkautisesta 1921. Kuvanveistäjä Jouko Toiviainen on kuvaillut teosta: ”Siinä on ihmisen särjetty kuori tai paremminkin kilpi keskeltä revenneen laatan päällä ja niiden välissä jotain kädestä kirvonnutta”. Suunnittelutyön lähtökohtana oli punavanki Väinö Huotarin kertomus sammakkoa ruuakseen metsästäneestä miehestä. Leirin vartija oli luullut miehen yrittävän pakoa ja ampunut tämän siihen paikkaan. Toiviainen ei näe sisällissodan tapahtumissa minkäänlaista sankarillisuutta, sen sijaan häntä on koskettanut tapahtumien inhimillinen tragiikka. Oululainen kuvanveistäjä Jouko Toiviainen on tehnyt julkisia teoksia mm. Paltamoon (Eino Leino -muistomerkki, 1978), Lappeenrantaan (Karjala-monumentti, 1983) ja Helsinkiin (Mika Waltari -reliefi, 1983). **Tehtäväideoita** - **Teoksella on surullinen tausta. Miettikää yhdessä, miten surua voi käsitellä taiteen kautta.** - **Miten erimielisyyksiä voi käsitellä ilman, että syntyy tappelu?** 1da:T881,**Tervaporvarinsillat, puistoalue, Koskitie 22** **Ari Koch (s. 1956)** _Tuirasta Ruijan rannoille, 1995_ _pronssi_ _340 x 340 x 250 cm_ _ulkoteos_ Veistoshanke käynnistyi 1990 Oulu-seuran aloitteesta. Tavoitteena oli saada kansatieteilijä, kirjailija Samuli Paulaharjulle muistomerkki vuodeksi 1994, jolloin hänen kuolemastaan oli kulunut 50 vuotta. Myöhemmin veistoksen paljastamisajankohdaksi tarkentui kevät 1995, jolloin Paulaharjun syntymästä oli vierähtänyt 120 vuotta. Kuvanveistäjä Ari Kochin suunnittelema veistos sijoitettiin Paulaharjun entisen työpaikan, Oulun kuuromykkäin koulun läheisyyteen. Paulaharju toimi koulun veiston- ja piirustuksenopettajana 1906–1935. Suojeltu, entinen koulurakennus löytyy edelleen Tuiranpuiston laidalta. Kochin mielestä Paulaharjun persoonaan ja teoksen sijoituspaikkaan ei sopinut monumentaalisuus. Veistos kuvastaa matkantekoa ja uteliaisuutta. Veistoksella ei ole jalustaa. Teoksen yhtenä lähtökohtana onkin ollut lapinkenttä, jossa rakennukset kohoavat suoraan maasta. Kansanperinteen kerääjä, kirjailija ja professori Samuli Paulaharju (1875–1944) syntyi Kurikassa, mutta teki elämäntyönsä Oulussa ja Oulusta käsin. Paulaharju keräsi 44 vuoden aikana 65 000 numeroa kansanperinnettä ja tallensi 8000 valokuvaa sekä teki tuhansia perinneaineistoa kuvaavia piirroksia. Paulanharjun matkat ulottuivat Länsipohjasta Kuolan niemimaalle, Ruijasta Itä-Karjalaan, mutta myös mm. Raahen seudulle ja Etelä-Pohjanmaalle. Limingassa asuva kuvanveistäjä Ari Koch on toteuttanut useita julkisia ulkoveistoksia Oulussa, Oulun seudulla ja maakunnassa. Herkkävaistoisena puuveistäjänä tunnetun Kochin teosaiheet liittyvät monesti luonnossa liikkumiseen, kalastukseen ja vaeltamiseen. **Tehtäväideoita** - **Samuli Paulaharju oli kansanperinteen kerääjä, ja hän vietti paljon aikaa Lapissa. Keksikää tarina, joka sijoittuu tunturiin.** - **Tutustukaa Paulaharjun tuotantoon.** - **Mitä teos mielestäsi esittää? Voisivatko teoksen hahmot olla osa tarinaa?** - **Haastattele jotakuta aikuista lähipiiristäsi. Pyydä häntä kertomaan tarina, jonka hän on kuullut lapsena.** 1db:T6ae, **Toppilansalmen satamaranta, Kraanapuisto** **Mikko Tapio (s. 1980)** _Tervan tiet, 2022_ _gneissi, teräs_ _ulkoteos_ Oulun Seudun Kainuulaiset ry:n tilaama ja Oulun kaupungille lahjoittama teos koostuu neljästä muotoillusta Manamansalon gneissilohkareesta. Kivien eri pinnat ovat luonnonmukaiset, kiillotetut tai raakaveistetyt. Kolmen kiven sivupintaan on liitetty kiillotetusta teräksestä valmistettu jokiaihe. Yhden kiven päälle on aseteltu ruostumattomasta teräksestä valmistettu umpinainen tervavene. Toppilansalmi valikoitui teoksen sijoituspaikaksi, koska siellä sijaitsi 1700-luvun lopulta 1900-luvun alkuun tervahovi, jonne kainuulaiset tervansoutajat rantautuivat veneineen, ja jossa tervakauppaa käytiin. Se oli siis tervansoutajien määränpää. Salmessa sijaitsi tuolloin myös Oulun ulkosatama ja alueella on Oulun vanhinta teollisuushistoriaa. Mikko Tapio on oululaislähtöinen kuvanveistäjä, jolla on sukujuuria Manamansalossa. Teksti Elina Vieru Kuvat Mika Friman **Tehtäväideoita** - **Osaatko sinä soutaa? Kenen kanssa olet ollut soutamassa?** - **Tutki, mitä kautta tervaa on soudettu Ouluun.** - **Soutaja- leikki:** **Leikkikää jonossa istuen tai kävellen, samalla käsillä soutaen.** **Jakautukaa “veneisiin” ja soutakaa yhdessä laivaa laulaen Laiva, laiva -laulua. Kun tullaan "hups laiva keikkas" -kohtaan, keikahtakaa/kaatukaa jommalle kummalle sivulle. Jos koko laivan soutajat kaatuvat samaan suuntaan, laiva saa pisteen. Leikkiä voi leikkiä kerran tai pitempään laskien pisteitä.** _**Laiva, laiva, minnekkä laiva mennee?**_ _**Muille maille omenoita ostamaan,**_ _**kaalinpäitä kauppaamaan,**_ _**hups laiva keikkas**_ 1dc:T6ed,**Toppilansalmen satamaranta, Kraanapuisto** **Jukka Tuominen (s. 1958)** _Rautametsä, 2012_ _oksidoitunut musta teräs_ _ulkoteos_ Rautametsä kuuluu kuvanveistäjä Jukka Tuomisen Toppilansalmen rantavyöhykkeelle toteuttamaan kolmen erillisen veistoksen kokonaisuuteen, joka aiheeltaan ja materiaalisesti liittyy alueen satama- ja teollisuushistoriaan. Useasta metalliin valetusta elementistä koostuva Rautametsä luo edestäpäin vaikutelman lehtimetsästä, joka muuttuu ja miltei kokonaan häviää ohitse kävellessä tai pyöräillessä. Laserleikatuista kuvioista hahmottuvat tyylitellyt vaahteran, lehmuksen, pajun ja pihlajan lehtien silhuetit, jotka kuvaavat alueella kasvavia puita. Lehvästön seasta erottuvat siipiparit luovat mielikuvan lentoon pyrähtävistä linnuista. Maan suuntaisesti sijoittuvissa jalustaosissa on keskellä syvennys, johon voidaan kesäisin istuttaa kuivuutta kestävää kasvillisuutta, kuten maksaruohoa. Rautametsä sijaitsee kaltevalla nurmikkoalueella, josta se näkyy hyvin myös Möljän sillalle ja salmen vastarannalle. Valaistus tuo pimeän aikaan oman tunnelmansa kokonaisuuteen. Teos on toteutettu prosenttiperusteisena taidehankintana Toppilansalmen rantarakenteiden ja -puistojen suunnittelun ja rakentamisen yhteydessä. Kuvanveistäjä Jukka Tuominen on tehnyt lukuisia julkisia teoksia metallimateriaaleista eri puolille Suomea vuodesta 2004. Teksti Elina Vieru Kuvat Mika Friman **Tehtäväideoita** - **Osaatko tunnistaa vaahteran, lehmuksen, pajun ja pihlajan? Valokuvaa tai piirrä puiden lehdet. Voit myös etsiä maahan pudonneita lehtiä ja tehdä niistä pienen kasvion. Kasvio on kokoelma kuivattuja ja prässättyjä kasvinäytteitä esimerkiksi vihkoon tai kehyksiin kiinnitettynä.** 1dd:T591,**Toppilansalmen satamaranta, Siiloaukio** **Jukka Tuominen (s. 1958)** _Kasvu, 2012_ _hiottu ja kiillotettu ruostumaton teräslevy_ _äärimitat: korkeus 60 cm, leveys 306 cm_ _ulkoteos_ Perinteikkäälle Toppilansalmen satama-alueelle on rakentunut moni-ilmeinen asuinalue, jossa korkealaatuinen rantavyöhyke- ja vesirakentaminen ovat merkittävässä roolissa. Teos Kasvu kuuluu kuvanveistäjä Jukka Tuomisen rantavyöhykkeelle toteuttamaan kolmen erillisen veistoksen kokonaisuuteen, joka aiheeltaan ja materiaalisesti liittyy alueen satama- ja teollisuushistoriaan. Ympyränmuotoisen teoksen pintaan on leikattu puunmuoto, jonka rungon ja oksiston lävitse kajastaa teoksen sisälle sijoitettu valo. Puu viittaa alueella käytettyyn raaka-aineeseen. Teos toimii myös istuinkalusteena. Teos on toteutettu prosenttiperusteisena taidehankintana Toppilansalmen rantarakenteiden ja -puistojen suunnittelun ja rakentamisen yhteydessä. Kuvanveistäjä Jukka Tuominen on tehnyt lukuisia julkisia teoksia metallimateriaaleista eri puolille Suomea vuodesta 2004. Teksti Elina Vieru Kuvat Mika Friman **Tehtäväideoita** - **Teos kuvaa kasvun eri vaiheita. Oletko seurannut luonnossa esimerkiksi kuinka puut puhkeavat lehtiin keväällä ja lehdet muuttavat väriä ja putoavat syksyllä?** - **Seuraatko itse omaa kasvuasi vaikkapa seinään kiinnitetyllä mitalla? Mistä muusta huomaat oman kasvusi?** 1de:T422,**Meripojanreitin puisto, Pitkänmöljäntien varrella** **Herbert Dreiseitl (s. 1955)** _Light Vortex Sculpture, 2005_ _Corten-teräs, lamppu, vesi, soramurska_ _äärimitat: korkeus 200 cm, leveys 600 cm_ _ulkoteos_ Atelier Dreisetlin toteuttama ympäristötaideteos hankittiin Toppilansaaren Oulun asuntomessujen 2005 kaavoittamisen ja rakentamisen yhteydessä. Light Vortex Sculpture toimii ikään kuin suunnistamisen ja paikantamisen maamerkkinä. Majakkaa symboloivan valotaideteoksen rei´itetyt teräslevyosat on järjestetty spiraalimaiseen muotoon. Saksalainen Herbert Dreiseitl perusti Baden-Württembergin osavaltiossa toimivan Atelier Dreiseitlin vuonna 1980. Maisema-arkkitehtuurin, erityisesti vesiteosten parissa työskentelevä Dreiseitl on tehnyt useita julkisia maisemaprojekteja Saksassa, Yhdysvalloissa ja Aasiassa. Teksti Elina Vieru Kuvat Mika Friman **Tehtäväideoita** - **Kulje teoksen läpi ja ympäri. Tarkkaile kuinka valo siivilöityy teoksen läpi. Huomaa myös varjot. Valokuvaa teosta, valoja ja varjoja.** 1df:T4d4,**Meripojanreitin puisto, Tyrskypolun kevyenliikenteen väylä** **Herbert Dreiseitl (s. 1955)** _The Sunken Boat, 2005_ _Corten-teräs, luonnonkivi, puu, betoni_ _ulkoteos_ Atelier Dreisetlin toteuttama ympäristötaideteos hankittiin Toppilansaaren Oulun asuntomessujen 2005 kaavoittamisen ja rakentamisen yhteydessä. The Sunken Boat eli Uponnut laiva on merillä kadonneiden purjehtijoiden ja kalastajien monumentti. Teos koostuu kahdesta, osin maahan upotetusta laivan kylkeä symboloivasta teräslevystä ja niiden väliin sijoittuvista mastomaisista pylväsrakenteista. Ympärillä olevat kivet viittaavat veneen keulaan lyöviin aaltoihin. Teoksessa yhdistyvät ympäristön ja luonnon pehmeät ja kovat elementit. Saksalainen Herbert Dreiseitl perusti Baden-Württembergin osavaltiossa toimivan Atelier Dreiseitlin vuonna 1980. Maisema-arkkitehtuurin, erityisesti vesiteosten parissa työskentelevä Dreiseitl on tehnyt useita julkisia maisemaprojekteja Saksassa, Yhdysvalloissa ja Aasiassa. Teksti Elina Vieru Kuvat Mika Friman **Tehtäväideoita** - **Veneiden pituudet ilmoitetaan perinteisesti jalkoina (esim. 36 jalkaa pitkä / 36 feet long). Mittaa omin jaloin kuinka monta jalkaa pitkä tämä vene on?** 1e0:T53c,**Nallikarin lomakylä, Leiritie 10** **Jaakko Mattila (s. 1976)** _Pallautuneet, 2005_ _alumiiniset liikennemerkit, teräspylonit, polyuretaanimaali_ _á korkeus 1500 cm_ _ulkoteos_ Nallikarin lomakylän vastaanottorakennuksen edessä kohoavien metallipylonien varteen on kiinnitetty kymmeniä eri värisiksi maalattuja liikennemerkkejä, jotka ovat aikoinaan seisseet teiden varsilla. Liikennemerkkien pyöreissä muodoissa voi nähdä niinkin laajoja ulottuvuuksia kuin maailmankaikkeuden täydellisyyttä symboloivan ympyrämuodon. Teoksen nimessä onkin sanaleikki, jossa yhdistyy käsiteellinen ja käytännöllinen, maamerkkimäinen ulottuvuus. Nimi viittaa myös Nallikarin maisemissa vietettyihin iloisiin lapsuusmuistoihin. Ympyrä on siis sulkeutunut siinäkin mielessä. Teos on toteutettu prosenttiperusteisena taidehankintana Nallikarin leirintäalueen porttirakennuksen rakentamisen yhteydessä. Jaakko Mattila on oululaistaustainen taidemaalari ja taidegraafikko, joka tunnetaan erityisesti hienovaraisista abstrakteista vesivärimaalauksistaan. **Tehtäväideoita** - **Kuinka monta ympyrää teoksessa on? Mitä värejä löydät teoksesta?** - **Teos on tehty liikennemerkeistä. Mitä liikennemerkkejä tiedät?** - **Tutustukaa yhdessä aikuisen kanssa liikennemerkkeihin. Suunnittele oma liikennemerkkisi.** 1e1:T7fd,**Holstinpuronpuisto** **Jenni Tieaho (s. 1969)** _Luona kuun, tähtien taivaankannen, 2025_ _paju, teräs, paanu, puuterva, kupari_ _lehmähirvi 190 x 30 x 140 cm, sonnihirvi 190 x 80 x 150 cm_ _ulkoteos_ Ympäristötaideteos koostuu kahdesta toteemimaisesta veistoshahmosta, joiden pilarimainen osa rakentuu männyn sydänpuusta veistetyistä, tervatuista paanuista. Kummankin pilarin yläosassa on teräksestä, teräsverkosta ja pajun vitsaksista muotoillut uroshirven ja naarashirven päät. Teos kantaa viestiä kalliomaalausten ja kivikautisten hirvenpääveistosten ajoilta, myyttien, uskomusten ja kansanperinteen maailmasta. Suomalaisessa kansanrunoudessa hirvi oli taivassyntyinen, pyhä eläin, jonka alkukoti oli Ylisessä. Taiteilija on todennut, että teoksen voisi kuvitella koristaneen myyttisiä Kalevalan kyliä ja Pohjolan portteja. Myös nykyihmiselle Suomen luonnon suurin nisäkäs voi olla voimaeläin, joka edustavaa kestävyyttä ja jaloutta tai ihan vain luontoa tai metsää itseään. Teos muistuttaa meidän olevan erottamaton osa eläinkuntaa, ensimmäisestä solusta kehittyneitä ja samoista alkuaineista rakennettuja. Teoksen materiaalina käytetty puutervattu paanu viittaa kerran niin kukoistavaan tervakulttuuriin. Läheisessä Toppilansalmessa sijaitsi Oulun ulkosatama ja Tervahovi, jossa Kainuusta jokea pitkin kuljetettu terva varastoitiin ja lastattiin purjelaivoihin aina tervakaupan hiipumiseen saakka 1800-luvun loppupuolelle. Teos on hankittu Oulun asuntomessujen 2025 taiderahalla osana Hartaanselänrannan taideohjelmaa. Teoksen teräsrakenteiden suunnittelusta ja valmistuksesta vastasi Taideseppämestari Mika Munter yhteistyössä TH-Portaat Oy:n Turo Helinin kanssa. Paikallinen metallityö Joonas Träskelin. Teoksen paanuosuuden toteutti Nykarleby Spåntak AB. Kuvanveistäjä ja ympäristötaiteilija Jenni Tieaho (s. 1969) on toteuttanut erilaisista luonnonmateriaaleista, kuten villipajusta, koivun tuohesta ja kasvien osista, rakentuvia isokokoisia veistoksia vuodesta 1997. 1e2:T5a5,**Holstinpuronpuisto** **Ari Björn (s. 1973)** _Tulokas, 2025_ _istutusteos_ _ulkoteos_ Oululaisen kuvataiteilija Ari Björnin Holstinpuronpuistoon sijoittuva istutusteos muodostuu kahdesta lähellä toisiaan olevasta osasta; maahan muotoillusta kohoumasta ja istutuksena toteutetusta sanasta. Paikkasidonnaisen teoksen lähtökohtana on Hietasaaren Vaakunakylän historia, erityisesti Saksan armeijan alueella sijainnut parakkikylä 1940-luvulla ja sodan jälkeiset vaiheet. Alue säilyi epävirallisena ja jossain määrin normeja kyseenalaistavana asujaimistona vuoteen 1987 saakka. Parakit valmisti teollisena rakennustuotantona suomalainen Puutalo Oy, jonka vastaavan kaltaisia rakennuksia löytyy edelleen pahoin lahonneena Hangosta. Teoksen maahan muotoiltu 13 m² kohouma viittaa parakin pohjakaavaan. Arkeologisen fragmentin tavoin teos muistuttaa alueen kadonneesta rakennusperinnöstä, hortikulttuurisesta historiasta ja elämästä Vaakunakylässä. Teoksen on arvioitu erottuvan kasvuympäristöstään muutaman vuoden ajan. Taiteilija on saanut teoksen toteutukseen apurahan. Teos ei kuulu Oulun taidemuseon hallinnoimaan Oulun kaupungin kokoelmaan. Kuvataiteilijan, rakennusinsinöörin ja puusepän koulutukset omaava Ari Björn käsittelee taiteessaan julkista tilaa marginaalisten ryhmien ja tilaa suunnittelevien näkökulmista tuoden esiin julkisen tilan kiistanalaisuuden, toiseuden ja puolesta puhumisen tarpeen. 1e3:T453,**Holstinpuronpuisto** **Kimmo Schroderus (s. 1970)** _Seikkailu, 2025_ _haponkestävä teräs_ _610 x 320 x 100 cm_ _ulkoteos_ Teos sijaitsee Holstinpuronpuiston meren puoleisessa päässä uuden Hartaansillan tuntumassa. Teräksestä valmistetun veistoksen lähtökohtana on ollut ajatus liikkeestä, materian tai energian siirtymisestä paikasta toiseen. Pallomaisten muotojen ketju synnyttää mielikuvan putkessa kulkevasta paineesta, joka sykkii ja kääntyilee. Teos voi olla myös reittikartta etappeineen tai lennokas ilmaan luonnosteltu suunnitelma. Muotonsa puolesta veistoksessa voi nähdä korkeuksiin kurottelevan kaaren, portin tai kehyksen, josta voi katsella näkymiä eri suuntiin. Suorakulmaisen asuinrakentamisen keskellä Seikkailu viestii omalakista leikkisyyttä ja säännöttömyyttä. Teos on hankittu Oulun asuntomessujen 2025 taiderahalla osana Hartaanselänrannan taideohjelmaa. Ars Fennica -palkittu (2004) kuvanveistäjä Kimmo Schroderus tunnetaan teräsveistoksista, joissa yhdistyvät voimakkaat orgaaniset muodot ja käsityötä kunnioittava, huoliteltu toteutus. 1e4:T828,**Oulun taidemuseon vieressä, Kasarmintie 9** **Jan-Erik Andersson (s. 1954)** _Viimeinen maitolaituri, 1992_ _lasikuitu, puu_ _335 x 350 x 236 cm_ _ulkoteos_ Viimeinen maitolaituri oli ensimmäistä kertaa esillä Suomen Kuvanveistäjäliiton järjestämässä Veistoksia Kainuussa -näyttelyssä Sotkamossa kesällä 1993. Teos on Jan-Erik Anderssonille tyypilliseen tapaan humoristinen, leikkisä ja esineellinen. Viimeinen maitolaituri on taiteilijan mukaan eräänlainen muistomerkki melkein jo kadonneelle kulttuurille. ”Kun olin teini-ikäinen, maaseudun nuoriso kokoontui kesäiltaisin maitolaiturille. Katolla on merenneito, jonka mallina käytin paikallisessa pizzeriassa työskennellyttä tyttöä. Pizza on nykyisin Suomen kansallisruokaa. Merenneidon punainen väri kytkeytyy suositun edamjuuston vahakuoren väriin. Sotkamo on kuuluisa hyvästä pesäpallojoukkueestaan - siihen viittaavat veistoksessa ylinnä olevat pallo ja maila.” Kuvataiteilija, kuvataiteen tohtori Jan-Erik Andersson tunnetaan Turun Hirvensaloon rakentamastaan entisestä kotitalostaan _Life on a Leaf_, jonka omistaa nykyisin useiden säätiöiden muodostama yhdistys. Taiteilijan nykyinen koti _Kuusi-o-talo_ sijaitsee Lehtitalon vieressä. Molemmat hankkeet ovat syntyneet Andersonin, arkkitehti Erkki Pitkärannan ja useiden taiteilijoiden yhteistyönä ja erilaisten mesenaattien rahoittamina taideprojekteina. _**Alla olevan linkin takaa löydät taiteilijan haastattelun. Luettuasi tekstin voit vielä haastaa itseäsi ja yrittää löytää teoksesta QR-koodin, jonka takaa löydät vastaukset seuraaviin kysymyksiin:**_ _**1. Minkä kysymyksen Jan-Erik Andersson herätteli kuvataiteen tohtorin opinnäytetyössään?**_ _**2. Minkä kasvien muotoja hän on yhteistyössä Erkki Pitkärannan kanssa suunnittelemissaan rakennuksissa käyttänyt? **_ _**Olet saapunut Oulun taidemuseolle. Mukavaa, kun vietit aikaa julkisen taiteen äärellä. Nyt on ehkä hyvä tilaisuus lepuuttaa jalkoja kahvila Kaaressa ja sen jälkeen jatkaa vielä taidemuseossa oleviin näyttelyihin.**_ 1e5:T4e2,**Ainolanpuisto** **Uno Aro (1899–1963)** _Kaarnavenepoika, 1956_ _pronssi, graniitti_ _95 x 40 x 38 cm_ _ulkoteos_ Oululaiset tuntevat Kaarnavenepoika-veistoksen paremmin nimellä Kaarnapoika. Teos paljastettiin vuonna 1966 Vaaranpuistossa, josta se siirrettiin myöhemmin Kantakrouvin patiolle. Vuonna 1996 veistos sijoitettiin Snellmanin puistoon, josta se päätyi Ainolanpuistoon 2019. Veistos kuvaa alastonta pikkupoikaa, jolla on kädessä kaarnalaiva. Pojan polvet ovat hieman koukussa aivan kuin hän olisi laskemassa purttansa veteen. Uno Aro työsti mielellään herkkiä lapsiaiheisia veistoksia, sillä hän oli hyvin lapsirakas. Kuvanveistäjä Uno Aro suunnittelemia julkisia teoksia löytyy muun muassa Joensuusta, Raumalta, Kuopiosta, Tampereelta ja Sallasta. _**Kaarnaveneiden tai muiden luonnonmateriaaleista valmistettujen pienten veneiden rakentelu on mukavaa ajanvietettä. Katsele ympärillesi ja etsi maahan pudonneita tai tuulen lennättämiä oksia, lehtiä, käpyjä. Rakenna niistä pieni alus ja laita se puiston vesistöön virran vietäväksi.**_ _**Alla olevasta medialinkistä voit katsoa YLE Areenan Kaarnavene-ohjelman (4min, 2013). Siinä isoisä ja lapsenlapsi rakentavat isokokoisen kaarnaveneen.**_ 1e6:T603,**Ainolanpuisto, Pohjois-Pohjanmaan museon entisen museorakennuksen edusta** **Into Saxelin (1883–1927)** _Sara Wacklinin muistoreliefi, 1927_ _pronssi, graniitti_ _126 x 69 x 51 cm_ _ulkoteos_ Kirjailija, opettaja Sara Wacklinin muistoreliefi valmistui kuvanveistäjä Into Saxelinin kuolinvuonna 1927. Saxelin tunnetaan pienikokoisista lapsi- ja neitoaiheisista veistoksista, joissa yhdistyvät nuoruus, kauneus ja haaveilu. Saxelinin toinen teos Oulun keskustassa, Mannerheimin puistossa sijaitseva Vapaudenpatsas (1920), liittyy puolestaan itsenäisyyttä ja sisällissotaa seuranneeseen kansallisesti värittyneeseen monumentti-innostukseen. Sara Wacklin (1790–1846) elätti itsensä opettajan työllä 16-vuotiaasta lähtien. Hän perusti Ouluun yksityisen tyttökoulun vuonna 1819. Wacklin johti elämänsä aikana kuutta yksityiskoulua Oulussa, Turussa ja Helsingissä. Hän suoritti ensimmäisenä suomalaisnaisena opettajatartutkinnon Sorbonnen yliopistossa Pariisissa 1836. Wacklin muutti 1840-luvulla Tukholmaan ja kirjoitti siellä kulttuurihistoriallisesti merkittävän kolmiosaisen muistelmateoksen Sata muistelmaa Pohjanmaalta (1844–1845), joka jäi hänen ainoaksi teoksekseen. Wacklinin mukaan on Oulussa nimetty katu, puisto ja palvelutalo. Oulun Naisunioni ry on jakanut vuodesta 1987 lähtien Vuoden Sara -kunniakirjaa. Sara Wacklinin toinen muistolaatta sijaitsee Franzénin talon seinässä. _**Alla mediasta löydät kuva-arvoituksen. Missä oululaisessa rakennuksessa lukee kuvanmukainen teksti?**_ 1e7:T6b3,**Ainolanpuisto** **Terho Sakki (1930–1997)** _Merikosken muusat, 1985_ _graniitti_ _301 x 120 x 120 cm_ _ulkoteos_ Runoilija V.A. Koskenniemen syntymän 100-vuotisjuhlaa kunnioittava veistos sai alkunsa Oulu-seuran aloitteesta. Kutsukilpailun 1981 voittanut Terho Sakin teos koostuu kahdesta antiikin pylvästä muistuttavasta naisfiguurista, jotka on hakattu mustaan graniittiin. Torsomaiset hahmot seisovat selät vastakkain. Esitystapa on reliefin ja veistoksen yhdistelmä. Veistos on samalla kunnianosoitus vapaan Merikosken muistolle. Teoksesta valmistettiin 1987 pronssitoisinto Turkuun Koskenniemenkadulle lähelle yliopistoa. Oululaissyntyinen Veikko Antero Koskenniemi (1885–1962) oli runoilija, kirjallisuudentutkija, esseisti, kulttuuripoliitikko, Turun yliopiston kotimaisen ja yleisen kirjallisuuden professori 1921–1948, rehtori 1924–1932 ja Suomen Akatemian jäsen 1948–1955. Koskenniemi saavutti runoilijana valtaisan yleisönsuosion. Hänen lyriikkansa arvostetuimpia teoksia ovat kaksi ensimmäistä kokoelmaa, Runoja (1906) ja Valkeat kaupungit (1908). Kuvanveistäjä Terho Sakki kuului 1950-luvun lopulla uransa aloittaneeseen taiteilijasukupolveen. Sakki tuli tunnetuksi useista abstrakteista monumentaalitöistään, mutta hänen taiteessaan säilyi myös figuuri, ihmisen kuva ja mittakaava. _**Teoksen nimessä esiintyvät muusat viittaavat kreikkalaisiin taiteiden ja tieteiden jumalattariin eli runottariin. Yleisesti muusaa pidetään inspiroijana ja innoituksen lähteenä. **_ _**Pysähdy hetkeksi ja mieti kuka on sinun oman elämäsi tai arkesi muusa. Muista tänään sinulle tärkeää henkilöä viestillä, puhelinsoitolla, kuvalla tai ääniviestillä.**_ 1e8:T4c2,**Ainolanpuisto** **Imre Varga (1923–2019)** Kuluva aika, 2005 pronssi, jalusta graniittia ulkoteos Teos on unkarilaisen ystävyyskaupunki Siófokin lahjoitus 400 vuotta täyttäneelle Oulun kaupungille. Imre Vargan kolme naishahmoa sisältävä veistos kuvaa elämän muutosta ja sukupolvien välistä yhteyttä. Oulun veistos on toisinto alkuperäisestä teoksesta, joka löytyy Siófokin kaupunginsairaalan puistosta. Siófokissa syntynyt Imre Varga on maansa tunnetuimpia kuvanveistäjiä, jonka tuotantoon sisältyy sekä pienoisveistoksia että monumentaaliteoksia. Hänen veistoksiaan on Unkarin lisäksi pystytetty Belgiaan, Israeliin, Italiaan, Norjaan, Puolaan, Ranskaan ja Saksaan. _**Kuten sanonta kuuluu, kuvat tuottavat kuvia. Taiteen katselu voi inspiroida luomaan lisää taidetta.**_ _**Alla olevasta medialinkistä voit katsoa, kuinka kaksi taidemuotoa yhdistyy ja taide herää henkiin. Tanssija Miia Ahonen ja taiteen maisteri Jenni Sipola ovat suunnitelleet ja toteuttaneet tanssiteoksen osaksi Imre Vargan Kuluva aika teosta vuonna 2005.**_ _**Voit myös asettua itse Kuluva aika-teoksen naisten viereen. Levätä siinä hetken, katsella ympärillesi ja miettiä kuluvaa aikaa.**_ 1e9:T4e5,**Åströminpuisto** **Tiina Vehkaperä (s. 1982)** _15 minuuttia, 2022_ _ruostumaton teräs_ _130 x 230 x 85_ _ulkoteos_ Teos on Suomen Kulttuurirahaston Pohjois-Pohjanmaan rahaston lahjoitus Oulun kaupungille 2022. Vehkaperän teoksessa on olennaista toiminnallisuus. Penkinmuotoinen teos kutsuu pysähtymään tai istahtamaan. Taiteilijaa viehättää ajatus, että taideteokset saavat ihmiset tekemään erilaisia asioita. Teos mahdollistaa istujalle oman hetken julkisella paikalla. Oma rauha ja turvaväli ovat suomalaisille tärkeitä, mutta kääntöpuolena on myös yksinäisyys ja eristäytyneisyys. Teoksen nimi viittaa taiteilija Andy Warholin lentävään lauseeseen: "In the future everyone will be world-famous for 15 minutes". Tarvitsemmeko ajassamme kuitenkin enemmän "15 minutes of privacy", kysyy Vehkaperä. Oululaisen kuvanveistäjä Tiina Vehkaperän taiteessa on olennaista ihmisyyden havainnointi, olemisen ymmärtäminen ja ihmissuhteiden dynamiikka. _**Alla olevasta mediasta pääset läsnäoloharjoitukseen. Istu siis teokseen ja kuuntele meditatiivinen harjoitus. Harjoituksen teksti on myös luettavissa tiedostona.**_ _Kirjoittajat: Taija Leinonen ja Satu Larivaara-Heikkala_ _Lukija: Satu Larivaara-Heikkala_ 1ea:T460,**Oulun tuomiokirkon edessä, Tuomiokirkkopuisto** **Wäinö Aaltonen (1894–1966)** _Vuonna 1918 kaatuneitten muistokivi, 1919–1922_ _graniitti_ _177 x 252 x 32 cm_ _ulkoteos_ Vuoden 1918 sisällissota kosketti myös Oulun seutua ja taisteluissa kaatui niin valkoisia kuin punaisia sotilaita. Sankaripatsastoimikunnan asettaman kilpailun pohjalta Vuonna 1918 kaatuneitten muistokivi ”Pro patria mortui” paljastettiin syyskuussa 1922. Sankarihauta-alueen ja muistokiven suunnitteli arkkitehti Hilding Ekelund. Muistokiven reliefin muotoili kuvanveistäjä Wäinö Aaltonen. Reliefi kuvaa klassismin ihanteiden mukaisesti lannevaatteeseen puettua haavoittunutta nuorta miestä. Akateemikko Wäinö Aaltonen oli merkittävimpiä suomalaisia kuvanveistäjinä 1920-luvulta 1950-luvulle. Taiteilijan nimeä kantava Wäinö Aaltosen museo on Turun kaupungin omistama taidemuseo. _**Mitä muita taidehistoriallisia suuntauksia tai ajanjaksoja tiedät? **_ _**Mitä muita yleisiä teemoja klassismissa käsitellään (lannevaate)? **_ _**Milloin olet nähnyt lannevaatteisiin pukeutuneita nuoria miehiä? **_ 1eb:T997,**Franzéninpuisto** **Erland Stenberg (1838–1896)** Frans Michael Franzénin patsas, 1879 pronssi 162 x 112 x 65 cm ulkoteos Runoilija Franzénin patsas on Oulun vanhin julkinen veistos. Hanke käynnistyi Frans Michael Franzénin syntymän satavuotispäivänä 1872. Oululaissyntyinen, Ruotsissa pitkään asunut Franzén (1772–1847) toimi lyyrikon uran ohella Härnösandin (Ruotsi) hiippakunnan piispana ja Turun Akatemian oppihistorian professorina, joka myöhemmin vaihtui käytännöllisen filosofian ja yleisen historian professuuriin. Kuvanveistäjä Erland Stenberg muovaili Franzénin päätä Pariisissa talvella 1878. Keväällä 1879 pronssiin valettu pää lähetettiin rautateitse Lyypekkiin, josta se siirrettiin laivalla Ouluun. Veistoksen paljastustilaisuus vuonna 1881 oli huomattava sosiaalinen tapahtuma, mutta taiteilijan nimeä ei mainittu juhlapuheissa eikä häntä tiettävästi ollut kutsuttu tilaisuuteen. Tapahtuma jatkui kaupungin valtuuston tarjoamilla juhlapäivällisillä Seurahuoneen (nykyinen kaupungintalo) salongissa ja illalla oli kansanhuvit Raatissa. Nykyisin veistos on oululaisten "Havis Amanda", jonka vappulakituksesta vastaa Oulun yliopiston humanistinen kilta. Orimattilaissyntyinen Johan Erland Stenberg oli opiskellut Tukholman ja Kööpenhaminan taideakatemioissa ja täydentänyt opintojaan mm. Italiassa. Parhaiten hänet tunnetaan muotokuvaajana ja Kalevala-aiheiden tulkitsijana. _**Itse runoilija Franzén tunnetaan mm. ruotsinkielisestä juomalaulusta: När skämtet tar ordet vid vänskapens bord tai Bordvisa. Voit kuunnella laulun alla olevasta Mediasta. Laulun laulaa meille "Oulun Teekkarikuoro TeeKu" (2024)**_ _**Tässä alla on myös laulun sanat. Voit laulaa mukana.**_ _San. Frans Mikeal Franzén_ _Säv. Olof Åhlström_ _När skämtet tar ordet vid vänskapens bord med fingret kring glasen som dofta. Så drick och var glad på vår sorgliga jord, man gläder sig aldrig för ofta. Ty en blomma är glädjen, i dag slår hon ut, i morgon förvissnar hon redan._ _Just nu, när Du kan, hav en lycklig minut och tänk på den kommande sedan. _ _Vem drog ej en suck över tidernas lopp? Dock sitt ej och dröm på kalaset! Här lev i sekunden och hela ditt hopp se fyllas och tömmas i glaset. Här sörj ej för glaset: om fullt så drick ur, om tomt så försänd det att fyllas! Och minns allt det sköna och goda förut se'n glädjen och nöjet må hyllas._ # 1ec:T69b,**Oulun Lyseon lukion sisäpiha, Kajaaninkatu 3** **Kirsi Kaulanen (s. 1969)** _Suoja, 2023_ _polttomaalattu laserleikattu ruostumaton teräs, kiillotettu ruostumaton teräs_ _287 x 364 x 410 cm_ _ulkoteos_ Suoja on prosenttiperusteinen taidehankinta liittyen lyseorakennuksen kesällä 2023 valmistuneeseen peruskorjaukseen ja laajennukseen. Muotokieleltään orgaaninen teos luo porttimaisen tilan lyseon sisäpihalle. Teoksen siipimäiset pystyseinämät koostuvat Suomen luonnon uhanalaisten kasvien juurien ornamentiikasta. Musta väri tarjoaa selkeän kontrastin keltaiselle päärakennukselle. Veistoksen tummalla pinnalla välkehtii viisi pientä lehteä, siipeä tai mätästä. Kirsi Kaulanen on koulun entinen oppilas 1980-luvun puolivälistä. Teoksen suunnittelussa häntä inspiroi ajatus lukiosta paikkana, joka valmistaa nuoria luottamaan omiin siipiin. Samalla teos muodostaa tilan, jonka läpi voi kävellä ja jonka alla oleillaan suojassa. Kirsi Kaulanen on Oulussa nuoruudessaan asunut kuvanveistäjä, joka on tehnyt kymmeniä julkisia tilausteoksia ympäri Suomea 2000-luvulla. _**Alla olevasta mediasta voit kuunnella Oulun taidemuseon intendentin Elina Vierun puheen Suoja-teoksen julkistamistilaisuudessa.**_ _**Puheen voi myös lukea tekstitiedostona.**_ **Tehtäväideoita** - **Tutustu Kirsi Kaulasen taiteelliseen tuotantoon: **[++**GALLERIA**++](https://kirsikaulanen.fi/galleria.html) - **Millaisen veistoksen sinä suunnittelisit koulusi pihalle? Pohdi, suunnittele ja luonnostele ajatuksiasi. Tehtävän pienoismallin toteutuksen voi tehdä monilla eri materiaaleilla, esim. rautalangalla, paperilla, pahvilla tai savesta muotoilemalla.** 1ed:T905,**Pokkisenpuisto, Ojakatu 2** **Oskari Jauhiainen (1913–1990)** _Kalasääski ja lohi, 1959_ _pronssi_ _195 x 100 x 105 cm_ _ulkoteos_ Kalasääski ja lohi oli Oulun ensimmäinen suihkulähdeveistos. Pronssinen eläinaihe on sijoitettu kosken hiomalle luonnonkivelle pyöreän vesialtaan keskelle. Ajatus veistoksen hankkimisesta oli syntynyt Oulun 350-vuotisjuhlien yhteydessä 1955. Oskari Jauhiainen oli mukana kilpailutoimikunnassa, mutta hanke ei lähtenyt tuolloin liikkeelle. Vuonna 1960 paljastetun veistoksen rahoituksesta vastasivat toimitusjohtaja ja rouva U. J. Sundström. Taiteilijan mukaan Kalasääski-veistoksen kalan piti ensin olla hauki, mutta teoksen lahjoittaja halusi tilalle lohen. ”Siitä tulleeki sitten Oulujoen viimeinen lohi”, arveli Jauhiainen. Kiiminkiläissyntyinen kuvanveistäjä, professori ja akateemikko Oskari Jauhiainen edusti kuvanveiston realistista perinnettä. Jauhiaisen toinen Oulun keskustassa sijaitseva teos on kirjailija Teuvo Pakkalan muistopatsas (1973) Vaaranpuistossa. Kiimingin kirjaston yhteydessä on toiminut vuodesta 2015 Jauhiaisen elämäntyötä esittelevä Galleria Oskari Jauhiainen. _**Oletko kuulut kalasääsken laulavan? Halutessasi voit käydä Luontoportin sivuilla kuuntelemassa Jan-Erik Bruumin äänitteen kalasääsken laulusta.**_ _**Seuraavaksi leikki-idea ryhmässä leikittäväksi. Kalasääski lekuttelee ilmassa, syöksyy nopeasti alas ja nappaa saaliikseen vedessä uivan lohen. Jokaisella eliöllä on oma tapansa liikkua ja tuottaa ääntä. Astu siis leikin maailmaan.**_ _**Jakaantukaa ryhmiin seuraavien eliöiden mukaan:**_ - _**Naurulokki (nauraa lennellessään)**_ - _**Lohi (pulikoi polskutellen)**_ - _**Siili (supattaa sipsutellen)**_ - _**Kärppä (kiipeilee ketterästi)**_ _**Sopikaa yhdessä lajien liikkeet ja äänet. Miten esimerkiksi lohi pulikoi ja polskuttelee?**_ _**Seistään piirissä ja kalasääski, eli leikin sovittu ohjaaja käskee:**_ _**Naurulokit naurakaa lennellessänne, lohet pulikoikaa polskutellen, siilit supattakaa sipsutellen, kärpät kiivetkää ketterästi ja kaikki eliöt liikkukaa. Eliöt toimivat kalasääsken käskyn mukaan nopeasti. Väärin käskyjä tulkinneet siirtyvät tuomaristoksi. Leikki loppuu, kun yhdenlaisia eliöitä on enää jäljellä.**_ 1ee:T5b5,**Madetojan puisto** **Aarre Aaltonen (1889–1980)** _Leevi Madetojan patsas, 1960_ _pronssi_ _260 x 100 x 80 cm_ _ulkoteos_ Muotokieleltään realistinen säveltäjä Leevi Madetojan (1887–1947) muistopatsas pystytettiin kaupungintalon lähituntumassa olevaan puistoon ensimmäisten Oulun Päivien yhteydessä 1962. Julkistamistilaisuudessa piti puheen Madetojan 80-vuotias leski, kirjailija, runoilija L. Onerva (1882–1972). Kolme vuotta myöhemmin puisto nimettiin Madetojan puistoksi. Veistos kuvaa nuorta säveltäjää, joka pitää kädessään nuottivihkoa. Oululaissyntyinen Madetoja opiskeli kiven heiton päässä sijainneessa Oulun suomalaisessa lyseossa (nykyisin Oulun Lyseon lukio). Madetoja oli Sibeliusta seuranneen suomalaisen romantikkopolven ehkä merkittävin edustaja, joka yhdisti suomalaiskansallisen melankolian ja ranskalaisen hienostuneisuuden. Hänen keskeisiä teoksiaan ovat kolme sinfoniaa ja kaksi oopperaa (Juha, Pohjalaisia). Madetoja oli myös huomattava kuoromusiikin säveltäjä. Aarre Aaltonen oli äidinpuolelta sukua kuvanveistäjä, akateemikko Wäinö Aaltoselle. Kuvataiteiden ohella Aarre Aaltonen oli musikaalisesti lahjakas, ja hän rakensi itse soittimia, esimerkiksi viuluja. Leevi Madetojan patsas on hänen pääteoksensa. _**Alla olevasta mediasta voit kuunnella Leevi Madetojan sävellyksen Comedy Overture, Op.53. Teoksen esittää Oulu Sinfonia, kapellimestarina Arvo Volmer (2001)**_ # 1ef:T620,**Maria Silfvanin puisto kaupungintalon takana** **Sanna Koivisto (s. 1955)** _Ajan kulku, 2005_ _pronssi, jalusta graniittia_ _165 x 1660 x 260 cm_ _ulkoteos_ Teos on Oulun Kauppakamarin lahjoitus 400 vuotta täyttäneelle Oulun kaupungille vuonna 2005. Kokonaisuuteen kuuluu 32 punagraniittijalustan päällä olevaa pronssista pienoisveistosta, jotka kuvaavat kaupungin elinkeinoelämän historiaa ja kehitystä. Veistokset esittävät tunnettuja ja anonyymejä hahmoja. Kavalkadin aloittaa vasemmasta laidasta Ruotsin kuningas Kaarle IX, joka perusti Oulun kaupungin vuonna 1605. Hänen edellään kulkevat pastori, vaimo, maatyöläinen, turkismetsästäjä, kalastaja, satamamies, tervatynnyrinpyörittäjä, porvari, merikapteeni, mamselli, kalapoika, meripoika, ammattimies, vähäosainen, hienostorouva, palomies, tark'ampujapataljoonan upseeri, torimummo, posteljooni, timpuri, autonkuljettaja, toimistotyöntekijä, kauppias, perheenäiti, naistohtori, mekaanikko, paperityöläinen, tiernapoika, opiskelijatyttö ja liikemies. Kulkueen päättää muurin päässä istuva lapsi, joka suuntaa katseensa tulevaisuuteen. Oululaissyntyinen, Iissä asuva kuvataiteilija ja kuvanveistäjä Sanna Koivisto on toteuttanut lukuisia julkisia tilausteoksia Oulun seudulla. Koiviston toinen keskustassa oleva pronssiveistos Tiernapojat (2014) sijaitsee kävelykadulla Kirkkokadun ja Saaristonkadun risteyksen aukiolla. _**Voit lukea lisää teoksessa esiintyvistä ammateista alapuolella olevan median pdf-tiedostosta. Tiedoston on koostanut Aapo Kivelä.**_ 1f0:T432,**Oulun kaupungintalo, Kirkkokatu 9** **Veikko Törmänen (s. 1945)** _Kuvastin, 2024_ _akryylipeili, vanerimoduli, akryyliväri_ _280 x 280 x 110 cm_ _sisäteos_ _Vain talon oman käyttäjäkunnan nähtävissä_ Kaupungintalon laajaan peruskorjaukseen vuosina 2021–24 liittyen uudistuneeseen valtuustosaliin ja sen läheisyyteen tilattiin teokset kolmelta oululaiselta kuvataiteilijalta. Veikko Törmänen suunnitteli valtuustosalin kattoon kaksi tilateosta, Aikamatka ja Kuvastin. Molemmat teokset ovat Törmäsen mukaan tribuutteja kaupungintalolle. Kuvastin-teos tuo Törmäsen mieleen sadun lorun ”kerro, kerro kuvastin, ken on maassa kaunehin”. Onko Oulu silmää miellyttävä? Teoksessa peilimäinen ruutukuvio yhdistyy katosta laskeutuvaan muotoryppääseen ja kehämäiseen valaisimeen välkehtien ja valoa levittäen. Oululainen taidemaalari ja -graafikko Veikko Törmänen on työskennellyt vuosikymmeniä geometrisen abstraktin ilmaisun parissa. Törmäsen teokset leikittelevät usein erilaisilla illuusioilla ja kolmiulotteisilla elementeillä. 1f1:T442,**Oulun kaupungintalo, Kirkkokatu 9** **Veikko Törmänen (s. 1945)** _Aikamatka, 2024_ _akryylimaalaus vaahto-PVC:lle, MDF, gesso_ _280 x 280 x 100 cm_ _sisäteos_ _Vain talon oman käyttäjäkunnan nähtävissä_ Kaupungintalon laajaan peruskorjaukseen vuosina 2021–24 liittyen uudistuneeseen valtuustosaliin ja sen läheisyyteen tilattiin teokset kolmelta oululaiselta kuvataiteilijalta. Veikko Törmänen suunnitteli valtuustosalin kattoon kaksi tilateosta, Aikamatka ja Kuvastin. Molemmat teokset ovat Törmäsen mukaan tribuutteja kaupungintalolle, joka ihmisen tavoin kukoistaa aikansa, mutta ikääntyessään vaatii hoivaa. Toisin kuin ihmiset rakennus elää vuosisatoja, jos niin tahdomme. Aikamatkassa optinen kuva-aihe yhdistyy katosta laskeutuvaan kolmiulotteiseen rakennelmaan ja kehämäiseen valaisimeen itsetietoisen elegantisti. Oululainen taidemaalari ja -graafikko Veikko Törmänen on työskennellyt vuosikymmeniä geometrisen abstraktin ilmaisun parissa. Törmäsen teokset leikittelevät usein erilaisilla illuusioilla ja kolmiulotteisilla elementeillä. 1f2:T432,**Oulun kaupungintalo, Kirkkokatu 9** **Kirsti Muinonen (s. 1943)** _Sadekuuro, 2024_ _akryyli- ja öljyväri kankaalle_ _190 x 200 cm_ _sisäteos_ _Vain talon oman käyttäjäkunnan nähtävissä_ Kaupungintalon laajaan peruskorjaukseen vuosina 2021–24 liittyen uudistuneeseen valtuustosaliin ja sen läheisyyteen tilattiin teokset kolmelta oululaiselta kuvataiteilijalta. Kirsti Muinonen on maalannut valtuustosalin sisääntuloportaikon puoleiseen päätyyn kaksi kookasta maalausta, Pilvi ja Sadekuuro. Teosidea sai alkunsa keväisestä puistopiknikistä kaupunkialueella. Muinosen taiteessa pienet suuret asiat; kasvien pölytys, solujen jakaantuminen, mehiläisten hoito, muistot kesästä sekä ihmisen ja luonnon symbioosi synnyttävät kerroksellisten pintojen ja muotojen kudelmia, joiden värit lumoavat intensiivisyydellään ja valoisuudellaan. Kirsi Muinonen on oululainen taidemaalari, jolle väri on fyysisesti ja mentaalisesti vaikuttavaa energiaa. Muinonen on luonnehtinut taidettaan meditatiiviseksi matkaksi paikasta ja ulottuvuudesta toiseen. 1f3:T440,**Oulun kaupungintalo, Kirkkokatu 9** **Kaija Hinkula (s. 1984)** _Demokratia, 2024_ _maalatut pinnat, laserleikattu MDF-levy, puunuija, muovipallo, hapsu- ja akryylilanka, kangas_ _sisäteos_ _Vain talon oman käyttäjäkunnan nähtävissä_ Kaupungintalon laajaan peruskorjaukseen vuosina 2021–24 liittyen uudistuneeseen valtuustosaliin ja sen läheisyyteen tilattiin teokset kolmelta oululaiselta kuvataiteilijalta. Kaija Hinkula toteutti paikkasidonnaisen maalausinstallaation Demokratia valtuustosalin lämpiöstä lähtevään kahteen läpikulkutilaan. Poliittista päätöksentekoa visuaalisesti lähestyvä tilateos sisältää suoraan seinään maalattuja pintoja, äänestämisestä tuttuja sanoja, levystä leikattuja muotoja, samettiverhot ja mm. puheenjohtajan nuijan. Teos tarjoaa uniikin tilallisen kokemuksen, jossa yhdistyvät leikkisyys, moniäänisyys ja tyylikäs villeys. Oululainen taidemaalari Kaija Hinkula työskentelee kaksiulotteisten pintojen ja erilaisten maalausinstallaatioiden sekä esineellisten materiaalien parissa eri tekniikoita yhdistellen. 1f4:T43b,**Oulu10, Torikatu 10** **Marja Kanervo (s. 1958)** _Piha, 2009_ _luonnonkivet, kivituhka ja -rouhe, sementti, kasvit, multa_ _ulko- ja sisäteos_ Oulu10:n virastotalon prosenttiperusteinen taideteos on erottamaton osa rakennuksen arkkitehtuuria ja miljöötä. Tilateos Piha kiertää yhtenäisesti jatkuvana muotona ulkona ja rakennuksen sisällä. Pääaulan ja piha-alueen laatoituksen lomassa kulkee käsin ladottu mukulakiveysalue, jonka ulkona olevaan kehään kylvettiin kuivan paikan kasvien siemeniä. Sisäpihalla teos ilmenee rehevämpänä kasvialueena, joka on viimeaikaisten remonttien jäljiltä toistaiseksi keskeneräinen. Hyöty- ja perinnekasveihin pohjautuvan vihersuunnitelman teki taiteilijan assistenttina toiminut TaM, maisema-arkkitehti yo Saara Pyykkö. Tilateos pohjautuu käsitteellisesti ja konkreettisesti elettyyn elämään ja historiaan aina 1700-luvulle asti. Marja Kanervon vähäeleiset, arkisista elementeistä rakentuvat teokset on toteutettu tarkasti valittuihin paikkoihin. Taiteilijaa kiinnostavat ihmisen jäljet ja ajan kerrostumat. 1f5:T477,**Oulun kaupunginteatterin Pikisaaren puoleinen julkisivu, Kaarlenväylä 2** **Marika Mäkelä (s. 1947)** _Biomorfoosi, 2004_ _betoni, ruostumaton teräs, kiviaines, lasimurska_ _340 x 5250 cm_ _ulkoteos_ Yhdeksänosainen monumentaalinen julkisivuteos on valettu suoraan seinärakenteeseen. Vaaleasta betonimassasta piirtyvä tumma, vihreällä lasiaineksella terästetty kivipinta muistuttaa hiiliviivaa. Kokonaisuus pohjautuu symbolisiin merkkeihin, jotka kuvaavat elollisten alkumuotojen kehittymistä. Morfoosi tulee sanasta morfologia, joka tarkoittaa muoto-oppia. Biologiassa termi yhdistetään eliöiden rakenteeseen ja niiden muodostumiseen. Teos liittyy evoluutioon ja Oulun merelliseen historiaan. Oululaislähtöinen taidemaalari Marika Mäkelä tunnetaan värien ja materiaalien suvereenina mestarina jo 1980-luvulta lähtien. _**Tässä Biomorfoosin ja Oulun teatterin edessä kannustamme sinua myös pysähtymään hetkeksi ja kuuntelemaan ympäröivän alueen erilaisia ääniä. Voit nojata teatterin karheaan seinään ja tarkentaa kuuloaistiasi sekä yrittää erottaa mahdollisimman monta erilaista ääntä.**_ 1f6:T816,**Kaarlenaukio keskustakirjasto Saaren ja Oulun teatterin välissä** **Ossi Somma (1926–2020); Reijo Paavilainen (s. 1946); Pertti Mäkinen (s. 1952)** _Merelle (Merenkulun muistomerkki), 1985_ _pronssi, jalusta graniittia_ _525 x 560 x 485 cm_ _ulkoteos_ Kaupunginhallitus päätti 1981 järjestää yleisen suunnittelukilpailun, jonka tarkoituksena oli löytää 375 vuotta täyttävälle Oulun kaupungille 1700- ja 1800-luvun oululaisesta merenkulusta kertova muistomerkki. Kuvanveistäjäkolmikko voitti kilpailun, johon jätettiin 50 ehdotusta. Kului kuitenkin puolitoista vuotta ennen kuin teoksen lopullinen tilauspäätös tehtiin. Ehdotuksen ympärillä käytiin monenlaista polemiikkia ja lehtikirjoittelua. Monet halusivat liittää teokseen merenkulkua konkreettisesti esittävän reliefin. Myös veistoksen sijoituspaikasta tehtiin useita ehdotuksia. Teos oli valmistuessaan yksi aikansa suurimmista pronssiveistoksista Suomessa. Osmo Somma, Reijo Paavilainen ja Pertti Mäkinen työskentelivät omien projektiensa ohella taiteilijatiiminä vuodesta 1979 lähtien. Kaikki kolme olivat opiskelleet tai opettaneet Kankaanpään taidekoulussa (nykyinen SAMK Kankaanpään taidekoulu). _**Tämän teoksen äärellä kirjaston ja teatterin välissä ehdotamme käyttämään pienen hetken luovaan runouteen. Lue alla oleva teksti ja keksi aukkoihin (katkoviivat) sopivat sanat. Minkälainen on sinun oodisi merelle?**_ _**Oodi merelle**_ _**Oi meri olet toisinaan kuin **_**\_\_sää:** \_\__\_\__** kaunis kuin morsian.** _**Myrskyllä laineesi kuohuvat kuin **_**\_\_vihastuva kapteeni.** _**Epävakautesi on **_**\_\_ ja \_\_\_ !** _**Kesäisin pintasi **_**\_\_ kilpaa auringon säteiden kanssa.** _**Syksyisin kuljetat mukanasi ruskan pudottamia lehtiä kohti **_**\_\_ seikkailuja.** _**Talvella **_**\_\_ säässä jäädyt asteittain tarjoten kulkureitin, milloin mihinkin.** _**Keväisin sulat ja heräät henkiin uudelleen.**_ _**Oi meri olet mysteeri suuri ja arvokas sellaisena juuri!**_ _**Oodin kirjoittaja Taija Leinonen**_ 1f7:T52c,**Kauppatori** **Kaarlo Mikkonen (1920–2001)** _Toripolliisi, 1987_ _pronssi_ _220 x 150 x 112 cm_ _ulkoteos_ Toripolliisi on Oulun tunnetuin ja kuvatuin julkinen teos, melkeinpä kaupungin epävirallinen maskotti. Patsashankkeen käynnisti taidemuseon näyttelysihteeri Kaija-Rita Koivisto, joka näki Mikkosen luona vieraillessaan pienen poliisiveistoksen. Toripolliisin rahoitusta varten käynnistettiin kansalaiskeräys 1985. Teoksen nimi viittaa torilla vuosina 1934–79 järjestystä valvoneisiin kolmeen toripoliisiin. Lupsakan poliisihahmon innoittajana oli taiteilijan appi, joka toimi Paimion nimismiehenä. Toripolliisi on kajaanilaissyntyisen Kaarlo Mikkosen ainoa julkinen teos. Alun perin taidemaalariksi kouluttautunut Mikkonen siirtyi kokonaan kuvanveiston pariin 1970-luvulla. _**Tässä Toripolliisin äärellä voit tutustua tai muistella Oulun murteen sanoja. Kuinka monta tunnistat tai kuinka montaa käytät päivittäin? Keksitkö muita Oulun murteen sanoja tai sanontoja? **_ - _**alakööki = pyykkitupa **_ - _**huilata = levätä **_ - _**kihveli = rikkalapio **_ - _**leeta = pullapitko **_ - _**möljä = laituri **_ - _**noolata = haluta jotakin **_ - _**onnikka = linja-auto **_ - _**pahki = törmätä johonkin **_ - _**rotuaari = kävelykatu **_ - _**sontikka = sateenvarjo**_ 1f8:T45d,**Kanavaranta** **Kaija Hinkula (s. 1984)** _Kummeli, 2021_ _teräsputket, epoksipohjamaali, polyuretaanimaali, UV-suojalakkaus_ _330 x 105 cm_ _ulkoteos_ Teos on Suomen Kulttuurirahaston Pohjois-Pohjanmaan rahaston lahjoitus Oulun kaupungille. Merta ja jokisuistoa juhlistavan teoksen lähtökohtana ovat olleet merimerkit, viitat ja linjamerkit graafisina suunnannäyttäjinä. Raikkaanvärinen Kummeli on kuvitteellinen merimerkki, jota voidaan katsoa sekä maalta että vedestä käsin esimerkiksi suppaillen tai meloen. Perinteisesti kummeli on ollut rannalle rakennettu, päivämerenkulun paikannukseen tarkoitettu valaisematon rakennelma, esimerkiksi kivilatomus, teräs- tai puurakenne. Nimeen liittyy myös leikkisä sävy. Oululainen taidemaalari Kaija Hinkula työskentelee kaksiulotteisten pintojen ja erilaisten maalausinstallaatioiden sekä esineellisten materiaalien parissa eri tekniikoita yhdistellen. _**Alla olevasta mediasta voit kuunnella taiteilija Kaija Hinkulan haastattelun Kummeli teoksesta ja sen synnystä. Haastattelu on myös mahdollista lukea tiedostona olevasta tekstistä.**_ 1f9:T58a,**Hollihaan puisto, Saarankatu 2** **Joonas Mikola (s. 1987)** _Isolaatio, 2015_ _corten-teräs_ _halkaisija 475 cm, korkeus 320 cm_ _ulkoteos_ Joonas Mikolan suunnittelema Isolaatio on Suomen Kulttuurirahaston Pohjois-Pohjanmaan rahaston lahjoitus Oulun kaupungille. Lahjoitus liittyi Kulttuurirahaston 75-juhlavuoden Pohjanvirta-hankkeeseen, jossa tuotettiin kahdeksan teoskokonaisuutta ympäri maakuntaa. Isolaatio on ulkopinnaltaan vapaassa käytössä oleva graffitiseinä. Teos tarjoaa yli 50 m² maalattavaa pinta-alaa. Seinän kurkistusaukosta näkyy lieriön sisällä olevaa luonnontilaista kasvillisuutta ja filosofi Martin Heideggerin teksti: ”Why are there beings at all, why not rather nothing?”. Teoksen nimi, Isolaatio tarkoittaa populaation erilleen joutumista muista saman lajin populaatiosta maantieteellisen esteen vuoksi. Nimi viittaa Mikolan taiteelle tyypilliseen luonnonläheisyyteen. Joonas Mikola on Lapin yliopistosta valmistunut taiteen maisteri, kuvataidekasvattaja ja luokanopettaja, joka tunnetaan myös kaupunkitaiteilijana. _**Osaatko arvata, mikä on Isolaation ympärysmitta? Voit mitata sen vaaksalla, kyynärällä tai sylillä. **_ _**vaaksa: levitetyn kämmenen peukalon ja etusormen päiden väli (noin 20cm)**_ _**kyynärä: kyynärpään ja keskisormen pään välinen etäisyys (noin 45-70cm)**_ _**syli: levitettyjen käsien välinen etäisyys (noin 2 m)**_ 1fa:T1494,Festarit tulivat osaksi suomalaisten kesänviettoa 70-luvun alussa. Turun Ruisrock aloitti 1970, ja Iissä oli pidetty Villikissa-rockfestivaalit 1971. Diskoiltoja ja bändikeikkoja järjestänyt Oulun nuorten musiikkiklubi -72 päätti tuoda rockfestivaalin Ouluun kesällä 1973. Promoottorin roolin otti Markku ”Marcus” Hänninen, ja viralliseksi järjestäjätahoksi tuli Oulun sos.dem. työväenyhdistys. 1970 julkaistu Woodstock-dokumentti pyöri sopivasti Bio Kiistolassa toukokuussa 1973. Elokuvasta nuoriso sai käsityksen siitä, mistä rockfestivaaleissa on kyse. Viranomaiset olivat hoksottimet ojossa ja varautuivat järjestyshäiriöihin, vandalismiin ja huumeiden esiinmarssiin. Terveysvirasto ja palolaitos myönsivät luvat arveluttaviin bakkanaaleihin vasta ihan viime tingassa. Kuusisaari valikoitui festarinäyttämöksi sijaintinsa vuoksi. Veden ympäröimä alue oli helppo valvoa. Saaren portteja ympäröi aita, joten alueelle oli vaikea päästä ilman pääsylippua. Järjestyksenpidoltaan Kuusrock oli tiukka. Alkoholivalvonta poiki kieltolaki-tyyppistä kekseliästä alkoholijuomien salakuljetusta alueelle. Poliisipartiot huumekoirineen kulkivat yleisön joukossa ja desibelejä mittailtiin ahkerasti. Ensimmäinen festari keräsi värikästä yleisöä kaupunkiin monta päivää etukäteen. Perjantain kääntyessä iltaan järjestäjät tajusivat festivaalin onnistuvan taloudellisesti. Kolmipäiväinen tapahtuma pamautti ilmat pihalle niin järjestäjiltä kuin vierailta. Yleisö ei kyennyt vastaanottamaan ylenpalttista musiikkitarjontaa, ja festari typistettiin jatkossa kahteen päivään. Koko 19-vuotisen reissunsa Kuusrock panosti laatuun määrän sijaan. Marcus Hänninen kävi jo 1974 tutustumassa Readingin festivaaleihin ja ryhtyi yhteistyöhön Antti Einiön manageritoimiston kanssa. Näin festivaalille saatiin ulkomaisia yhtyeitä. _Mä olin jossakin Lontoossa jossakin siinä Thamesillä oli joku proomu, johon oli rakennettu punk disco. No anyway siellä mä niinku törmäsi sen ekan kerran Sex Pistolsiin ja mää että ei helevetti, ei kai tämmöistä bändiä ole olemassakaan! Ja Einiön Anan kanssa näitä aina tsekattiin näitä bändejä ja mitkä voisi olla liikenteessä ja josakin vaiheessa tuli se mahdollisuus, että Sex Pistols vois tulla, että ne vois tehä pari keikkaa Suomessa, että ne vois tulla Kuusrockiin! Mää innostuin hirveästi, OK! Ana, että no niin tämä on selevä juttu. Oli jo sopimukset ja kaikki. Siinä oli varmaan, kun kaksi kuukautta, ja mä en ole päässyt sitä mainostamaan vielä. Se on niinku viittä vailla, että oltiin panemassa niinku tieto lehtiin jo, niin sitten Ana soittaa, että Make nyt on semmoinen tilanne, että nää Martta yhdistykset on saanut aikaan sen, että se ei saa työluppaa se bändi. Minä kiroilen siinä... No niin, Sex Pistols ei tuu._ – Markku Hänninen, Kuusrockin promoottori Päivät jakautuivat musiikkityylien mukaan; lauantai tarjosi raivoisaa rock-junttaa ja sunnuntai kuuntelumusaa. Järjestäjät onnistuivat usein poimimaan pääesiintyjäksi vahvan, nousevan ulkomaisen tähden. _Kaikki noi alakupään bändit niinku Geordie ja Dr. Feelgood ja Procol Harum vuonna 76 niin ne oli niin hyviä valintoja, että hyvä tuuri kävi. Niinku Procol Harumin kanssa jouduttiin tekemään semmoista hommaa, että mitä se ratkaiseva asia, minkä takia se Procol onnistui, oli se, että piti olla Steinway piano Procoleille._ _Mää en tiiä mistä se Ana sai sen, sillä oli kai joku kanava johonkin, jossa se tiesi, että Ynnillä on Steinway. Sen voi kuvitella, että jollakin Ynnillä se on. Ja Ana soittaa, että siellähän se on Ynnillä! Kuusrock ja Ynni yhteystyöhön! _– Markku Hänninen, Kuusrockin promoottori Festivaali tarjosi yllättävänkin tuoretta kansainvälistä ohjelmaa nousukiidossa olleiden Dr. Feelgoodin, Eddie and the Hot Rodsien, Iron Maidenin ja Anthraxin muodossa. Aina huippuvierailijoiden arvoa ei tajuttu, kuten kävi thrash-pioneeri Savatagen. Myös kaikki tuon ajan kovimmat suomalaiset yhtyeet ja artistit vierailivat Kuusrockissa ja monet paikalliset bändit saivat tulikasteensa runsaslukuisen yleisön edessä. Vuonna 1988 Marcus Hänninen jätti promoottorin roolin Ibo Sulkalalle ja Harri Määtälle. Uuden tiimin eka vuosi oli hevikansan juhlaa, mutta jo seuraavana vuonna yleisömäärä romahti. Laadukas ohjelmisto ei saanut kansaa liikkeelle. Seuraavakin vuosi oli murheellinen. Kun vuoden 1991 festaria koetteli kolea ja märkä kesäkeli, oli Kuusrock taputeltu. Reilun vuosikymmenen kuluttua Kuusisaaren potentiaali huomattiin uudelleen ja ensimmäinen Qstock-festivaali raikas 2003. Qstock kasvoi nopeasti Pohjois-Suomen suurimmaksi festivaaliksi ja se on ollut loppuunmyyty jo yli kymmenenä kesänä. Lähteet: Hänninen, Markku, Kuusrockin promootteri. Oulu. Haastattelu 12.3.2024, haastattelijana Esa Nissi. Sutela Juha, Oulun kaupungin verkkosivut [www.ouka.fi/oulu/pohjoista-musiikkia/kuusrock-festivaali](http://www.ouka.fi/oulu/pohjoista-musiikkia/kuusrock-festivaali) Kuva: Kuusrock 22.7.1978, kuvaaja Jukka Kyrömies/Kalevan arkisto. Video: The Ramblers, Talkin' About Love, https://www.youtube.com/watch?v=GONBgLlrvnI 1fb:T10ea,Audiovisuaalinen media alkoi vyöryä suomalaisiin olohuoneisiin 80–90-luvun taitteessa, kun taivaskanavat alkoivat lähettää ohjelmaa kaapelitelevisioverkoissa. Yhdysvaltalainen Music Television oli aloittanut lähetykset vuonna 1981 ja MTV Europe 1987. MTV löi läpi musiikkivideoista koostuvalla ohjelmatarjonnallaan. Musiikkivideon pääasiallinen tarkoitus on markkinoida musiikkia, ja suosituimmat tekevät sen taiteellisesti korkeatasoisessa muodossa. Myös Suomessa herättiin media-alan nousuun ja alan oppilaitoksia perustettiin kiihtyvällä tahdilla. Pikisaaren käsi- ja taideteollisuusoppilaitos aloitti video-opetuksen 1992. Musiikki ja elokuva ovat kulkeneet käsi kädessä elokuvan alkuhämäristä saakka. Jo vuonna 1926 tuotettiin musiikkia sisältäviä lyhytelokuvia. Musiikin rytmi on hyvä ohjenuora kuvaleikkauksen hahmottamiseen, joten musiikkivideon teko on videoalan koulutuksen kannalta erinomainen harjoitustyö. Niinpä niitä alettiin värkätä Pikisaaressa oikein urakalla. Vuonna 1993 Pikisaaren videolinjalaiset järjestivät Okto-rock nimisen tapahtuman esittääkseen ensimmäisen musiikkivideonsa, ja heti seuraavana vuonna järjestettiin ensimmäiset viralliset Oulun musiikkivideofestivaalit. OMVFfi on maailman vanhin musiikkivideofestivaali, joka näyttää vuosittain satoja niin ammattilaisten kuin amatöörien hengentuotteita. Iän karttuessa festarista on hioutunut ohjelmistoltaan monimuotoinen liikkuvan kuvan kaupunkifestivaali runsaine oheistapahtumineen. Musavideofestareiden oheistapahtuma Ilmakitaransoiton MM-kisat nousi parrasvaloihin vuonna -96 ja oli saman tien kansainvälisen median lempilapsi. Vuosien saatossa kisoista on muodostunut oma itsenäinen tapahtuma, joka sisältää myös oheistapahtumia esimerkiksi yhdeksässä maassa järjestettävät kansalliset karsinnat sekä mustien hevosten karsinnan Oulussa. Vuonna 2001 yhdysvaltalainen Time-lehti nimesi Ilmakitaran MM:mät yhdeksi vuoden tärkeimmistä tapahtumista. _Mullehan sanoi kuntayhtymän silloinen johtaja, että teidän unelmat on lentohiekalle rakennettu. Time-lehti listasi ilmakitaransoiton MM-kisat 2000-luvun tärkeimpiin tapahtumiin; Euron liikkeelle laskua ja Pisan tornin korjaus ja mitä siellä oli, tällaisia varmaan jotain poliittisiakin tapahtumia, mutta sitten ilmakitaran soiton MM-kisat oli yks. Sitä ennen kiinnostunut media oli semmoisia vähän niinku semmoisia erikoislehtiä ja tavallaan loppukevennys henkisiä. Sen Timen jutun jälkeen meille alkoi tulla niinku uutistoimistoja ympäri maailmaa, Japanista New Yorkiin_. –Taina Ronkainen, tapahtuma-asiantuntija Nykyisin Ouluun saapuu ilmakitaristeja ympäri maailmaa ja kisoista on sekä kirjoitettu kirja että tehty dokumenttielokuva. Ilmakitaran soiton mestarien mestari yhdysvaltalainen Justin ”Nordic Thunder” Howard toimii kisojen suurlähettiläänä. _Whatever you got going on that look like a freaking crazy wacky doodle, whatever the hell you’re doing. It’s a chance to step into to love. _– Justin ”Nordic Thunder” Howard Ilmakitaransoiton MM-kisojen tarkoitus on alusta saakka ollut maailmanrauhan edistäminen. Make air, not war. Lähteet: Ronkainen, Taina, tapahtuma-asiantuntija. Oulu. Haastattelu 13.3.2024, haastattelijana Esa Nissi. Howard, Justin, ilmakitaran soiton mestari. Puhelinhaastattelu 22.3.2024, haastattelijana Esa Nissi. Wikipedia. 2023. [https://fi.wikipedia.org/wiki/MTV\_(televisiokanava)](https://fi.wikipedia.org/wiki/MTV_(televisiokanava%29) Oulun Musiikkivideofestivaalit. 2023. [https://www.omvf.net](https://www.omvf.net/) Yle. 2023. [https://yle.fi/aihe/artikkeli/2015/08/28/me-haluttiin-saada-kaupunki-haltuun-oulun-musiikkivideofestivaalien-tarina](https://yle.fi/aihe/artikkeli/2015/08/28/me-haluttiin-saada-kaupunki-haltuun-oulun-musiikkivideofestivaalien-tarina) Airguitar Wordl Championships. 2023. [https://airguitarworldchampionships.com](https://airguitarworldchampionships.com/) Wikipedia. 2023. [https://fi.wikipedia.org/wiki/Ilmakitaransoiton\_MM-kisat](https://fi.wikipedia.org/wiki/Ilmakitaransoiton_MM-kisat) Kuva: Roosa-Maria Kauppilan / Oulun juhlaviikot. Ilmakitaran MM-kisat 2022. Video: [Air Guitar World Championships, 2023 After Movie, https://www.youtube.com/watch?v=3YdczaWuL3Q](https://vimeo.com/user7452818) 1fc:T139e,Kunnallisneuvos Robert Åströmin 1894 rakennuttamasta patriisihuvilasta tuli monien vaiheiden jälkeen ylioppilastalo vuonna 1962. Ylioppilaskunnan jazzkerho järjesti talossa jameja ja Oulun ylioppilasteatteri suosittuja diskoiltoja nimellä "Discoteque Harha-askel". Pop-yhtyeet soittivat säännöllisesti ravintolassa. Rauhalassa toimi 1968 muutaman kesäkauden legendaarinen kesäravintola La Hacienda. Paikkaa kutsuttiin Patioksi, ja sana vakiintui oululaiskieleen tarkoittamaan ravintolaterasseja. Vuodesta -69 vuoteen -71 Rauhala toimi nimellä Kesäleski. Ohjelma sisälsi jazz-, pop- ja tanssiyhtyeitä, mutta myös "rohkeita" huveja, kuten strip-teasea. 1970-luvulla talousvaikeuksissa olleen Rauhalan käyttötarkoitusta vaihdettiin useasti. Se oli jopa alkoholistien yömajana, ja talo pääsi rapistumaan. 1979 nousi kapinaliike vaatimaan Rauhalan palauttamista ylioppilastaloksi. Kapinaliikkeessä vaikuttivat Oulun ylioppilaskunnan lisäksi edellisvuonna perustettu Pohjois-Suomen Elävän musiikin yhdistys Pelmu ry ja -79 perustettu Rytmimusiikin Yhdistys RYMY. Talonvaltaus jäi suunnitelma-asteelle, sillä Rauhala päätettiin remontoida. Ylioppilastalo avattiin remontoituna -81 ja ravintola Club Clementine aloitti toimintansa 1982. Ravintola ei odotuksista huolimatta osoittautunut kultakaivokseksi, ja sitä oltiin sulkemassa. Tilanteen korjaamiseksi ylioppilaskunta päätti perustaa toimikunnan, joka alkoi pyörittää ravintolassa elävän musiikin klubeja. Asiakaspaikkojen rajallinen määrä esti isompien artistien ja bändien vierailut, mutta mahdollisti uusien metelöitsijöiden esiinmarssin. 1980-luvun puoliväliin tultaessa se oli noussut Oulun kiinnostavimmaksi vaihtoehtorock-kuppilaksi. Myös ylioppilaskunnan vaihtuvissa kulttuurisihteereissä yhteinen piirre oli rock-myönteisyys ja keikkatoiminta sen mukaista. Musiikin tarjonta oli laajaa aina nousevista valtakunnallisista paikallisiin ruohonjuuritason toimijoihin. Rauhalan herraskainen miljöö toimi osaltaan kätilönä 80-luvun loppupuolella siinneelle Oulu-soundille. Mieskuoro Huutajien konseptiin on aina kuulunut yllättävät esiintymiset yllättävissä paikoissa, mutta virallinen ensiesiintyminen tapahtui Rauhalassa ylioppilaskunnan itsenäisyyspäivän juhlassa 1987. Myös ulkomaisia esiintyjiä bongattiin vierailemassa. _Oli alkutalvi -92 Rauhalaan tuli keikalle semmoinen yhdysvaltalainen bändi Kelvynator ja sehän herätti suuret odotukset. Bändin johtohahmo ja kitaristi oli Kelvyn Bell, joka oli aikaisemmin soittanut Defunkt nimisen funk yhtyeen kitaristina. Ja tää Defunkt oli minun ja kaveripiirin suuri suosikki. Tihku tieto tämmöisestä Kelvynatorista ja yhtäkkiä se vaan sitten pläjähti sinne Rauhallaan keikalle. Ei oikein tiennyt yhtään, että mitä tuleman pitää. Rauhala kuitenkin tuli melko täyteen. Keikka alkoi ja lavalle tuli kolme mustaa jannua, Kelvyn Bell, basisti ja rumpali ja ne rupes vetää semmoista perusjyystöfunkkia. Armoton synkooppi jytke. Yleisöllä oli kannat katossa ja sukat pyöri jaloissa. Se keikka oli aivan armoton. Kelvynator sai Rauhalassa räjähtävän suosion. Ihan niinku tämmöisiä parhaita keikkoja mitä olen koskaan nähnyt. Jälkikäteen kuulin sitten kuulopuheen, ihan huhun, että Kelvynator olisi jossain haastattelussa ihmetellyt, että mikä oli se paikka jossain pohjoisessa pikkukylässä, keskellä ei mitään, keskellä pimeyttä. Joku pieni vanha puutalon rähjä, jossa oli aivan käsittämätön räjähtävä meininki. _– Jarno Mällinen, Radiopuhelimet Vuosituhannen loppupuolella jonot ravintolassa alkoivat olla harvinaisempia. 1994–95 Cafe Clementine toimi ainoastaan kesäisin ja 1998 ravintola lopetettiin. Trendijohtajan viestikapula oli siirtynyt eteenpäin, Rauhala siistiytyi ja jatkoi lounas- ja tilausravintolana. Lähteet: Mällinen, Jarno, Radiopuhelimet bändin jäsen. Oulu. Haastattelu 10.3.2024, haastattelijana Esa Nissi. Wikipedia. 2023. [https://fi.wikipedia.org/wiki/Rauhala\_(Oulu)](https://fi.wikipedia.org/wiki/Rauhala_(Oulu%29) Oulun kaupungin kirjasto. 2023. Pohjoista musiikkia. [www.ouka.fi/oulu/pohjoista-musiikkia/klubit-ja-ravintolat](http://www.ouka.fi/oulu/pohjoista-musiikkia/klubit-ja-ravintolat) Savolainen Marjatta, puhelinhaastattelu 11.12.2023 _Oulu-lehti_ 13.6.1968, 25.5.1969, 25.1.1973, 26.9.1974, 4.2.1975, 5.3.1981, 9.11.1981 _Oulun ylioppilaslehti_ 27.2.1970, 15.5.1970, 18.3.1976, 6.2.1981. _Kaleva_ 6.3.1964 Markku Rättilä. _Kaleva_ 15.1.2002 Haastattelu: Hannu Karjalainen. Kuivamäki Santtu, ”HALUTTIIN VAAN SAADA JAMIT PYÖRIMÄÄN OULUSSA” Oululainen jazzkulttuuri 1965–1975, Tampereen yliopisto etnomusikologian pro gradu -tutkielma Mällinen Jarno, Kaleva http://kirjastolinkit.ouka.fi/kaleva/tammi12/11174123.xml Ervasti Antti, Kaleva http://kirjastolinkit.ouka.fi/kaleva/elo09/8617474.xml Kuva: Kalevan arkisto, 22-Pistepirkko 1983 Rauhalassa. Video: 22-Pistepirkko: Onion Soup, https://www.youtube.com/watch?v=IUngcJA\_5tk 1fd:Tec2,1970-luvulla tapahtui nuorisotyössä merkittäviä edistysaskelia. Tuohon saakka nuorisolautakunta oli lähinnä aktivoinut poliittisia nuorisojärjestöjä jakamalla avustuksia. Lähtölaukaus oli nuorisolautakunnan alainen nuorisotoimisto, joka alkoi tukea järjestötoimintaan kuulumattomia nuoria. 1972 voimaan tullut nuorisolaki kasvatti kuntien valtionosuutta. Moninkertaistuneet määrärahat mahdollistivat uusien nuorisotalojen rakentamisen sekä henkilökunnan palkkaamisen. _Kun henkilökuntaa tuli enemmän niin nuoria ehdittiin kohdata toisella lailla. Nuoret rohkeni tulla sinne nuorisotoimistoon ja tuota parhaiten muistuu nää bändipojat, jotka käveli toimistoon saa sanoa, että melkein viikoittain, että hyvin hyvin harvoin muista asioista tultiin sinne toimistoon puhumaan sitten. Lähinnä nämä bänditilat oli semmoiset jotka kyllä nousi siellä sitten meillä esille._ – Paula Kariniemi, nuorisotyön asiantuntija 1980-luku vakiinnutti virallisen nuorisotyön, ja nuorten näkemykset otettiin osaksi sitä. 70-luvulla alkanut nuorten omaehtoinen tapahtumien järjestäminen oli havaittu hyväksi ja 90-luvulle tultaessa tapahtumia suunniteltiin erityisesti nuorten näkemykset huomioiden. Musiikkiharrastus jatkoi kasvuaan ja Santaholman nuorisotalon viikonloput pyhitettiin bänditoiminalle. _Käytiin tietenkin aina joskus näitä bänditiloja myös katsomassa, että no mikäs siellä on niinku meno ja onko ne paikat niinku siistit ja kunnossa. Me oltiin kerran sitten käymässä siellä ja mietittiin, että nyt ei ole vaan kaikki niinku kunnossa siinä bänditilassa ja mietittiin että no mikä tämä homma oikein on ja etsittiin ja katseltiin kaappeja ja lopulta huomattiin, rummun sisällä oli poika käymässä. _– Paula Kariniemi, nuorisotyön asiantuntija 1992 keskustaan avattiin vanhan kaupungintalon ja poliisilaitoksen tiloista peruskorjattu Nuoriso- ja Kulttuurikeskus NuKu, joka oli tarkoitettu kaikille oululaisille. Vuosituhannen vaihtuessa nuoriso otti NuKun viikonloput haltuun ja monitoimisalissa alkoi paukkua musiikin jytke. Diskot vetivät nuoria ja iltojen käyttöaste oli tapissa. _Monenlaistahan siellä oli ja useampikin yrittäjä siellä sitä toimintaa pyöritti ja kyllähän ne varsin suosittuja oli, että siinä oli ulos asti jonoa ja sinne tulijoita riitti hyvin pitkään. _– Paula Kariniemi, nuorisotyön asiantuntija Hip-hop rantautui pohjoisen valkeaan kaupunkiin ja breikkaajat suihkuttivat silikonispraytä pipoihinsa. Valtakunnan merkittävimmät hiphopparit kävivät esittelemässä musiikin uusia tuulia. Myös Oulun rapscenen ensiaalto ja yleisö löysivät toisensa hurmoshenkisissä bileissä. 2008 nuorisotoimi muutti NuKulta samassa korttelissa sijaitsevaan Byströmin taloon ja NuKusta tuli kulttuuritalo Valve. Nuorisopalvelut ovat vuokranneet aloitteleville oululaissoittajille harjoitustiloja jo 70-luvulta saakka, eikä loppua näy. Treenikämppien lisäksi on soittimilla varustettuja maksuttomia bänditiloja ja Maikkulan nuorisotalolla studio. Kulttuuritalo Valve jatkaa laaja-alaisesti esittävän taiteen ammattimaisena tapahtumapaikkana. Lähteet: Kariniemi, Paula, nuorisotyön asiantuntija. Puhelinhaastattelu 11.3.2024, haastattelijana Esa Nissi. Ryynänen Lassi-Pekka, NUORILLE TILAA JA TOIMINTAA, Oululaisen nuorisotyön kehitys 1947–1997 Pro gradu -tutkielma 2016, Oulun Yliopisto Historiatieteet Nuoperi, Oulu – Ei ollenkaan paska kaupunki: https://issuu.com/nuoperi/docs/nuorisoohjattuja\_savelia Huoviala Tinja, Muistatko legendaariset Nukun diskot? Kaleva 14.11.2923. Kuva: Jarmo Kontiainen, Kalevan arkisto. Valve katutanssishow 30.5.2008 Video: Stepa, Oulu Anthem (Official Music Video), https://www.youtube.com/watch?v=Rov4i2yZMSM 1fe:T16dd,_Olen kuullut saa taivaassa viinaa_ _Siellä kiljukin käy ilman hiivaa_ _Siellä krapula ei meitä piinaa_ _Siellä enkelit housutta käy_ Oulun tekniikan ylioppilaat Ry:n omistama ravintola Rattori-lupi ehti toimia 20 vuotisen elinkaarensa aikana useassa osoitteessa. Teekkareiden lauluillat, jazz- ja rockjamit, elävä musiikki ja lunki meininki takasi ravintolan kestosuosion. ”Kaikki moikkas, vaikka ketään ei tuntenut”, sanaili tunnelmasta ravintolan eräskin asiakas. _Oikein miellyttävää se ensimmäinen Rattori ja jonot oli sillä tavalla, että jono seisoi toisen kerrokseen menevillä portailla, niin siinä kerkesi tarkkailla jonossa olevia koko ajan, että missä tilassa siellä ollaan ja pystyi kohteliaasti vain jollekin sanomatta tuu sinä sitten vaikka huomenna uuestaan. Tapella ei tarvinnut oikeastaan koskaan, kuiskaamalla vain paremmin, että voisitko poistua.” _– Jorma Karhumaa, Rattori-lupin ovimies Ensimmäinen Rattori toimi puutalossa Lidströmin lihakaupan vintillä. Lihakauppa sijaitsi Albertinkadun ja Torikadun kulmassa. Päivisin lihakaupan rähjäisessä yläkerrassa myytiin koulutarvikkeita ja monisteita, illan tullen – aikalaistodistajan mukaan - meno oli kuin ”Sohon pahimmissa bordelleissa”. Alkuillasta DJt pyörittivät marginaalisempaa jazz- ja rock-musaa ja illalla levylautaselle tipahteli päivän purkka- ja listahitit. Oulun Jazz 20 Ry aloitti maaliskuussa 1973 varsin suosituksi äityneet jami-illat. Baaritiskillä ollut hinnasto sisälsi myös oksennuksen siivouspalkkion eli George 10 markkaa. Toinen Rattorilupi toimi Kirkkokadulla Kauppahotellin katutasossa 1976–1981. Kuten ekaa Rattoriakin, rakennettiin uutta teekkarien toimesta talkootyönä. Eka Rattorin pittoreski tuhnuisuus ja pienet kutulaarit katosivat, mutta kansansuosio ja tunnettuus koko Suomen mittakaavassa säilyi. Astetta prameamassa ja avarammassa paikassa Rattori profiloitui tiukemmin rock-ravintolaksi. DJt lopettivat listahittien soiton ja keskittyivät rockvinyylien pyörittelyyn. Teekkarien lauluillat, jamit ja livemusiikki jatkoivat kestosuosikkeina. Edulliset juomat, asiakaskuntaa hellivä musa ja tunnelma, saattoi helpottaa parisuhteiden muodostusta. Kolmas Rattori sijaitsi Asemakatu 32ssa -81–90. Portsaripari Jorma Karhumaan ja Juha Oksasen status alkoi kasvaa uuden Rattorin myötä legendaariseksi. _Oksanen oli mulla varusmiehenä niin mää siitä opin tunteen, sitten kun piti lisämies hommata tähän viimeiseen Rattoriin, että jos mää itse saan valinta niin Oksanen vaan, ei ketään muita. Siinä on semmoinen, joka jää kaikille mieleen ja se oli onnistunut ratkaisu. Juha oli semmoinen persoona eli kun monet opiskelijat tuli ovelle niin kysyy ensimmäisenä, että ootko sinä Oksanen? Minä sanoin, että eikö minä oon se pienempi! Kyllä se Oksanen on isompi, kun minä. Se oli jo monelle kuuluisa ennen kuin ne ensimmäistä kertaakaan tulivat ovesta sisälle, jostain syystä. _– Jorma Karhumaa, Rattori-lupin ovimies Ravintolan kolmantena epävirallisena sisäänheittäjänä toimi todellinen kanta-asiakas Kari Lisko. Kari oli kehitysvammainen musadiggari. Hänen toimenkuvaansa kuului myös tanssilattian avaaminen, kun asiakaskunta vielä kiskoi lisää rohkeutta tanssilattiaa pälyillen. _Kari alkalo välittömästi keräämään pulloja sieltä ja tuoppeja. Mää sanon heti Karille, että kuule sinä oot herra, herrat ei tee tuommoista, herrat valvoo, kun työläiset teki työtä. Sinä olet paroni, älä koske mihinkään vaan valvo vain. Ja Kari otti hyvän asenteen. Sen jälkeen hän oli paroni. Sopeutui hyvin siihen paroni asiaan ja oli keskeisin koko talossa. _– Jorma Karhumaa, Rattori-lupin ovimies Rakennuksen mittainen jono oli uudelle Rattorille pikemminkin sääntö kuin poikkeus ja ulkomaisia esiintyjiä alkoi näkyä kotimaisten ohessa. Johnny Thundersin keikka jätti jälkeensä lasimurskan lattialle, vääntyneen baaritiskin ja repsottavat kattolaudat. Pyörremyrskyn jälkeen eivät portsarit voineet kuin pyöritellä päitään. Vielä nykyäänkin vapun aikaan teekkarien kulkue pysähtyy noiden kolmen Rattori-lupin edessä, riisuen lakkinsa ja pitäen hiljaisen hetken teekkaritorvien puhaltaessa haikeaa musiikkia. Neljäskin Rattori-lupi avattiin, mutta jäljellä oli pelkkä nimi. Alkuperäinen henki oli poissa ja hetkisen kuluttua ravintola vaihtoi nimensä. Lähteet: Suomi24-keskustelupalsta. Nimimerkki "Möttönen". 16.2.2024.[https://keskustelu.suomi24.fi/t/1341739/oulun-rattori-lupi](https://keskustelu.suomi24.fi/t/1341739/oulun-rattori-lupi) Karhumaa, Jorma, Rattori-lupin ja 45 Specialin entinen ovimies. Oulu. Haastattelu 12.3.2024, haastattelijana Esa Nissi. Kaleva: Rattori-lupin talo väistyi uuden tieltä – Kerro meille millaisia muistoja sinulla on legendaarisesta Rattorista. [https://www.kaleva.fi/rattori-lupin-talo-vaistyi-uuden-tielta-kerro-meil/1906568](https://www.kaleva.fi/rattori-lupin-talo-vaistyi-uuden-tielta-kerro-meil/1906568) Oulun kaupungin kirjasto. 2023. Pohjoista musiikkia. [www.ouka.fi/oulu/pohjoista-musiikkia/klubit-ja-ravintolat](http://www.ouka.fi/oulu/pohjoista-musiikkia/klubit-ja-ravintolat) (saatavilla 2023) _Oulu-lehti_ 13.6.1968, 25.5.1969, 25.1.1973, 26.9.1974, 4.2.1975, 5.3.1981, 9.11.1981 _Oulun ylioppilaslehti_ 27.2.1970, 15.5.1970, 18.3.1976, 6.2.1981. _Kaleva_ 6.3.1964 Markku Rättilä. _Kaleva_ 15.1.2002 Haastattelu: Hannu Karjalainen. _Himanka Tapani, Oululaisia teekkariperinteitä, Wappukulkue _[https://www.oty.fi/wordpress/wp-content/uploads/2021/03/teksuutimet\_2018\_2.pdf](https://www.oty.fi/wordpress/wp-content/uploads/2021/03/teksuutimet_2018_2.pdf) Kuva: Kalevan arkisto. Dr. Feelgood Rattori-lupilla 23.3.1986. Video: 500Kg Lihaa, ''Etkös Ole Ihmisparka'', 1982, https://www.youtube.com/watch?v=FCIRHS8xb-s 1ff:T10bd,Oulussa on aina ollut raskaan, kovaäänisen ja reippaan musiikillisen tykittelyn ystäviä. Kuusrockin tuomat raskaamman musiikin sanansaattajat vastasivat kysyntään, mutta tarjosivat myös paikallisille soittajille mallia siitä, kuinka hommat hoidetaan maailmalla. Näin he olivat osaltaan nostamassa Oulua yhdeksi metallimusiikin merkittävimmistä kaupungeista Suomessa. 80-luvun alussa Oulu-Kuusamo-akselilla operoivat Suomi-metallin pioneerit Riff Raff ja Zero Nine. Päämäärätietoinen treenaaminen ja kunnianhimoiset tavoitteet oman musiikin tekemiseen nostivat bändit yleiseen tietoisuuteen. Riff Raffin meno hyytyi kolmen levyn jälkeen. Oululaistunut Zero Nine jatkoi tappavaan tahtiin ja oli yksi ahkerimmin keikkailevista bändeistä sekä tärkeä suunnannäyttäjä uusille metallimusiikin ystäville. Ladut olivat auki ja metallimusiikin eri alalajien edustajia alkoi ilmaantua. 80-luvun puolivälissä maailmalla liehui tukkahevi ja 80- ja 90-lukujen taitteessa speed- ja thrash-metalli löivät läpi niin maailmalla kuin Suomessa. Uusi sukupolvenvaihdos käynnistyi ja bändejä alkoi nousta kellareista samalla intensiteetillä kuin reilu kymmenen vuotta aiemmin punkin ottaessa jalansijaa musiikkikentällä. Speed- ja thrash-metalli toivat bändit taas takaisin katutasolle, fanien joukkoon. _Yhtyeemme Sentencedin kanssa tehtiin tuolla entisen Cafe Adamin tiloissa, joka oli silloin Rock of-niminen paikka, siellä oli tuota joulupäivän keikka ja niitä oli varmaan 5–6 kertaa putkeen, että se oli semmoinen meidän traditio, että mahat täynnä kinkkua lähdettiin louhimaan metallia sinne. Tupa oli yleensä aika lailla täynnä ja ne oli hauskoja aikoja kyllä. _– Vesa Ranta, Sentenced 90-luvun alussa alkoi putkahdella uusia metallin alalajeja, kuin sieniä sateella. Vuonna 1990 perustettu Impaled Nazarene edusti uransa alussa black-metallia, mutta myöhemmin se on sulauttanut metalliinsa muitakin alalajeja ja jatkaa omaehtoisella tiellään edelleen. Samoihin aikoihin aloitteli toimintaansa muhoslainen, sittemmin oululaistunut Sentenced. Yhtyeen jäsenistö ja tyyli hakivat muotoaan 90-luvun puolenvälin tienoille saakka. _Underground zine kulttuuri, mikä vaikutti ympäri maailmaa, eli ihmiset teki ite tämmöisiä pienlehtiä ja se verkosto oli laaja. Sitä alettiin postittelemaan C-kasetteja ympäri maailmaa ja vietiin bändejä tavallaan omaehtoisesti ulkomaille ja se oli tosi aktiivista toimintaa ja näin se bändi niinku alkoi löytää näitä faneja ympäri maailmaa ja sitten siitä se lähti ja sen jälkeen alkoi levy-yhtiöt kiinnostuu hommasta, että mikäs bändi se tämmöinen on._ – Vesa Ranta, Sentenced Vuonna 1994 yhtye solmi pitkäaikaisen levytyssopimuksen saksalaisen Century Media yhtiön kanssa ja edusti 90-luvun puolessa välissä käynnistynyttä kansainvälistä Suomi-metallin buumia. Sentenced-kiertueet suuntautuivat enenevissä määrin ulkomaille. Uuden vuosituhannen alussa julkaistu Crimson-albumi paukahti Suomen levylistan ykköseksi, ja kiertueet ylsivät jo uudelle mantereelle saakka. Vuonna 2005 Sentenced soitti joukon jäähyväiskonsertteja Euroopassa ja Etelä-Amerikassa ja päätti uransa Oulun Teatrialla kahteen hautajaiskonserttiin. Konsertista kuvattu DVD julkaistiin 2006 ja se ylitti myöhemmin platinarajan myynnissä. Tuorein Oulu-metallin sanansaattaja on ankarassa nosteessa oleva Blind Channel. Yhtye solmi 2021 kansainvälisen levytyssopimuksen Century Median kanssa ja on julkaissut kaikkinensa viisi albumia. Lähteet: Ranta, Vesa, Sentenced yhtyeen jäsen. Oulu. Haastattelu 12.3.2024, haastattelijana Esa Nissi. Wikipedia. 2023. [https://fi.wikipedia.org/wiki/Riff\_Raff\_(yhtye)](https://fi.wikipedia.org/wiki/Riff_Raff_(yhtye%29) Wikipedia. 2023. [https://fi.wikipedia.org/wiki/Impaled\_Nazarene](https://fi.wikipedia.org/wiki/Impaled_Nazarene) Wikipedia. 2023. [https://fi.wikipedia.org/wiki/Sentenced](https://fi.wikipedia.org/wiki/Sentenced) Wikipedia. 2023. [https://fi.wikipedia.org/wiki/Blind\_Channel](https://fi.wikipedia.org/wiki/Blind_Channel) Kuva: Pekka Peura, Kalevan arkisto. Sentenced jäähyväiskeikka 30.9.2005. Video: Sentenced, Killing Me Killing You (OFFICIAL VIDEO). https://www.youtube.com/watch?v=wkLhAxbUecw 200:Tdf0,Oulun rehevä vaihtoehto- ja alakulttuurikasvusto on tuottanut Suomeen myös valtavirrassa soljuvaa musiikkia. Esimerkiksi voidaan ottaa vaikka Kauko Röyhkä, jonka juuret ovat vahvasti ala- ja vastakulttuurissa. Sitkeän huhun mukaan Paska Kaupunni-seinäkirjoitus on saanut innoituksensa Röyhkän biisistä. Kyseinen seinäkirjoitus ilmestyi Uusikatu 22 seinään jo 80-luvulla ja lukuisten päälle maalaamisten jälkeen se on aina mystisesti ilmestynyt takaisin koristamaan valkoista betoniseinää. Mistä teoksen sinnikäs olemassaolo kertoo? _Seinäkirjoituksesta on tullut niin ikoninen varmaan sen takia, että se kuvaa hyvin sitä sisäistä ristiriitaa ja viha-rakkaussuhdetta, mikä paikallisilla taiteilijoilla ja kulttuurin tekijöillä on kotikaupunkiaan kohtaan. Alakulttuureja ja erilaisia elämäntyylejä on täällä pohjoisessa vierastettu ja ulkopuolisuuden kokemus on ollut useilla eri tavoin ajatteleville vahva. Osa lähtee parempien mahdollisuuksien perässä etelään, sitkeimmät jäävät. Haastavista olosuhteista huolimatta, Oulussa on ollut monipuolinen alakulttuuri skene, joka on nojannut pitkälti tekijöiden ja yhteiseen aktiiviseen panokseen._ – Marlene Hyyppä, oululaisen underground-kulttuurin asiantuntija Jotkut yksilöt kokevat yhteisöllisen huolenpidon ahdasmielisenä ja etsivät vapaampia toimintaympäristöjä toteuttaakseen henkilökohtaisia ambitioita. Vapaan kentän kulttuuritoiminta kattaa monia kulttuurin ilmenemismuotoja. Musiikki, teatteri, elokuva, sarjakuva- ja pienjulkaisulehdet, maalaustaide ja sen eri muodot; innokasta vipinää piisaa. Vapaan kentän toiminta on usein spontaania ja suunnittelematonta, se syntyy tarpeesta ja kukoistaa niukkuudesta. Asiat kehittyvät ja tapahtuvat omalla painollaan. Leipätehdas, Nahkatehdas, Osuuskunta Taiteen Satalatva, Raunioaktiivien Voimala-hanke, Tilaa Kulttuurille ry:n Tukikohta, Hiukkavaaran kasarmialue ja Tulva ry esimerkkinä muutamista julkisuudessa vilahtaneista. _Esimerkkinä yhteisön voimasta haluaisin mainita Oulun rullalautailijat ry:n talkoovoimin rakentaman ja ylläpitämän skeittihallin hiukkavaarassa._ – Marlene Hyyppä, oululaisen underground-kulttuurin asiantuntija Vapaa kenttä tarjoaa vapaan toimintaympäristön. Niukkuus kannustaa osaltaan luovuuteen, kehittämään jäljittelemättömän omaperäisen tyylin. Jo Paska Kaupunnin kirjoitusasu viestii omaehtoisesta välittömyydestä. ”Iha sama, me tehhää se näin.”, se tuntuu viestivän. Samaa itseriittoista asennetta vaatii myös omaehtoisen kulttuurin luominen. Onko Blind Channelin punaisiksi maalatuissa keskisormissa jotain samaa? Joka tapauksessa viesti läpäisee kansankerrokset kuin rössypottu; sitä vihataan, rakastetaan tai rakastetaan vihata. Omaehtoinen toiminta vaatii periksiantamattomuutta. Lähteet: Hyyppä, Marlene, oululaisen underground-kulttuurin asiantuntija. Oulu. Haastattelu 17.3.2024, haastattelijana Esa Nissi. Hyyppä Sara Marlene, HUUTOJA MAAN ALTA! Oululaiset alakulttuurilehdet – kulttuurinen tila, vastakulttuuriset sisällöt ja keinot, Pro gradu -tutkielma Kirjallisuus Humanistinen tiedekunta Oulun Yliopisto 2014 Wikipedia. 2023. [https://fi.wikipedia.org/wiki/Paskakaupunni](https://fi.wikipedia.org/wiki/Paskakaupunni) Ervasti Antti, Ouluun täytyy löytää vapaan kentän kulttuuritila, Kaleva 14.4.2008 Kuva: Kalevan arkisto. Kauko Röyhkä Kuusrockissa 20.7.1980 Video: Blind Channel - Dark Side - Finland 🇫🇮 - Official Video - Eurovision 2021. https://www.youtube.com/watch?v=cIvaeu6Oxzc 201:T148a,45 Special avasi ovensa 21.9.1990. Ravintola perustettiin, koska rokkarikin tarvitsee mieluisan paikan, jossa tuntee olevansa ihminen. Rokkareiden kotina 70- ja 80- luvulla toiminut Rattori-lupi oli mennyt nurin ja rokkarit pölähtäneet pitkin kaupunkia. Ravintolaa perustamassa olivat musiikin parissa työskennelleet Elmo Harju, Eero Puolakanaho, Kepa Salmirinne, Ibo Sulkala ja Rami Räsänen. Elmo ja Kepa olivat tuohon aikaan kansainvälistäkin mainetta nauttivan Zero Nine -hard rock yhtyeen solisti ja basisti, Ilpo Sulkala hääri saman yhtyeen taustavoimissa, kun taas Rami Räsänen toimi sen ajan suomen isoimman ohjelmatoimiston Rock Topsin omistajana ja Zero Ninen keikkamyyjänä. Viisikolle tuttu toimintaympäristö - rock’n’roll - oli myös asiakaskunnan mieleen. Ravintolan harkittu miljöö ja välitön ilmapiiri on mahdollistanut vuosikymmenien kestosuosion. Puolakanaho ja Räsänen jättäytyivät sivuun 1992, Harju ja Salmirinne 2010 ja ravintola siirtyi Ilpo ja Roope Sulkalan perheyrityksen haltuun. Nelivitosen portsarikaksikko Jorma Karhumaa ja Juha Oksanen saavuttivat legendaarisen maineensa jo Rattori-lupilla. Portsareiden merkitys ravintolan tunnelman luomisessa on nelivitosessa ollut merkittävä. Poliisimestarikin oli ihmetellyt 45special-nimisen ravintolan olemassaoloa, kun ei poliisilla ollut kirjoissaan vuosikausiin paikasta yhtään merkintää. Karhumaan ja Oksasen ”hörhötutka” oli päällä myös vapaa-ajalla kaupungilla. Jos kaupunkikuvasta skannattiin häiriköivä sekopää, jäivät kasvot mieleen ja sisäänpääsy ravintolaan evättiin. Oksasen tasa-arvoisesta asiakkaiden kohtelusta ja vinosta huumorintajusta on jäänyt elämään runsaasti kaupunkilegendoja. Alkuun hyvinkin puritaaniseen perusrockiin perustunut musalinja on vuosien vieriessä avartunut ja muuttunut musiikin muuttaessa muotoaan. 1997 avattiin nelivitoseen yläkerta ja oikea bändilava. _Joo, nelivitonen oli toiminut kellaritiloissa avaamisestaan lähtien ja vuonna -97 me saatiin tuota kakkoskerroksesta puolikas itellemme ja bänditoiminta mahdollistu paremmin ja paremmin. Vuonna 2002 me saatiin vielä koko kerros käyttöön ja testattii eka kerra sillai että HIMi tuli sunnuntaina keikalle ja otettiin kolme ja puolisataa ihimistä sisään ja huomattiin että ehkä se 300 on se oikea määrä ja tämän yläkerran muutoksen tiimoilta sitten nelivitosen bänditoiminta lähti oikeesti niinku kunnolla käyntiin ett’ mahdollisti monenlaisten ja monen tasoisten bändien tulemisen tänne meille. Bill Wyman & Rhythm King’s, vanhana Rollari-fanina, oli aivan mieletön juttu meijjän viistoista vuotisjuhlilla. Kaks iltaa, kaksi täydellistä konserttia. Kyyneleet tuli silimään ja sitte vieläkö Bill Wyman istuu Ford Transitin etupenkillä, kun mentiin Uleåborgiin syömään illallisille, nii mää aattelin museoidan sen penkin sitte jälkeenpäin. _– Ilpo Sulkala HIM:in lisäksi 45:n lavalla on vuosien varrella esiintynyt isojakin nimiä kuten Nightwish, Rasmus, Deedee Ramone, Amorphis sekä monia muita. Huolimatta rokkiklubin maineesta, tärkeänä osana Nelivitosen toimintaa on ollut myös huolella valitut talon DJ’t jotka ovat ylläpitäneet Nelivitosen omintakeista musalinjaa vuosikymmenien ajan. 30-toimintavuoden aikana moni asia on kuitenkin muuttunut. Klubin vetämisen vastuukapula on siirtynyt seuraavalle sukupolvelle, Ibolta Roopelle. _Sillon ku ite tähän tuli mukaan ku kaheksantoista vuotta täytti, nii paikka oli aika puritaaninen rokkibaari ja ite oli sitte ehkä enemmän hiphop ja tuonne suuntaan kallellaan. Että esiintyjäkattaus on muuttunut, mutta nii on muuttunut moni muukin asia että muutosta kuvaa hyvin myös se että nykyään markkinointi on muuttunut julisteista ja lehtimainonnasta sosiaaliseen mediaan ja lipunmyynti Ibon leimaamista fyysisistä lipuista tuonne meidän omaan applikaatioon. Sitt’ tosiaan tää ohjelma nii, ihmisten kuuntelutottumukset on pirstaloitunut ja siks’ meilläkin esiintyjiä ja musaa on kaikenlaista. Siellä on kaikkia musiikkigenrejä ja sitt’ on myös kaikenlaista muuta esittävää taidetta. _– Roope Sulkala Yksi mikä ei muutu, ovat joka sunnuntaiset jamit. Nelivitosen maineikkaat sunnuntaijamit tunnetaan koko Suomen muusikkopiireissä. Ne ovat tiettävästi pisimpään järjestetty jamitapahtuma maailmassa. Henki 45:ssa on kuitenkin pysynyt samana. Baari tarjoaa edelleen vaihtoehdon valtavirralle, hyvä musiikki keskiössä, sormi tiukasti kulttuuri- ja musiikkielämän pulssilla. Lähteet: Sulkala, Ilpo, 45 Specialin perustaja. Oulu. Haastattelu 12.3.2024, haastattelijana Esa Nissi. Sulkala, Roope, 45 Special ravintolatoimenjohtaja. Oulu. Haastattelu 12.3.2024, haastattelijana Esa Nissi. Juntto Anssi, Rock’n’roll yliopiston kasvatit – 45 Specialin tarina, Nispero Forsman Carita, Nelivitosen jameja ei jätetä! Kaleva 3.2.2010 Pasanen Antti, Ravintoloitsija 45 Specialin suosiosta: ”Meillä on saanut olla sitä mitä on, kunhan on vaatteet päällä ja osaa käyttäytyä”, Kaleva 18.3.2017 Kuva: Kalevan arkisto, Nelivitoinen, Satellite Stories, 2018. Video: Satellite Stories - Campfire (Official Video), https://www.youtube.com/watch?v=Zt43vyqoRHY 202:T125b,1980-luvulla elettiin hyvinvointiyhteiskunnan huippuhetkien, vaihtoehtokulttuurin nousun, yleisen kulttuurisen ja yhteiskunnallisen aktiivisuuden aikaa, mutta myös kulutuksen kasvun aikaa. 80-luvun alussa marssittiin rauhan puolesta ja ydinaseita vastaan. Punk-aallon loiskahtaessa yli Suomen 70–80-lukujen taitteessa alkoi musiikin kentällä todellinen sukupolvenvaihdos. Punk madalsi kynnystä soittoharrastuksen aloittamiseen, ja erilaisia uuden aallon yhtyeitä syntyi pitkin Suomea aina syrjäisimpiä kolkkia myöten. Vanhoissa muusikkopiireissä uusiin tulokkaisiin suhtauduttiin paikoin penseästi. Ja kun samaan aikaan ravintolat korvasivat enenevissä määrin elävän musiikin levyjen pyörittelyllä, tarpeet ja tarjonta eivät kohdanneet. Pinnan alla poreili ja sopivaa tilaa omaehtoiseen toimintaan oli niukasti tarjolla. Myös ylioppilas- ja nuorisoteattereissa kävi kuhina. Vuonna 1986 aika oli kypsä kansalaistottelemattomalle suoralle toiminnalle. Vapaan kulttuurikentän toimijat löysivät toisensa, löivät hynttyyt yhteen ja valtasivat Arinan vanhan leipätehtaan Heinäpäässä. _Semmoinen jengi, joka ei siihen teknohypeen lähtenyt mukaan taikka pörssikuvioihin tai ei päässyt NHL:ään pelaamaan jäkistä, niin ne sitten otti tavallaan sitä tyhjää tilaa haltuun. Tämä niinku yhenlaisen kulttuurin nousukausi ajoittu semmoiseen aikaan, jolloin Oulussa oli jo niinku riittävästi lahjakkaita ja pölijiä tyyppejä tekemään kaikenlaisia asioita, mutta oli vielä vähän semmoinen pikkukaupunki meininki, että jos jossakin tapahtu jotakin, niin siitä varmasti kuuli ja siihen oli helppoa mennä mukaan. _– Petri Sirviö, Mieskuoro Huutajat. Arinan rakennustoimet vanhan leipomon suhteen oli laitettu jäihin ja Leipätehdas oli tyhjillään. Valtaajat koostuivat Oulun Ylioppilasteatterin ja Nuorisoteatterin fuusiosta syntyneen Tehtaan Näyttämön, Oulun ELMUn sekä nuorten musiikintekijöiden sekalaisesta joukkiosta. Tilat vallattiin lähinnä pikkujyrsijöiltä, töryltä ja lialta. _Kyllä se oli aika anarkistista se touhu ja kyllä se mulle näyttäyty siltä, että sitä vaan käveltiin ovesta sisälle ja alettiin touhuta. Ei sitä kukaan ei johtanut tai jakanut vuoroja tai pitänyt jöötä, että se oli hyvin vapaa paikka. Huutajat aloitti käytännössä toimintansa siellä Leipätehtaalta. _– Petri Sirviö, Mieskuoro Huutajat Leipätehtaan avaimet saatiin Arinalta Tehtaan Näyttämön astuessa vuokralaiseksi kaupungin myötävaikutuksella. Leipätehdas oli vastaus tarpeeseen ja siitä muodostui nopeasti vaihtoehtokulttuurin kotiluola. Se sijoittui puutalorötisköjen anarkian, ja järjestäytyneen yhteiskunnan välimaastoon. Jonnekin kulttuurin joutomaiden rikkakasvustosta voimansa ammentavaan uuteen tapaan tehdä kaupunkikulttuuria. Betoniseinien ja kaakelilattioiden kovettamissa huoneissa soitto kajahti komeasti. Leipätehtaalla syntyi myös käsite Oulu-soundi. Oulu-soundille ominaista oli metelöivä ulosanti, ja se piti sisällään mm. yhtyeet Electric Blue Peggy Sue and the Revolutionions From Mars, Faff-Bey ja Radiopuhelimet. Kämpissä saattoi musisoinnin yhteydessä tupakoida ja juopotella, mutta talon tapahtumissa käytettiin järjestysmiehiä. Omaehtoinen toiminta oli aktiivista ja tulosta taottiin tuottamalla uutta nuorisokulttuuria. Kolmikerroksessa kivirakennuksessa järjestettiin teatteriesityksiä ja bändikeikkoja, ja ennen kaikkea se tarjosi mahdollisuuden kehittää pienteattereiden ja bändien toimintaa ilman mahdollisten ulkopuolisten tahojen holhousta. Samaan aikaan perustettiin Mieskuoro Huutajat ja ensimmäinen Huutolandia sijaitsi Leipätehtaalla. _Siinä pihapiirissä oli sitten semmoinen autokorjaamo kuin Perttolan korjaamo, jota Penttilä sano Porttolan kerjäämöksi. Oisko peräti sieltä Porttolan kerjäämöstä saatu ensimmäiset sisäkumit Huutajien kravatteihin. _– Petri Sirviö, Mieskuoro Huutajat Vuokrasopimukset raukesivat 1988 loppuun mennessä, ja purkutyöt alkoivat vuoden 1989 alussa. Yhteinen taival jäi lyhyeksi, kun teatteriväki ja bändit levisivät kaupungille etsimään uusia mahdollisuuksia itseilmaisuun. Lähteet: Sirviö, Petri, Huutajat mieskuoron perustaja ja kuoronjohtaja. Oulu. Haastattelu 21.3.2024, haastattelijana Esa Nissi. Glad Reija, Välähdyksiä – 50 - vuotiaan Oulun ylioppilasteatterin historiasta, 2014, Oulun ylioppilasteatteri. Savolainen, Marjatta, puhelinhaastattelu 11.12.2023, haastattelijana Esa Nissi. Kuva: Kalevan arkisto, Mieskuoro Huutajat vuonna 1988. Video: Mieskuoro Huutajat - Oulujoki, https://www.youtube.com/watch?v=RcvxSxpicLo&list=RDEMzdOMJrCNzBiXoYUvqiU6aQ&start\_radio=1 203:T1200,Madetojan musiikkilukion juuret ulottuvat 1960-luvulle, jolloin Suomessakin herättiin musiikinopetuksen tehostamiseen. Helsingissä oli aloitettu musiikkiluokkakokeilu vuonna -61, ja se rantautui Ouluun -67. Tuolloin perustettiin toimikunta, joka laati opetussuunnitelman. Suosio oli taattu. Musiikkiluokille pyrki kesällä -67 reilu 100 oppilasta, joista puolet valittiin musiikkitestien perusteella. Toiminta alkoi Teuvo Pakkalan ja Nuottasaaren kouluissa. Seuraava askel oli musiikkioppikoulu, johon saatiin lupa valtioneuvostolta 1968, ensimmäisenä Suomessa. Musiikkioppikoulu aloitti samana syksynä Heinätorin kansakoulussa ja koska oppilasmäärä kasvoi joka vuosi, koulu muutti Hintan kansakouluun -71. Musiikkioppikoulu eli ankarien talousvaikeuksien keskellä, eikä valtionavustuksia herunut. Osa poliitikoista oli sitä mieltä, ettei ollut riittävästi näyttöä erillisen musiikkikoulun tarkoituksenmukaisuudesta. Näyttöä musiikkioppikoulu antoi vuonna -73. Koulun kuoro voitti Helsingissä järjestetyn lapsikuorojen kilpailun ja seuraavana keväänä -74 Turussa järjestetyn pohjoismaisen lapsikuorokilpailun. Samana vuonna myllättiin koululaitosta niin Oulussa kuin koko Suomessa. Syntyi erillinen musiikkiin painottuva Madetojan lukio, joka eli jatkuvan lakkautusuhan alla. Vuonna -75 koulun kuoro voitti BBC:n järjestämän laulukilpailun koulukuorojen sarjassa. Voitto sai kaupungin kouluviranomaiset tarkastamaan kantojaan. Koulu muutti 1976 Pohjankartanon monitoimitaloon. Muutto päätti Madetojan musiikkilukion vaellusvuodet. Vielä 1970-luvulla klassisen konserttimusiikin suosijat pitivät jazzia, rockia ja iskelmiä alempiarvoisena musiikkina, mutta -70-luvun lopulle tultaessa tämä jako sai väistyä ja musiikin lajit tunnustettiin tasa-arvoisiksi. _Madiksellahan on vuotuisia tapahtumia eri genreille. Syksyllä meillä on klassisen musiikin konsertti, tammikuussa ja toukokuussa MadRock ja kevyen musiikin maratoni ja sitten meillä on taiteiden päivää, jolloin voin soittaa ihan mitä vaan. Mun mielestä se genrejen huomioon ottaminen on tosi laajaa, että ei ole pelkästään vaan yhtä tapahtumaa. Ura vaihtoehdot ei kyllä lopu, jos hakeudut tämmöisiin niinku eri juttuihin ja eri projekteihin koulussa._ – Ella Huttunen 1981 Madetojan musiikkilukio sai erityisen koulutustehtävän saaneen lukion aseman. Nyky-Madiksessa opiskellaan musiikkia eri tulokulmista ja luodaan musiikilliselle osaamiselle monipuolinen perusta. Musiikkia lähestytään laaja-alaisesti musiikkina ei niinkään genren kautta. Musiikkilajien moninaistumisen esimerkistä käy hyvin 1990-luvulta saakka toiminut Big Band, joka nykyisin tunnetaan Oulu Youth Jazz Orchestrana. Musiikkilukiolaisia yhdistää rakkaus musiikkiin, joka luo yhteisöllisen ilmapiirin ja opiskelijoita saapuu pitkin Suomea. Oppilaita lukiossa on nykyisin noin 350. Enenevissä määrin Madiksen entisiä oppilaita on nähty musiikin, tanssin ja teatterin ammattilaisina pitkin Suomea, ja kuluvalla vuosituhannella heitä on bongattu Suomen virallisien pop-listojen kärjessä, tangokuningattarena, maailman oopperalavoilla, euroviisuedustajina kuin myös uusien musiikin tyylilajien luojina. _Madiksen entisiä oppilaita on muun muassa Saara Aalto, Ellinoora, Hannu Alasaarela, Aino Morko, Maustetytöt, Suvi Teräsniska, Blind Channel, Johanna Iivanainen, Helena Juntunen, Johanna Kurkela, Johanna Pakonen, Tuomas Enbuske, Mitra Kaislaranta, Hanna Karjalainen, Piia-Noora Kauppi, Niko Kumpuvaara, Merja Larivaara, Miki Liukkonen, Lilli Maijala, Nelli Milan, Erkki Palola, Tuomas Peltomäki, Maria Puusaari, Teemu Roivainen, Airi Tokola….._ – Ella Huttunen Lähteet: Huttunen, Ella, Madetojan musiikkilukion oppilas. Oulu. Haastattelu 28.4.2024, haastattelijana Esa Nissi. Manninen Turo, Meidän koulu – Kronikka Oulun musiikkioppikoulun ja Madetojan musiikkilukion vaiheista 1968 – 2001 (kronikka on alkuperäisasussaan julkaistu kevään 2001 vuosikertomuksessa) Oulun kaupunki. 2023. [https://www.ouka.fi/madetojan-musiikkilukio](https://www.ouka.fi/madetojan-musiikkilukio) Wikipedia. 2023. [https://fi.wikipedia.org/wiki/Madetojan\_musiikkilukio](https://fi.wikipedia.org/wiki/Madetojan_musiikkilukio) Kuva: Jukka-Pekka Moilanen, Kalevan arkisto. Musiikkilukiolaisten päivä 14.1.2003. Musiikkilukiolaisten Teemu and the Henkselit-KÖ-kvartettiin kuuluvat Teemu Roivainen (vas.), Jenni Määttä, Riikka Tajakka, Saara Aalto ja Tanja Torvikoski. Video: Maustetytöt - Jos mulla ei ois sua, mulla ei ois mitään, https://www.youtube.com/watch?v=WHC3BQoJhbE 204:Taf1,Tervetuloa Leveriin! Tervan ja purjelaivojen kulta-aikana Leveri ja Kakaravaara olivat merenkulkijoiden kaupunginosia. Toki niissä asui muitakin, kuten laivapuuseppiä, peruukin- ja tulitikuntekijöitä, ennustajaeukkoja sekä köydenpunojia. Merimiehen tunnisti valkoisista suorista housuista, sinisestä takista ja hienosta lierihatusta silkkinauhoineen. Leveri on merimiesten väännös Liverpoolista. Liverpool oli maailmankaupan solmukohta, ja usein Oulusta lähteneiden tervalla ja puutavaralla lastattujen alusten ensimmäinen etappi. Oululaisen Kaiku-lehden perustaja ja toimittaja Konrad Kivekäs kirjoitti vuonna 1904, ettei merimiesten kieli taivu lausumaan vieraita paikannimiä yhtä kauniisti kuin oppineiden. Konstantinopolista tulee Nuupeli, Genoasta Jenna, Marseillesta Marseli, New Yorkista Nyorkki ja Liverpoolista Leveri. Tuohon olisi joku merikarhu voinut todeta, ettei niitä laivoja kielellä seilata. Elämä Leverissä ei ollut aina hääviä. Kun miehet olivat merillä – usein vuosikausia – oli arki naisten kontolla. Jotkut merimiehet antoivat joka toisen kuun tienestin juosta vaimolle, mutta olipa niitäkin, jotka jättivät rouvansa puille paljaille. Niin kuin eräs oululainen kirvesmies Limmi, joka vuonna 1871 purjehti laiva Toivon neitsytmatkalla Leveriin, eli oppineiden kielellä Liverpooliin. Toppilansaaressa rakennetun fregatti Toivon omisti tuossa muutaman korttelin päässä, Kirkkokadun ja Albertinkadun kulmassa, asunut kauppias J. W. Snellman. Naimaikä ei ollut vaatimuksena, kun laivoille haalittiin miehistöä. Kakaravaarassa asunut ja myöskin laiva Toivolla seilannut Jaakko Haataja lähti kajuuttavahdiksi 12-vuotiaana. Onpa joku nelivuotiaskin kuulemma pestattu samaan tehtävään! Juutinraumassa ensikertalaiset tervattiin ja raakattiin niin kuin päiväntasaajan kasteessa konsanaan. Ihka omalla tervalla, samalla, jolla laivan runko ja köydet oli sudittu vedenpitäviksi ja rautaosat ruosteenkestäviksi. Kaukomailta saatettiin tuoda tuliaisena sateenkaaren sävyissä hohtava simpukankuori, kauniita kankaita tai eksoottinen käärmeennahasta valmistettu kukkaro. Ja tietenkin merimiessäkillinen uskomattomia kertomuksia Leveristä, Nyorkista, Marselista tai Nuupelista. Ja kaikkihan tunsivat tarinan Sundbergin Jannesta, oululaisesta merimiehestä, jonka jalan krokodiili eli skorpiuuni oli napannut Intiassa. Lähteet: Kaukiainen, Yrjö 2000: Laiva Toivo, Oulu. SKS Kirjat. Kivekäs K. 1904: Merimiesten kieli. Kaiku, 27.1.1904. Mäkiprosi, Paula 2012: Kokkeja, kajuuttavahteja ja oppilaita. Miehistön nuorimmat jäsenet oululaisilla ja raahelaisilla purjealuksilla 1850–1860-luvuilla. (Pro gradu -tutkielma) Korhonen, Markus H. & Ukkola, Jukka 2005: Kukatin: Oulusa olleita. Radioasema Q. Kuva: Museovirasto 205:Tae2,Oululainen kauppias, laivanvarustaja, höyrysahapatruuna ja tervaporvari Johan Wilhelm Gerhardinpoika Snellman muutti perheineen tähän rakennukseen 1840-luvulla. Talossa oli aiemmin asunut J. W. Snellmanin appi, Jeanette-vaimon isä Herman Enbom. Maine ja mammona eivät tulleet J. W. Snellmanille helpolla: Suomussalmella syntynyt Johan Wilhelm jäi orvoksi 12-vuotiaana. Hän muutti Kokkolaan ja tienasi elantonsa kauppa-apulaisena, lähti 16-vuotiaana merille. Vuonna 1840 hän teki ehkä elämänsä parhaat kaupat naidessaan ihanan Jeanetten. Snellmanien yhdeksänlapsinen perhe oli tiivis ja avioliitto rakkaudentäyteinen, vaikka kyllä lapsikatras huoltakin aiheutti. 13-vuotiaana Helsinkiin opiskelemaan lähetetty Hanna-tytär sairasteli pitkään ennen kuin menehtyi vain 29-vuotiaana. Vanhin poika Janne puolestaan hurvitteli opintomatkalla Saksassa niin, että joutui vankilaan. Snellmanit laajensivat Kirkkokadun kotiaan vuonna 1851, sillä kasvavan perheen lisäksi taloon piti mahtua kauppahuoneen puoti ja konttori. Pihapiirissä oli talli, renkien ja piikojen kortteerit sekä suuri keittiö. Snellmanien kaltaisissa rikkaissa porvarihuusholleissa saattoi olla jopa kymmenen palveluskuntaan kuulunutta palkollista! Uuteen, etelänpuoleiseen osaan, tuli vintti, jonne J. W. Snellmanin kerrotaan joskus kavunneen mietiskelemään huolia ja murheita. Ullakolle tehtiin myös näköalapaikka, josta saattoi kaukoputkella seurata Toppilan sataman tapahtumia. Jokohan ulapalta erottuisivat Snellmanin oman Toivo-laivan purjeet? Niitä Snellman odottikin kuumeisesti. Laivan kapteeniksi nimetty Snellmanin Wille-poika kun ei ollut halukas palaamaan kotisatamaan, vaan keksi vuositolkulla uusia syitä palata Aasiaan: Wille-herra oli niin ihastunut sikäläiseen sapuskaan, että oli pestannut laivalle aasialaisen kokinkin. Ohikulkijat saattoivat Snellmanien aikaan kuulla talosta perheen naisväen musisointia. Ikkunasta kurkistaessa olisi nähnyt, kuinka kutimet tikuttivat ja neula sukelsi koruompeleeseen. Käsitöitä valmistettiin erityisen ahkerasti joululahjoiksi perheelle ja ystäville. Ja usein avoimesta keittiön ikkunasta tulvahti paahtuvien kakkaroiden tuoksu: Snellmanin kauppahuoneen alusten tuhannet laivakorput valmistettiin samassa keittiössä kuin perheen ateriatkin. Lähteet: Isoaho-Nousiainen, Riikka 2019: Säätyläistyttö, sivistys ja sosiaaliset siteet: oululainen Hanna Snellman opintiellä Helsingissä 1850-luvulla. Ennen ja nyt 2019/4. Kovalainen, Kauko 2006: Stiftelsen Alma och K. A. Snellman Säätiö 1921–2004. Pohjamo, Ulla 2003: Kesä salmessa – porvarillista huvilakulttuuria Oulun Toppilansalmessa. Pro gradu -tutkielma) Kuva: Pohjois-Pohjanmaan museon kokoelmat. J. W. Snellmanin perhekuva vuodelta 1861. 206:Tb2f,1600-luvulta asti alati kansainvälisemmäksi ja vauraammaksi muuttuneessa Oulussa tarvittiin ennen pitkää paikka, jossa tervanviennillä, kaupalla ja laivanvarustamisella rikastuneet porvarit ja kauppiaat sekä kaupungin aristokraatit saattoivat kohdata kaltaisiaan, ja johon myös ulkomaan vieraita kehtasi viedä viihtymään ja majoittumaan. Väestön varallisuuserot olivat suuria, ja sosiaalista hierarkiaa noudatettiin tiukasti. Tämä nykyisin Oulun kaupungintalona toimiva ja vuonna 1886 käyttöön otettu rakennus oli alkujaan Seurahuone, jonne Oulun kerma saapui aterioimaan tai viettämään iltamia, joiden ohjelmassa oli muun muassa näytelmiä ja musiikkia. Onpa maamme kansallissäveltäjä Jean Sibeliuskin käynyt konsertoimassa Oulun Seurahuoneella. Seurahuoneen ruokalistalla saattoi olla kirkasta lientä tryffeleillä, lampaansatulaa renessanssityyliin, tankoparsaa sekä tuon ajan hittijälkiruokaa mokkajäädykettä. Alkupalana tarjotusta graavilohesta ulkomaalaiset vieraat eivät niin perustaneet, raakaa kalaa pidettiin outona. Tavallisilla, alemman sosiaaliluokan oululaisilla ei ollut asiaa Seurahuoneelle. Toisaalta mannermainen ja moderni Seurahuone sekä Raatinsaaressa toiminut ravintola Hôtel de Raatti tarjosivat mahdollisuuksia uudenlaiseen urakehitykseen piian tai rengin aseman sijaan. Seurahuoneen lempinimi, Susiteetti, tulee ruotsinkielisestä Societetshus-sanasta. Ennen nykyistä kivistä rakennusta paikalla oli vieressä virtaavan Kaupunginojan eli tutummin Laanaojan suuntainen, vuonna 1849 valmistunut puurakenteinen ensimmäinen Seurahuone. Se paloi Oulun suurpalossa vuonna 1882. Ruokasalin ja näyttämön lisäksi Seurahuoneella oli eksoottinen ja muodikas, Oulun kansainvälistymistä heijasteleva itämaiseen tyylin sisustettu hämyisä kabinetti. Silkkidivaanilla pötkötellen saattoi nauttia mokkakahvia sirosta riisiposliinikupista. Naiset eivät saaneet yksin mennä mystiseen ja romanttiseen itämaiseen huoneeseen. Tarinan mukaan oululainen sanonta olla ölövinä, eli muina miehinä juontaa juurensa eräältä Seurahuoneen lounaalta. Kerrotaan, että tehtailija ja kauppaneuvos Hemming Emmanuel Åström olisi lounaan jälkeen mennyt pikku tuiterissa tarkastamaan tehtaansa toimintaa. Tehdaspatruunan horjahtelu oli herättänyt huomiota. Åström oli todennut: ”bara lite öl o vin”, ja jatkanut katselmustaan. Kansan suussa tämä selitys olisi sitten taipunut ölöviksi. Lähteet: Korhonen, Markus H. 2002: Kaupunginkellarista Seurahuoneelle – Keveästi oululaisen kestikulttuurin vaiheita. Uusi Seurahuone. Oulun kaupunki: Kaupungintalon historia. <[https://www.ouka.fi/oulu/oulu-tietoa/kaupungintalon-historia](https://www.ouka.fi/oulu/oulu-tietoa/kaupungintalon-historia)> (Luettu 1.8.2023) Kuva: M. L. Carstens, kustantaja. 1907. Museovirasto. Oulun Seurahuone. 207:Tbdb,Mitähän miettisi 1800-luvulla elänyt oululainen kauppias, laivanvarustaja ja höyrysahapatruuna Johan Gustaf Bergbom, jos hän tulisi tänä päivänä Oulun torille ja istahtaisi tähän makasiininsa portaille brodeerattu ja parfymoitu nenäliina pyllynsä alla? Aivan varmasti hän ihmettelisi, missä luuraavat oululaiset ja ulkomaalaiset kauppiaat, mihin on kadonnut Pakkahuoneentorin ja sataman hulina merimiehineen? Entä missä on paahteisen äitelä tervan tuoksu ja kaikki lukuisat maalla ja meressä kaupungin edustalla olleet tavarapuodit? Ei kuulu airojen nitkettä hankaimissa, ei köysien natinaa. Ei ainuttakaan purjelaivaa tai tervavenettä missään. Ei näy vanhaa Fribergin pappaakaan, joka kaupusteli pikiöljyä, tuluskiviä ja liituja. Makasiinikin on aivan väärässä paikassa: aiemmin se oli ollut rannan tuntumassa, rinnallaan muita pienempiä Bergbomin tavarapuoteja kukkuroillaan puutavaraa ja kaukaa sisämaasta tuotuja turkiksia, voita, kalaa ja riistaa. Konsuli Bergbom ehkä miettisi, mistä nuo ruukkien, maaseudun ja erämaan ihmiset nyt saavat elantonsa? Omana aikanaan Pohjanmaan ja luultavasti koko Suomenkin rikkain mies Johan Gustaf Bergbom nousisi rappuselta ja katselisi Pikisaaren ohi Korkeasaareen, mutta ei. Ei kuulu enää Bergbomin omistamalta Korkeasaaren sahalta lousketta tai terän rahinaa. Miten lie Pateniemen, Laitakarin, Karihaaran ja muiden höyrysahojen laita, kai ne yhä sykkivät ja työllistivät ihmisiä? Sen Bergbom jo tiesi, ettei Pateniemen varvilla enää rakennettu aluksia. Bergbomin kauppahuoneen vuonna 1874 vesille laskema parkkilaiva _Felix_ oli jäänyt Oulun seudun viimeiseksi purjelaivaksi. Bergbomin katse ehkä nappaisi oudosta maisemasta suistoalueen sillat. Kappas vaan. Hänen aloitteestaan ja anteliaan lahjoituksensa ansiosta Oulujoen ylittäviä siltoja kehitettiin ja rakennettiin 1800-luvulla, ja nyt niitä on poikinut jo tuollainen määrä. Ehkä Bergbom tuntee vatsassaan kurnaisun ja kääntää katseensa kohti Oulun kaupungintaloa, vanhaa Seurahuonetta. Siellä saisi mahan täydeltä graavilohta, lihalientä ja paistia. Voisi kuunnella musiikkia, nauttia sherrynaukut ja kupin vahvaa mokkakahvia Åströmin, Franzénin tai Snellmanin seurassa. Ehkä vielä rakennettaisiin yhdessä suurenmoinen alus, tervahipiäinen, määränpäänä Liverpool ja maailma. Tehtäisiin Oulusta vielä kerran suolantuoksuinen merikaupunki. Lähteet: Arkkitehtitoimisto Jorma Teppo Oy 2012: Oulun torinrannan kaavoitushistoriaselvitys. Oulun kaupunki. Korhonen, Markus H. & Ukkola, Jukka 2005: Kukatin: Oulusa olleita. Radioasema Q. Meinilä, Sakari 2009: Uusi Torinranta: Rakennushistoriallinen selvitys siirrettävistä aitoista. Oulun kaupunki. Vahtola, Jouko 2005: ”Maine elää, vaikka nimi sammui: konsuli Bergbom oli aikansa rikkain mies, ja sen vuoksi hänen elämästään jäi Ouluun elämään totta ja tarua”. Kaleva 2.10.2005. Kuva: Paulaharju, Samuli, kuvaaja 1907–1923, Museovirasto. kalaveneitä torin rannassa. 208:Tbf8,Elokuussa 2019 tästä hotellin parkkipaikan alta löytyi vanha mäntypuinen hylky. Löytöpaikan mukaan se nimettiin Hahtiperän hylyksi. Alus oli rakennettu pohjoisessa Suomessa kasvaneista hongista luultavasti joskus 1600-luvun lopussa. Rakennustekniikaltaan se muistuttaa alueen talonpoikien rakentamia jähtejä eli purjealuksia tahi tavarankuljetukseen käytettyjä proomuja. Sen runko oli limisaumainen ja saumat oli tilkitty pien ja lampisirppisammalen sekoituksella. Liekö piki ollut peräisin tuosta salmen toiselta puolelta, Pikisaaresta? Mahtoi aluksen ällistys olla suuri, kun se vuonna 2019 näki pitkästä aikaa päivänvaloa: kaupunkihan oli vallan toisenlainen kuin kolmesataa vuotta sitten! Silloin tällä paikalla oli vielä Hahtiperäksi kutsuttu Oulun sisäsatama laitureineen ja varastomakasiineineen. Vaatimaton tuhannen asukkaan raja ylitettiin Oulussa 1700-luvun alussa, mutta sulaveden aikaan kaupungissa riitti vilinää. Satamassa kuuli suomen ja ruotsin sijaan enemmän englantia, saksaa, venäjää ja ranskaa. Oulu oli oikea kansainvälinen merikaupunki. Kauppatoria nimitettiin silloin Pakkahuoneentoriksi, ja siellä saattoi törmätä kauppiaaseen, jonka nimi oli Staffan Smoswen tai Anders paharauta. Hahtiperän sataman edustalla, meressä, oli tolppien päälle rakennettuja merimakasiineja, joissa säilytettiin laivoilta tulevaa ja niihin menevää kauppatavaraa. Hahtiperän hylky on voinut rahteerata pikeä, tervaa ja polttopuita mantereen ja Pikisaaren välillä, tai toimia tavarankuljetusaluksena, joka kuljetti lastia kauemmaksi ankkuroitujen suurten valtameripurjelaivojen ja sataman välillä. Laivoille meni tervaa, puutavaraa, voita, lohta ja kuivattua kapahaukea. Ouluun tuotiin muun muassa suolaa ja viljaa. Ja tokihan kaupalla ja tervanviennillä vaurastuva yläluokka tarvitsi kaikenlaista tilpehööriä ja luksustuotteita, kuten kankaita, tupakkia, mausteita ja tulppaanin sipuleita. Kansainvälisen kaupan myötä Ouluun saapui paitsi ulkomaalaisia tuotteita, myös uusia tapoja: alettiin juoda sellaisia eksoottisia uutteita kuin teetä ja kahvia kiinalaisista posliinikupeista, maustaa ruokia itämaisilla mausteilla ja pukeutua mannermaisen muodin mukaan. Lähteet: Halila, Aimo 1953: Oulun kaupungin historia I. Oulun kaupunki. Kaila, E. E. 1931: Pohjanmaa ja meri. (Väitöskirja) Korhonen, Markus H. 2001: Tervakaupungin tarinoita II osa. Radioasema Q. Riutankoski, Matleena 2019: Oulu Hallituskatu 1, Hahtiperän hylky, hotelli Radisson Blun pysäköintialueen arkeologinen kaivaus 2019. Museovirasto. Vuori, Katariina 2021: Hahtiperän hylyn biografia : 1600-luvun lotjasta immersiivisen taideteoksen proomupääosaan. (Pro gradu -tutkielma) Wacklin, Sara 1966: Sata muistelmaa Pohjanmaalta. WSOY. Kuva: Museovirasto. Syystuotteiden kauppaa Oulun kauppatorilla, 1933. Lisätty todellisuus: "Hahtiperä" (https://skfb.ly/6XSGW) by Museovirasto Museiverket Finnish Heritage Agency is licensed under Creative Commons Attribution (http://creativecommons.org/licenses/by/4.0/). 209:Tb64,Katsopas ylös torniin, ja kuuntele oikein tarkasti. Tarinoiden mukaan siellä tapahtuu yliluonnollisia asioita: voi kuulla naisen huutoa ja kantojen kopinaa tai nähdä häivähdyksen epätoivoisen ylioppilaan levottomasta hahmosta. Nykyisin kahvilana tunnettu Tähtitorni on rakennettu vanhan Oulun linnan kansliarakennuksen kellarin raunioille. 1800-luvulla kellarissa säilytettiin ruutia ja sittemmin se toimi Oulujoesta pyydetyn lohen kylmäsäilytystilana. Synkimpinä aikoina kellarissa oli kostea ja pimeä vankityrmä, jossa 1600-luvun lopussa virui noituudesta roviolle tuomittu Matti Montonen. Linnansaaressa on aikoinaan ollut kauppiaiden makasiineja ja Lammassaaren puoleisessa päässä sijaitsi Linnansaaren kylpylä. 1900-luvun alussa Paati-nimellä tunnetussa saunalaitoksessa mainostetaan olleen kolme pukeutumishyttiä naisille ja viisi miehille. Herrojen saunaksikin kutsutussa Paatissa saattoi nauttia lavakylvyistä eli perinteisestä saunomisesta sekä vanna- ja höyrykaappikylvyistä. Alun perin suloinen, pastellipinkki Tähtitorni rakennettiin 1800-luvulla Oulun Merikoulun observatoriotorniksi. Varsinainen Merikoulu sijaitsi nykyisen Lyseon lukion voimistelusalin paikalla. Oulun Merikoulussa tarjottiin merikapteenin ja perämiehen tutkintoon johtavia opintoja. Tarve olikin suuri, olihan Oululla valtava kauppalaivasto, 1800-luvulla koko suuriruhtinasmaan eli Venäjän suurin. Mitä kaikkea Merikoulussa ja Tähtitornissa sitten opittiin? Navigointia, tähtitiedettä, kauppakirjeenvaihtoa, laivanrakennusta ja purjepiirustusta, höyrykoneoppia, vieraita kieliä ja jopa lääkärintaitoja, jos vaikka avomerellä tulisi tarve amputoida raaja. Ja totta kai maantiedettä, jotta hahmotettiin, minne kaikkialle oululaiset purjelaivat matkasivat. Koulun oppilaina olivat muun muassa Kakaravaarassa asunut ja merimiesrunoilijana tunnettu Jaakko Haataja sekä Toppilansaarella rakennetun laiva _Toivon_ kapteeni, Henrik Wilhelm Snellman, tervaporvari J. W. Snellmanin poika. Kun koulu loppui ja tarvittavat paperit olivat kourassa, jäätiin odottelemaan, että Merimieshuoneen katolle nostettaisiin valkoinen lippu. Se oli merkki siitä, että jonkun oululaisen laivanvarustajan alukselle pestattiin miehistöä. Ja pian nostaisi yksi tervalla, piellä, puutavaralla ja riuskalla seikkailunhalulla lastattu oululaislaiva purjeensa. Lähteet: ”Saunalaitos vuokrattavana”. Kaiku 15.4.1927 Kaukiainen, Yrjö: Laiva Toivo, Oulu. SKS Kirjat. Korhonen, Markus H. 2001: Tervakaupungin tarinoita II osa. Radioasema Q. Panu: ”Linnansaaren saunan alku ja loppu”. Oulun Sanomat 19.12.2001 Pihlajaniemi, Janne & al. 2018: Tähtitornin kahvila. Rakennushistoriaselvitys. Oulun kaupunki. Viinikkala, Saana 2017: ”Tähtitornin kahvilassa tapahtuu outoja”. Oamkin journalistiopiskelijoiden julkaisu Vinkka. Kuva: Museovirasto. Kesäinen näkymä Oulun Linnansaarelta. 20a:Tbc0,Kuvittele, että eletään Isovihan jälkeistä aikaa, vuotta 1740. Isoviha on keskeyttänyt hetkeksi Pikisaaressa tapahtuvan pienpolton, mutta nyt taas uusi pikipolttimo on valmis. Ilmassa leijailee sankka savu. Pien ja tervan paahteinen tuoksu kulkee pohjoistuulen mukana Pokkisenväylän yli kaupunkiin. Ensimmäinen pikiruukki perustettiin Pikisaareen 1640-luvulla. Pikiruukki tuhoutui tulipalossa useasti, viimeiseksi vuonna 1891, eikä sitä sen jälkeen rakennettu uudelleen. Pikeä valmistettiin valtavissa 40 tai jopa 50 tervatynnyrin vetoisissa kuparikattiloissa. Kun yhteen tervatynnyriin mahtuu 125 litraa tervaa, oli pikipannun vetoisuus yli 5 000 litraa. Padoissa porisi yleensä huonolaatuista, myytäväksi kelpaamatonta tervaa. Parhaana pikitervana pidettiin talven yli seissyttä talvitervaa sekä tervanpolton alussa syntynyttä räkätervaksi kutsuttua litkua. Keittäessä terva tiivistyi sitkeäksi ja paksuksi pieksi. Pien sopiva koostumus testattiin maistamalla: piki oli valmista, kun se ei enää tarttunut hampaisiin. Väkevään ja oikukkaaseen tuleen sekä sen avulla tuotettuihin tervaan ja pikeen liittyi uskomuksia, yliluonnollisia elementtejä ja riittejä. Tervaa polttaessa sanaa terva ei saanut mainita, vaan se korvattiin muun muassa sanoilla hongan rasva, kalu tai voije. Pikisaaresta on löydetty arkeologisten tutkimusten yhteydessä vanhoja kolikoita, joiden uskotaan toimineen amuletteina tai pienpolttoon liittyvinä taikaesineinä. Pikisaaren ruukkiyhteisöön syntyneet pojat lähtivät usein merille tai muihin töihin saaren ulkopuolelle. Tytöt, kuten 1700-luvulla elänyt Mannisen Maria sekä sisarukset, Margaretha ja Catharina Candelberg, jäivät saarelle. Naisten kautta pienpolton perinnetieto siirtyi uusille puolisoille ja uusille sukupolville. Pikiruukin toiminnan loppumisen jälkeen Pikisaarella on toiminut muun muassa Korkeasaaren saha sekä emali-, kone- ja villatehdas. Vanhan villatehtaan ja konetehtaan rakennukset seisovat vieläkin aivan Pikisaarentien päässä, ja Korkeasaaren puolella voi nähdä vanhan sahan raunioita. Pikisaaren pohjoisrannalla, Kuusisaaren puolella, maaperässä on edelleen pikiruukin perustusten jäänteitä. Oikein lämpimänä kesäpäivänä maaperä tuoksuu satojen vuosien takaiselta mustalta kullalta. Oulun ja Pikisaaren merenkulun historiaan voi myös törmätä Pikisaaren rantavesissä: sieltä voi löytää piikiveä, joka on kulkeutunut kaukomailta purjelaivan painolastina. Lähteet: Hyttinen, Marika 2021: Ajan multaamat muistot: Historiallisen arkeologian tutkimus Oulun Pikisaaren pikiruukista, ruukkiyhteisöstä ja maailmankuvasta 1640-luvulta 1890-luvulle. Pohjois-Suomen Historiallinen Yhdistys. (Väitöskirja) Juvelius, Eric 1989: Tervanvalmistus Pohjanmaalla. (Suomentanut Meri Utrio). Amanita. Paulaharju, Sakari 1965: Wanha Raahe, WSOY. Kuva: Museovirasto. Kuva Oulusta 1800-luvulla: näkymä kirkon tornista Pikisaarille. Etualalla merikapteeni Fabritiuksen talo. 20b:Tb49,Jäiden lähdöstä aina pitkälle syksyyn vuolaana ja vapaana virtaava Oulujoki kuhisi. Oli paksuja tukkeja poikineen, lohenkalastajia, matkalaisia ja suikeita tervaveneitä eli paltamoita. Matka Kainuun tervanpolttomailta satamakaupunki Ouluun oli paitsi pitkä, myös riskaapeli. Yhteen tervaveneeseen mahtui liki 30 tervatynnyriä, ja kun jokainen niistä oli 125 litran vetoinen, oli lastilla painoa monta tonnia. Tervaveneissä oli perämies ja soutajat. Joskus paikalliset, valtuutetut laskumiehet ohjasivat veneet pahimpien koskien läpi, mutta oli niitäkin, jotka kuljettivat veneensä itse alusta loppuun. Havereita sattui tämän tästä. Kerrankin, kesäkuun yhdeksäntenä vuonna 1900, laskumies Siikasen ohjaama tervavene oli tulossa hyvää vauhtia Merikoskessa. Oltiin jo pitkän ja raskaan matkan loppusuoralla. Kunhan hän selviäisi viimeisistä kuohuista, olisi suuntana enää Toppilansalmi ja Tervahovi, joka muuten palaisi poroksi jälleen kerran tasan vuoden päästä, mutta sitä laskumies Siikanen tuskin aavisti. Sitten, Lassinkallion kohdalla, tukkisumasta kimmahti tukki, joka kaatoi veneen. Tervamiehet pelastuivat tukkilautalle, mutta kauppias Iisakki Ravanderille matkalla olleet tervatynnyrit huilasivat virran mukana. Riuskojen miesten lisäksi myös naiset olivat mukana tervan valmistuksessa ja kuljettamisessa. He osallistuivat tervahautojen rakentamiseen ja onpa perimätietoon jäänyt tarinoita huimapäisistä laskunaisistakin. Yksi heistä oli Kantturan Kaija ja toinen Mannermaan emäntä, joka 1860- ja 1870-luvulla ohjasi tervaveneitä Vaalasta Ouluun saakka. Tervavenematkat tarjosivat sisämaan asukkaille mahdollisuuden nähdä kaupungin humua. Tervasta saatu maksupoletti saattoi vaihtua suolaan, ulkomailta tuotuun muodikkaaseen kankaaseen tai taskukelloon. Jokunen lantti meni ehkä kapakkaankin. Pohjoisen tervapääkaupunki tarjosi myös harvaan asuttua sisämaata monipuolisemmat parisuhdemarkkinat, ja aina joskus raskaalle, vastavirtaan kulkevalle paluumatkalle lähti venekunnallinen sydänsurujaan potevia romantikkoja. Lähteet: Hyttinen, Marika 2021: Ajan multaamat muistot: Historiallisen arkeologian tutkimus Oulun Pikisaaren pikiruukista, ruukkiyhteisöstä ja maailmankuvasta 1640-luvulta 1890-luvulle. Pohjois-Suomen Historiallinen Yhdistys. (Väitöskirja) ”Tervan perintö” -dokumentti. Oulun ammattikorkeakoulun oppilastyö. 5.5.2023. https://www.youtube.com/watch?v=kygQBjtrOw0 "Tervan Matka" -dokumentti. Pohjois-Pohjanmaan museo, Oulun museo- ja tiedekeskus. 2023. [https://www.youtube.com/watch?v=MIgxoJMYHHc](https://www.youtube.com/watch?v=MIgxoJMYHHc) Kuva: Feiring, Karin, kuvaaja. Museovirasto. Tervaveneet. Lisätty todellisuus: "Turkansaari Tervaveneet" (https://skfb.ly/6UCUr) by Juha M is licensed under Creative Commons Attribution (http://creativecommons.org/licenses/by/4.0/). 20c:Tc89,Toppilansaaressa sijaitsi yksi Oulun laivanrakennuspaikoista, Kraakkulan laivaveistämö. Siellä on rakennettu muun muassa yksi Oulun viimeisistä, mahtavista purjelaivoista, J. W. Snellmanin kauppahuoneen fregatti _Toivo_. _Toivon_ lykkäjäisiä eli veteenlaskua vietettiin vuonna 1871. Lykkäjäiset olivat odotettu tapahtuma kaupungissa. Tarjolla oli hernekeittoa ja ryyppyä, köyhät saivat kaapia itselleen laskuluiskissa liukasteena käytetyn saippuan. Joskus juhlat venyivät viikonkin mittaisiksi. Laiva _Toivon_ neitsytmatka vei aluksen Englantiin, Liverpooliin, maailmankaupan solmukohtaan. Matka Oulusta Liverpooliin kesti säistä riippuen viikoista kuukausiin. _Toivo_ luovi myrskyisän merimatkan 48 vuorokaudessa. Alus palasi maailmanmatkoiltaan kotisatamaansa viisi vuotta myöhemmin, vuonna 1876. Merimies Jaakko Haatajan sanoittama laulu ”Laiva Toivo, Oulu” on pilkkalaulu tiukasta kuristaan tunnetusta _Toivon_ kapteenista, J. W. Snellmanin Wille-pojasta. Liikkuupa Willestä sellainenkin tarina, että hän olisi haalinut Intiasta mukaansa varastettuja, mittaamattoman arvokkaita Buddhan kuvia yllätyslahjaksi tamperelaiselle ystävälleen, konsuli Mauritz Gerstinille. Toppilansalmessa saattoi fregatti _Toivon_ aikaan nähdä pitkiä tervaveneitä sekä paatteja ja proomuja, jotka kuljettivat tavaraa satamasta kaupunkiin ja päinvastoin. Oli ylisoutajia, jotka veivät ihmisiä mantereelta Toppilansaareen. Kesäisin salmessa kulki vesitakseja eli paketteja, joiden kyydissä porvarit siirtyivät pianoineen, palvelijoineen ja kultapalmuineen viettämään kesää Hietasaaren huviloilla. Erityisen muodikasta oli kroketin peluu huvilan pihalla. Myös tavalliset kaupunkilaiset saivat vuokrata Hietasaaren tontteja. Harvalla oli varaa rakentaa huvilaa tai edes mökkiä, vaan he kuokkivat tontin viljelyspalstoiksi. Kroketin sijaan kitkettiin rikkaruohoja. Aivan Laiva _Toivon_ veistopaikan lähellä on 1850-luvulla valmistunut Snellmanin perheen huvila, joka on nimetty perheen tyttären mukaan Villa Hannalaksi. Siitä oli Johan Wilhelm Snellmanilla lyhyt matka tepastella aamupalan jälkeen tervantuoksuiselle laivaveistämölle katsomaan, että yli viisikymmentä metriä pitkän _Toivon_ rakentaminen sujui mallikkaasti. Itämaistyylinen torni lisättiin huvilaan 1890-luvulla. Liekö idea siihen tullut _Toivo_-laivan Wille-kapteenilta, joka reissuillaan vallan hullaantui Aasiasta? Lähteet: Hautala, Kustaa 1975: Oulun kaupungin historiaa III, 1809–1856. Oulun kaupunki. Kaila, E. E. 1931: Pohjanmaa ja meri. (Väitöskirja) Kaukiainen, Yrjö 2000: Laiva Toivo, Oulu. SKS Kirjat. Pohjamo, Ulla 2014: Esikaupunki moniäänisenä kulttuuriperintönä: Oulun Hietasaari. (Väitöskirja) Seura 1937: ”Intialaisesta temppelistä Tampereen taidemuseoon kulkeutuivat ryöstetyt Buddhan kuvat, joiden arvoa ei rahalla voida määritellä”. Seura 28.04.1937(17): 20. Wacklin, Sara 1966 (1872): Sata muistelmaa Pohjanmaalta. WSOY. Kuva: Museovirasto. Oululaisen Toivo-laivan pienoismalli 22.6.1934. Entinen oululainen merimies Johan Oscar Erickson rakensi pienoismallin Amerikassa ja lahjoitti sen Oulun museolle. Lisätty todellisuus: Laiva Toivo 20d:Tdd7,Pitkää, jättimäistä pavunpalkoa muistuttava tervavene on selvinnyt viikkojen taipaleesta. Takana on kymmeniä kilometrejä kuohuvia koskia, pelko Oulujärven tervarosvoista ja kenties vihaisia ukkosmyräköitäkin. Enää oli selvittävä Toppilan Tervahovin räkäristä, tervantarkistajan laatuarviosta. Tervahovi oli tervanviennin sydän: sinne soudettiin Oulujokea pitkin tervatalonpoikien polttamaa mäntytervaa, ja sieltä lähti joka vuosi kymmeniätuhansia tynnyreitä ensin Kööpenhaminaan tai Liverpooliin, ja edelleen sen seitsemälle merelle. Suomi oli maailman suurin tervantuottaja koko purjelaivakauden ajan. Vaikka tervaa valmistettiin muuallakin, pidettiin niitä pilalle poltettuina ja huonolaatuisina. Ei ole liioiteltua sanoa, että maailman parhaaksi rankattu suomalaisterva piti koko Länsi-Euroopan purjelaivat pinnalla. Kauppa- ja sotalaivojen lisäksi täytyy todeta, että suomalainen musta kulta kellutti myös orjalaivoja. Tervahovin toimintaa valvoi pehtoori, jonka tuli osata ruotsia ja englantia. Venäjän ja ranskan taitaminen katsottiin eduksi. Tervahovin toiminta oli siis varsin kansainvälistä. Pehtoorin lisäksi tervahovissa työskenteli lastin purkajia, tynnyrinpyörittäjiä ja räkäreitä. Saattoi olla, että tervaveneen soutaminen tervahoviin oli tuskaista muutenkin kuin tonnien painoisen lastin ja matkalla olleiden raisujen koskien vuoksi. Tervan laadun tarkistavat räkärit olivat tunnetusti perusteellisia ja usein mielivaltaisiakin. Joskus talonpojat tekivät vilunkia, niin että he lisäsivät tervan joukkoon hiekkaa, lantaa tai sahajauhoja. Jos räkäri huomasi sen, saattoi poletti jäädä saamatta, ellei sitten talonpojan tarjoama viinaryyppy saanut räkäriä heltymään. Jos räkäri ei ollut perso väkijuomalle, painettiin polettiin ruksimerkintä huonolaatuisesta tervasta. Sellainen kelpasi ehkä vielä Pikisaaren pikikattilaan. Poletin kanssa tervantuoja sitten souteli kaupunkiin tervan ostaneen kauppiaan tai porvarin pakeille saadakseen maksun. Se oli murto-osa verrattuna siihen, kuinka paljon tervaporvari tai ulkomaalainen kauppias liiveihinsä kääri. Tervahovi paloi useaan otteeseen. Krimin sodan aikaan, kesäkuussa 1854 engelsmannit polttivat rakennukset ja 16 000 tervatynnyriä. Se oli vähän pöhkö temppu, sillä terva oli menossa englantilaisille itselleen. Viimeisen kerran Tervahovi paloi vuonna 1901. Siihen päättyi myös oululaisen tervan kulta-aika. Lähteet: Hyttinen, Marika 2021: Ajan multaamat muistot: Historiallisen arkeologian tutkimus Oulun Pikisaaren pikiruukista, ruukkiyhteisöstä ja maailmankuvasta 1640-luvulta 1890-luvulle. Pohjois-Suomen Historiallinen Yhdistys. (Väitöskirja) Kaila, E. E. 1931: Pohjanmaa ja meri. (Väitöskirja) Kaukiainen, Yrjö 2000: Laiva Toivo, Oulu. SKS Kirjat. Hautala, Kustaa 1956: Suomen tervakauppa 1856–1913 sen viimeinen kukoistus ja häviö sekä niihin vaikuttaneet syyt. (Väitöskirja) Hautala, Kustaa 1975: Oulun kaupungin historiaa III, 1809–1856. Oulun kaupunki. ”Tervan perintö” -dokumentti. Oulun ammattikorkeakoulun oppilastyö. 5.5.2023. [https://www.youtube.com/watch?v=kygQBjtrOw0](https://www.youtube.com/watch?v=kygQBjtrOw0) "Tervan Matka" -dokumentti. Pohjois-Pohjanmaan museo, Oulun museo- ja tiedekeskus. 2023. [https://www.youtube.com/watch?v=MIgxoJMYHHc](https://www.youtube.com/watch?v=MIgxoJMYHHc) Kuva: Inha, I. K., kuvaaja 1898. Museovirasto. Tervatynnyreitä kootaan Toppilan Tervahovissa Oulussa. Lisätty todellisuus: Tervahovi 20e:Tc72,Tervan matka metsistä satamiin oli pitkä ja vaativa. Kun rautateitä ja maayhteyksiä ei vielä ollut, kulkivat niin ihmiset, tavarat kuin veneetkin pitkin Oulujokea. Tuolloin Oulujoki virtasi vielä vapaasti ja sen kuohuvat kosket olivat komeita mutta kulkijoille haastavia. Varsinkin 20 kilometrin mittainen Muhoksen Pyhäkoski oli jylhä ja vaativa. Oulujoen koskien pauhuun ei ollut menemistä ilman laskumiehiä. He olivat alansa ammattilaisia, virallisia ja valantehneitä, taitaviksi tunnettuja koskenlaskijoita, jotka palvelivat niin matkailijoita kuin tervanpolttajia. Joskus koskimatkailijat saattoivat kulkea istuen tervatynnyreiden päällä. Joen jokaisella koskella oli oma laskumiehensä. Tehtävään päästäkseen heidän täytyi esittää taidostaan kahden luotettavan henkilön takaus ja virkatodistus. Sitten heidät asetti virkaan kihlakunnanoikeus, myöhemmin Oulun läänin maaherra. Laskumiesten tuli myös sitoutua korvaamaan mahdolliset laiminlyönneillään aiheuttamansa vahingot. Laskijoiden tuli olla aina valmiina ohjaamaan veneitä ja heidän tuli pysyä toimessaan täysin raittiina. Toisinaan saattoi olla vaikea torjua ylimääräisiä juomia ja juustoleipiä, joita veneilijät tarjosivat, kun tahtoivat saada oman veneensä matkaan ennen muita. Koskiosuuksilla oli odotuspaikat, jossa tervankuljettajat saattoivat odottaa laskumiestä ja yöpyä. Tällainen oli esimerkiksi Merilä, josta veneet lähtivät Pyhäkosken osuudelle. Toisinaan rannassa saattoi olla kilometrin verran veneitä odottamassa matkan jatkumista. Sääntöjen mukaan kosket tuli laskea seisaaltaan. Koskea laskettiin päivittäin ja vilkkaimpina päivinä laskumies saatteli useita veneitä oman koskiosuutensa läpi. Ainoa vapaapäivä oli sunnuntai, silloinkin vain osan päivästä. Jos laskumies sairastui, tuli hänen pyytää maaherralta virkavapautta. Vaikka työ oli rankkaa, ammattitaidosta oltiin ylpeitä. Laskumiehiä myös arvostettiin heidän tyyneydestään ja taidoistaan. Laskumiehet tunsivat koskien väylät kuin omat taskunsa ja he osasivat välttää karikot. Usein tämä taito kulki suvussa isältä pojalle. He olivat Oulujoen varrella syntyneitä ja siellä kasvaneita koskien luotseja. Lähteet: Merilä, Aino 2002. Merilästä elämän ja koskien kuohuihin. Oulujoki Osakeyhtiö 1954. Entinen Oulujoki – Historiikkia ja muistitietoja. Sihvo, Pirkko 1996. Lamminaho – Elämää Oulujoen Niskakoskella. Valantehneet laskumiehet. Utajärven kunta. Saatavilla, viitattu 19.12.2023: https://www.utajarvi.fi/download.php?id=167&type=101. Alkuperä: Kuohujen väylä Kajaanista Ouluun 2000–2012, Kirjastovirma (arkistoitu 30.11.2021). Vuorela, Maarit & Vimpari, Tarja (toim.) 2013. Kuohuissa kulkeneet – Kertomuksia Oulujoelta. Kuva: Tervavene Pällissä Oulujoen Muhoksella. Kuva: I. K. Inha, tuottaja K. E. Ståhlberg 1890–1899. Kansatieteen kokoelma. Museovirasto. Tuotanto: Rokua UNESCO Global Geopark / Humanpolis Oy, 2023. Toteutettu osana Pohjois-Pohjanmaan liiton myöntämää Euroopan Unionin aluekehitysrahaston ja Suomen valtion tukemaa _Kiehtovat tarinat Rokua Geopark -alueen vetovoimatekijöiksi_ -hanketta. 20f:Te30,Utajärven Sotkalla entisen kosken kupeessa pilkottaa vanhaa kivikkoa. Myös Vaalassa Nuojuan voimalaitoksen alapuolella näkyy vuonna 1777 rakennettua kivikkoa. Näitä nykyisessä maisemassa niin vaatimattomilta näyttäviä ja pusikkojen taakse jääneitä kiviteitä pitkin käveli aikoinaan satoja ihmisiä. Liikkuminen Oulujoella helpottui ja tuli turvallisemmaksi, kun Oulujoen koskia perattiin. Jokien perkaushankkeita tehtiin Pohjois-Suomessa ensi kertaa 1700-luvulla ja niitä jatkettiin 1800-luvulta 1900-luvulle asti. Perkaustöissä joesta nostettiin pois jopa tuhannen kilon painoisia kiviä kaapeliköydellä tai rautaketjuilla. Kiviä myös räjäytettiin ja kivenkappaleita vieriteltiin kankien avulla joen pientareille. Näin muodostui niin kutsuttuja ranta- tai vetomöljiä. Kiviset möljät muodostivat joen laitaan ylösnousuteitä, jotka auttoivat tyhjien veneiden takaisinkuljetusta. Olihan täydessä lastissa Oulun satamiin viedyt tervaveneet myös saatava tyhjinä takaisin sisämaahan ja se työ kesti itse asiassa vielä kauemmin kuin menomatka, vaikka veneet kelluivat veden päällä kevyinä kuin korkki. Tervaveneen kuljetus Vaalasta Ouluun saattoi kestää puolisen päivää, mutta veneiden tuonti vei kahdesta kolmeen päivää yöpymisineen. Oulujoen vastavirta oli niin voimakas ja matka pitkä. Paluumatkoilla hyödynnettiin rantamöljiä. Kun yksi käveli möljää pitkin veneen kokkaan sidottu manilla- tai hamppuköysi olallaan ja veti venettä ylävirtaan, niin samaan aikaan toinen esti pitkällä sauvalla venettä törmäämästä kiviseen rantamöljään. Joskus yhden veneen vetoa hoiti useampikin henkilö, niin miehet kuin naiset. Tätä työtä kutsuttiin paikallisittain rompsimiseksi. Möljät vaativat myös jatkuvaa ylläpitoa. Jäät ja uittotukit rikkoivat rakenteita ja siirtelivät kiviä. Nykyajan ihmisen voi olla vaikea kuvitella miten suuri urakka oli kiskoa kesähelteillä ja sateilla veneitä, kun kosket pauhasivat ja kivet olivat jalan alla kostean niljakkaita. Kämmenet menivät ruvelle sauvomisesta ja köysi hiersi nahan vereslihalle koko selästä. Saappaitakin kului louhikkoisia rantoja junnatessa. Ilmari Kianto on sanonut nähneensä sankareita, joilla oli enää saappaiden varret jäljellä, kun he saapuivat viimeisen kosken päälle. Joitakin saattoi paluumatkalla onnistaa ja he saivat veneensä laivan perään ja kulkemaan koneen voimalla Muhokselle saakka. Laine-laivan perässä kerrotaan joskus olleen peräti 30 venettä vedossa. Sieltä oli kuitenkin vielä pitkä matka Oulujärvelle. Kun Oulujoelle rakennettiin voimalaitokset 1940-luvulla ja vedenpinta sitä myöten nousi, jäivät rantamöljät veden alle. Paikoitellen näitä suuritöisiä aikaansaannoksia kuitenkin vielä on, mutta vaikean kulun takana. Lähteet: Enbuske, Matti 2010. Pohjois-Pohjanmaan ympäristöhistoria. Hiltunen, Kaisa 2018. Sotkakosken möljä. Blogikirjoitus. Saatavilla, viitattu 19.12.2023: https://tarinoitautajarvelta.blog/2018/06/22/sotkakosken-molja-rompisien-ylavirtaan/ Merilä, Aino 1999. Ala- ja Ylimerilän historiaa vuosilta 1610–1922. Oulujoki Osakeyhtiö 1954. Entinen Oulujoki – Historiikkia ja muistitietoja. Kuva: Tervavenettä vedetään vastavirtaan Oulujoella 1898. Kuva: I. K. Inha. Kustannusosakeyhtiö Otavan kokoelma. Historian kuvakokoelma. Museovirasto. Tuotanto: Rokua UNESCO Global Geopark / Humanpolis Oy, 2023. Toteutettu osana Pohjois-Pohjanmaan liiton myöntämää Euroopan Unionin aluekehitysrahaston ja Suomen valtion tukemaa _Kiehtovat tarinat Rokua Geopark -alueen vetovoimatekijöiksi_ -hanketta. 210:Td29,Vaalankurkku on ollut tervataloudessa keskeinen paikka, oikea liikenteen solmukohta. Sieltä alkoi tervankuljetuksen koskireitti pitkin Oulujokea kohti Oulun satamia. Tervaveneet tulivat Vaalankurkkuun Kainuun metsistä yli Oulujärven selän. Tervaveneitä alkoi saapua Oulujärveltä heti, kun jäät olivat sulaneet. Parasta ja kiireisintä aikaa oli keskikesä kesäkuun lopusta heinäkuun loppuun. Uhkarohkeimmat soutivat tervaa vielä syysmyrskyilläkin. Oulujärven ylityksen saattoi parhaimmillaan tehdä yhdessä tai kahdessa päivässä. Roivaisen Antin ja Kallen, isän ja pojan, kerrotaan tehneen epävirallisen matkaennätyksen taittamalla Oulujärven selän peräti kuudessa tunnissa lastinaan 30 tynnyriä tervaa. Myötätuulella vauhtia saatiin lisäämällä tervaveneeseen Roivaisten tavoin pellavasta tai hamppukankaasta tehty purje. Silloin Oulujärvellä nähtiin venekuntia, jotka suorastaan viilettivät kohti Vaalankurkkua. Matkat olivat kuitenkin alttiita sään vaihteluille. Vastatuulella matka hidastui ja myrskysäällä onnettomuuksien riski kasvoi. Täydessä lastissa keskimäärin 4500 kiloa painanut raskas tervavene ei noussut aaltojen päälle, vaan puski suoraan läpi. Oulujärvestä tuli joidenkin kokemattomampien matkamiesten viimeinen tyyssija. Parempia matkasäitä jäätiin odottamaan saarten suojiin. Joskus myrskyjen tyyntymistä saatettiin odottaa viikkojenkin ajan. Vaikka matkalle pakattiin mukaan leipää, voita, suolakalaa ja kapahaukia, niin joskus eväät loppuivat, kun matka venyi. Ärjänselän myrskyillä suosittu tuulenpitopaikka oli Kaivanto, jossa saattoi päästä taloonkin lepäämään. Kerrotaan, että Kaivannon suuret kirput mäkättivät aina tyytyväisinä, kun näkivät uusien tulokkaiden saapuvan. Saarten suojissa aikaa kulutettiin myös tarinoiden parissa porinoiden. Oulujärven Niskanselältä löytyvät saaret Ylä-Mulkku ja Ala-Mulkku, jotka ovat perintöä väsyneiden ja odotteluun tympääntyneiden tervansoutajien kertomista jutuista. Vaalankurkkuun päästyään tervansoutajat usein kahvittelivat, yöpyivät ja odottelivat vapaita laskumiehiä ennen kuin jatkoivat matkaansa yli 100 kilometrin etapille pitkin Oulujokea. Vilkkaimpina päivinä Vaalassa saattoi olla kymmenittäin veneitä menossa kohti Oulua ja saman verran sieltä palaamassa. Viimeisestä Oulujärven ylittäneestä tervaveneestä on vain veikkauksia, mutta paikalliset ovat muistelleet nähneensä tervoja soudettavan viimeisen kerran 1920–30-lukujen taitteessa. Lähteet: Heikkinen, Reijo 2007. Avara Oulujärvi: Elämää Oulujärvellä ja sen rantamilla. Kauhanen, Jouni 2023. Tervan Perintö -dokumenttielokuva. Oulun Ammattikorkeakoulu. Saatavilla, viitattu 19.12.2023: https://www.youtube.com/watch?v=kygQBjtrOw0 Vaala – Oulujärven pitäjä: Encyclopedia Vaalaensis, pitäjäntietosanakirja. Vaalan kunta. Oulujoki Osakeyhtiö 1954. Entinen Oulujoki – Historiikkia ja muistitietoja. Kuva: Tervankuljetusta Oulujärvellä 1898. Kuva: I. K. Inha. Kustannusosakeyhtiö Otavan kokoelma. Historian kuvakokoelma. Museovirasto. Tuotanto: Rokua UNESCO Global Geopark / Humanpolis Oy, 2023. Toteutettu osana Pohjois-Pohjanmaan liiton myöntämää Euroopan Unionin aluekehitysrahaston ja Suomen valtion tukemaa _Kiehtovat tarinat Rokua Geopark -alueen vetovoimatekijöiksi_ -hanketta. 211:Tad9,Koulutoiminta alkoi Pateniemessä syksyllä 1873. Kauppaneuvos J.G.Bergbomin sisar Charlotta Bergbom perusti koulua työläisten lapsille. Uutinen Oulun Wiikko-sanomissa kertoo: ”Koulu vihittiin toimeensa 30 p. elokuuta 1873 ja alkoi vaikutuksensa 37 oppilaalla poikia ja tyttäriä sekaisin ja lukuvuosi päättyi julkisella vuosi tutkinnolla 9 p. kesäkuuta 1874. Wuositutkinto on Pateniemessä ollut oikea juhla lapsille, vanhemmille ja muille vieraille. ” Jo 1900-luvun alusta alkaen Sahan kouluun oli tulossa oppilaita enemmän kuin sinne voitiin ottaa, joten Etelä- Kellon koulupiiri tarvitsi toisen koulun. Kuivasojan koulurakennus valmistui elokuussa 1912 ja koulutyö pääsi alkamaan uudessa koulussa, 4-luokkaisena ja 1-opettajaisena. Koska opinhaluisia oli yhä enemmän, perustettiin uusi kunnallinen koulu Risuniittyyn 1923 (entinen A-talo). Uleå -yhtiö lahjoitti Risuniityn tontin ja syyskuun lopulla 1923 tarkastettiin täydellisesti valmistunut koulurakennus ja siihen kuuluvat talousrakennukset. Oppilasmäärä kasvoi edelleen niin, että se oli ala- ja yläkoulussa suurempi kuin koulussa työskenteleville opettajille sallittiin. 1936 syksyllä piti myöntää tilanpuutteen vuoksi vuoden lykkäys oppivelvollisuudesta seitsemälle lapselle. Koulun johtokunta esitti uuden koulurakennuksen rakentamista Risuniityn koululle. Hanketta perusteltiin valtuustolle kertomalla, että koulussa on 208 oppilasta ja viisi opettajaa, luokkahuoneita on kaksi ja yksi vuokrahuone noin kilometrin päässä koulusta. Nykyinen hirsinen B-talo rakennettiin 1936. Koulurakennukseen tuli kolme luokkahuonetta, opettajainhuone, koulukeittiö ja kahden opettajan asunto Oppilasmäärä kasvoi jatkuvasti, mutta lisätiloja saatiin vasta sodan jälkeen. Alueen rakentaminen oli vilkasta ja koulu kärsi tilapulasta. Mm. alaluokat joutuivat pitämään koulua ahtaassa eteisessä ulkovaatteet yllä. Pulpetteina toimivat pitkät penkit, joiden edessä oppilaat olivat polvillaan lattialla. Vuoden 1949 lopulla kunnanvaltuusto hyväksyi koulun piirustukset ja vuoden kuluttua kouluhallitus vahvisti ne. Rakennustyöt aloitettiin vuonna 1950 ja uudet ajanmukaiset, kivirakenteiset koulurakennukset, C- ja D –talot, valmistuivat vuonna 1952. Vuonna 1997 vanha A -rakennus päätettiin purkaa. Elokuussa 1998 A-talo purettiin ja aloitettiin uuden talon rakentaminen. Uusi A -talo valmistui kesällä 1999. Nykyinen koulun E -liikuntasalirakennus on otettu käyttöön elokuussa 2000. E –talossa toimi vuoteen 2018 asti myös Herukan kouluterveys- ja hammashoitola. 2000-luvun alussa oli Pateniemen alakoulussa eli entisellä Herukan ala-asteella yli 700 oppilasta. Lähde: Pateniemiseura, Pateniemen kouluolot. Kuva: Tommi Skytte, Pateniemen alakoulu 212:T7ce,Pateniemen yläkoulu aloitti uransa Pateniemen yhteiskouluna. Pateniemen yhteiskoulu toimi aluksi kansakoulun suojissa, jossa 80 oppilaan yhteiskoulun käytössä oli kaksi luokkahuonetta. Tarvittiin lisää tilaa! Lisäksi oppilaiden oli hidasta kulkea joka päivä joko Ouluun tai Haukiputaalle jatko-opintoihin. Innokkaat vanhemmat perustivat Pateniemen Yhteiskoulun kannatusyhdistyksen, joka alkoi tehdä työtä koulun saamiseksi Pateniemeen. Oma koulurakennus alkoi nousta Sahantien risteykseen elokuussa 1967. Ensimmäisen rakennusvaiheen harjannostajaisia vietettiin samana vuonna. Ensimmäisessä vaiheessa rakennettiin 13 luokkahuonetta, poikien käsityötilat, kirjasto, aamiaishuone jakelukeittiöineen, opettajien huoneet, talonmiehen asunto sekä tarvittavat hallintotilat. Toisessa vaiheessa rakennettiin puuttuvat erikoisluokat ja voimistelutilat. Sen aikaisessa rahassa kustannusarvio oli noin kaksi miljoonaa markkaa. Ensimmäinen koulupäivä uudessa rakennuksessa oli 1.9.1969. Koulun pihassa on aiemmin ollut kolme lipputankoa. Yksi niistä sisältyi rakennussuunnitelmiin. Toisen lahjoitti rakennusliike harjannostajaisten yhteydessä. Kolmannen lipputangon lahjoitti samaisen rakennusliikkeen tekninen johtaja, joka ei alkuperäisenä pateniemeläisenä halunnut jäädä huonommaksi. 1980-luvulla koulussa opiskeli niin paljon oppilaita, että tunteja pidettiin väestönsuojassa, portaikossa ja liikuntasalissa. Oppilaat istuivat lattialla ja käyttivät voimistelupenkkejä pöytinä. 2000-luvun alkupuolella koulu peruskorjattiin miltei täysin – ainoastaan kotitalousluokka jäi entiselleen. Uusissa tiloissa päästiin opiskelemaan vuonna 2009. Peruskorjauksen aikana kouluun rakennettiin lisätiloja, joissa nykyään toimii mm. Pateniemen kirjasto. Tällä hetkellä rakennuksessa työskentelevät yhtenäiskoulun luokat 6. - 9. Lähde: Pateniemiseura, Pateniemen kouluolot Kuva: Hakkeita 12/1967, Pateniemen yhteiskoulu harjannostajaispäivänä 1967 213:T934,Urheiluelämä vilkastui Pateniemessä vuoden 1930 jälkeen hyvin nopeasti. Paikkakunnalla harrastettiin yleisurheilua, hiihtoa ja painia. Varsinkin yleisurheilijoille tuotti suurta vaivaa suorituspaikkojen puute - seudulla ei näet ollut urheilukenttää lainkaan. Puutteellisiin oloihin kyllästyneenä paikalliset urheilun johtomiehet alkoivat suunnitella oikean urheilukentän rakentamista seudulle. Niin ryhdyttiin tuumasta toimeen. Naiset ja miehet kutsuttiin talkoisiin ja työt laitettiin käyntiin. Hakkeita-lehti kuvaa, kuinka ”osa talkooväestä kaivoi juoksuradan pohjaa, osa ajoi savea peruskerrokseksi. Savi kaadettiin kaivettuun monttuun ja käsijuntilla juntattiin tiiviiksi kerrokseksi. Tärkeä vaihe oli myös pintakerroksen laittaminen. Silloin jo tunnettiin hiilimurska kentän päällystysaineena. Asia ratkaistiin yksinkertaisesti. Pateniemeen tuli kesäisin puutavaraa lastaavia laivoja ja ne tyhjensivät kivihiilikuonansa mereen. Sovittiin vain laivojen kanssa siitä, että kuona pannaan proomuun ja tuodaan maihin. Näin tehtiin ja pintakerros saatiin suuren maailman tyyliin hiilimurskasta.” Juoksurata oli 300 metrinpituinen, etusuoralla oli neljä ja kentän ympäri kiersi kaksi metrin levyistä rataa. Tarpeelliset hyppy- ja heittopaikat olivat kentän sivuilla ja molemmissa päissä. Keskikentällä oli luonnon muovaama ruohoalue palloiluja varten. Kenttää pidettiin kunnossa etupäässä talkoovoimin ja kenttää käyttävät urheilijat kunnostivat suorituspaikkoja omalta osaltaan. Myöhemmässä vaiheessa oli kentällä talvisin luistinrata. Pateniemen urheilukenttää alettiin uudistaa vuonna 1951. Sen oli tarkoitus valmistua seuraavana vuonna samaan aikaan kuin Helsingin olympiakisojen soihtuviestin oli määrä ohittaa Pateniemi. Urheilukentän vihkiäiset pidettiin heinäkuussa 1952. Suomen halki kannettu olympiatuli saapui Pateniemeen illan suussa 9.7. Upouuden urheilukentän laitamilla seisoi tuhatmäärin ihmisiä. Soihtu tuli kentälle Pateniemen Urheilijoiden ja Pateniemen Vesan urheijoiden kuljettamana. Vihkijäisjuhla sai arvokkaan tunnelman. Urheilu oli jälleen osoittanut voimansa ihmisiä ja ihmiskuntaa yhdistävänä tekijänä. Lähde: Pateniemiseura, Pateniemen kouluolot Hakkeita –lehti 10/1955 Kuva: Ville Pohjonen, Honkapirtti ja urheilukenttä Pateniemessä 214:T806,Pateniementien ja Sahantienkulmauksessa on viiden asuinrakennuksen ja ulkorakennuksen muodostama rakennusryhmä, Porilan talot. Ne edustavat viime vuosisadan alkupuolen työväen asuntorakentamista. Ammattitaitoista työvoimaa värvättiin Pateniemen sahalle Etelä-Suomea myöten. Yhtiön rakentamat asuntoalueet nimettiin alueen asukkaiden kotipaikan taikka käytön mukaan. Uusiin taloihin oli tullut porilaisia ensimmäisiksi asukkaiksi. Eräs tunnettu huuliveikko oli sanonut, että "Siihenpä tuli Porin kaupunki." Siitä asti nimi on säilynyt. Porilan asuintalot kuuluivat alun perin Oulunsalon Varjakan sahayhteisöön, josta ne siirrettiin sahan lakkauttamisen jälkeen Pateniemeen. Osa Porilan rakennusmateriaaleista on tuotu jäätä myöten hevosilla Varjakan saaresta, joskus vuosina 1931-32. On väitelty, että Varjakasta tuodut rakennukset on tuotu talvella hevospelillä kokonaisena. Se on mahdotonta, sillä kaikki rakennukset ovat kaksikerroksisia ja niin painavia, että ne jäisivät hevosilla jäätä myöten tuomatta. Kaikki rakennukset on tehty saman ruotsalaisen suunnitelman mukaan 4" lankusta. Lankkulevyt ovat rakennuksissa pystyasennossa. Näin ollen voitiin ne suhteellisen helposti purkaa ja koota uudelleen. Tämän rakennustyylin talojen seinärakenteeseen kuuluu jo mainittu lankkuseinä. Sen päällä on vuoraushuopa ja ulkolaudoitus. Pystylankuista koottu seinä on toisaalta erittäin epäkäytännöllinen rakennustyyli, sillä sen aikaisilla täyteaineilla taloja ei saatu lämmönpitäväksi millään. Yhtä taloa asutti aiemmin neljä perhettä – nykyään talot ovat kahden perheen käytössä. Porilan rakennukset on peruskorjattu vuosina asuinkäyttöön 1984-85. Porilan talot ovat suojeltuja. Se tarkoittaa, että rakennusta tai sen osaa ei saa purkaa eikä siinä saa tehdä sellaisia korjaus- tai lisärakentamistöitä, jotka heikentävät rakennuksen tai sen arvokkaiden sisätilojen historiallisia arvoja. Lähde: Pateniemiseura, Lautoja ja lankkuja Kuva: Ville Pohjonen, Porilan talot 215:Tb7f,Oulu Oy:n rakennuttama kulttuuri- ja urheilutalo avautui yleisölle maaliskuussa 1951. Samana päivänä talon juhlasalissa alkoi säännöllinen elokuvatoiminta. Tätä varten saliin oli hankittu korkealaatuinen elokuvien esityskoneisto laajakankaineen. Teatterisalin etuosan lattia oli tasainen ja takaosastaan kohoava. Irtonaisia tuoleja oli 300 katsojalle. Oulu Oy:n johtokunta oli päättänyt vuonna 1948 rakentaa vanhan seuratalon paikalle uuden, koska entinen oli aikansa elänyt. Toukokuun Hakkeita –lehti (1950) kertoi, että seuratalo on purettu ja uuden rakentaminen on alkanut. Kesäkuun Hakkeissa hankkeesta kerrottiin laajemmin: "Uuteen valistustaloon tulee kaksi erillistä siipirakennusta. Toiseen valmistuu juhlasali, jota käytetään myöskin elokuvateatterina. Rakennuksen toisesta osasta tulee kaksikerroksinen. Alempaan kerrokseen tulee juhlasalin eteisaula tarpeellisine vaatetiloineen ja käytävineen, edelleen opetuskeittiö, joka toimii myös samassa kerroksessa sijaitsevan ravintolan keittiönä.” Kirjasto sai myöskin oman huoneensa, jossa yhtiö piti kirjastoa yllä aina vuoden 1964 loppuun asti. Kerroksen toiseen päähän tuli sauna sekä pesu- ja pukeutumishuoneet urheilijoita varten. Toinen kerros käsitti tilavan sisäurheilusalin voimistelua, pallopelejä, painia ym. varten. Eteisaulan päälle valmistui erilaisia tiloja kerhotoimintaa varten. Syyskuun Hakkeissa 1950 järjestettiin yhtiöläisperheille kilpailu uuden kulttuuritilan nimestä. Nimikilpailun voittajaksi ja rakennuksen nimeksi valittiin Honka-Pirtti. Elokuvia esitettiin neljä kertaa viikossa ja kaksi näytäntöä päivässä. Honka-Pirtin sisäurheilusalissa aloitettiin toiminta heti talon vihkiäisten jälkeen. Molemmat urheiluseurat, Pateniemen Urheilijat ja Pateniemen Vesa, saivat omat vuoronsa. Honka-Pirtin positiivinen maine kiiri ympäri maan. Suomen Kansallisteatterin Ympyrä-menestysnäytelmää haluttiin esittää Pateniemessä. Kansallisooppera innostui Honkapirtin erinomaisiin esitysmahdollisuuksiin ja se tuli elokuussa järjestämään baletti-illan. Esiintyipä elokuvatähti Tauno Palokin Honkapirtillä. Honkapirtin ohjelmaan kuului myös erilaisten juhlien järjestäminen. Äitienpäiväjuhlat oli aloitettu yhtiössä jo vuonna 1930 silloisen ruokalan tiloissa. Kerran kuussa oli äitien, perheenemäntien ja naisten ilta. Vanhemmat muistavat Pateniemen kesäjuhlat, joihin harjoiteltiin arvokas ohjelma palvelusvuosimerkkien jakoineen. Eräänä vuonna lasten yleisurheilukisojen palkintojenjakajana oli olympiavoittaja ja maailmanmestari, trubaduuri Tapio Rautavaara. Alun perin Pateniemen sahan henkilökunnan ja alueen muiden asukkaiden valistuksen ja rientojen taloksi tarkoitetussa Honkapirtissä toimii tätä nykyä yhdistysten ja seurojen harrastusryhmiä. Lähteet: Pateniemiseura, Laivoja ja lankkuja Hakkeita 9/1950 Kuva: Pohjois-Pohjanmaan museon kokoelmat, Porila 216:Tc5a,Tällä paikalla sijaitsi aiemmin sahayhtiön navetta. Pateniemen tila muodostettiin vuonna 1905 tapahtuneen lohkomisen yhteydessä perintötilaksi. Tilalla on Bergbormin ja myöhemmin Ab Uleå Oy:n hallinnan aikana harjoitettu kohtuullisen laajaa maanviljelystä ja karjanhoitoa. Monet maanviljelystilat myytiin yhtiöille metsäkauppojen yhteydessä. Niinpä yhtiöllä oli omistuksessaan monta tilaa. Isommassa määrin karjaa ja hevosia oli Pateniemen tilalla. Ennen ensimmäistä maailmansotaa kuljettivat karjakot ja karjanhoitajat yhtiön lehmiä vielä täysin luonnontilassa olevassa Heikkeliinissä laitumella. Niihin aikoihin ei ollut aitauspakkoa, joten karjan sai laskea vapaasti pihaportista maantielle. Siksipä kylätiellä kulki usein kymmenpäisiä lehmikarjoja etsimässä ruokaa tien varsilta. Lehmät olivat kovin laihoja: niiltä näkyi reilusti koko luuranko, minkä päällä roikkui kuivettunut nahka. Alkujaan tällä paikalla oli riihi sekä hevoskiertoinen puimakone. Suurin osa viljasta kuivattiin riihessä ja sitten puitiin koneella. Myöhemmin paikalle rakennettiin navetta, jossa oli tilat paitsi karjalle myös työkaluille ja ajoneuvoille. Vanha puunavetta uusittiin vuosina 1921-22 niin, että karjanhoito tuli helpommaksi. Navettaan tehtiin mm. betoniset juomavesialtaat jokaiselle lehmälle. Navettaan tehtiin myös kunnolliset lantakourut. Vuonna 1925 navetassa oli lypsäviä lehmiä hiukan yli kolmekymmentä. Navettarakennukseen tehtiin 20- ja 30-lukujen vaihteessa viisi-kuusi kahden huoneen asuntoa. Eräs asukas heittikin huulta, että hevoset toisinaan potkivat seinän takana niin, että hevosen kengän hokit eli rautanastat tulivat melkein seinästä läpi. Vanha navetta paloi 1946. Tulen irtipääsyn alkusyytä ole täysin saatu selville. Asukkaat menettivät käytännössä kaiken omaisuutensa. Vahinko oli suuri. Yhtiön navetassa on aina ollut myös muutamia kuuluisia, nimeltä tunnettuja lehmiä, jotka tuottivat maitoa jopa suomenennätystahtiin! Pateniemen lehmien maidossa oli hyvä rasvapitoisuus, joka kuluttajalle tarkoitti hyvää laatua. Karjankasvatuksen ohella sahalla harjoitettiin maanviljelystä. Pateniemen sahan tila tuotti ruista, vehnää, ohraa ja kauraa. Lisäksi viljeltiin lanttua ja rehukaalia eläinten rehuksi. Lehmien ohella tilalla pidettiin hevosia ja lampaitakin vuoteen 1946 asti. Voille ja viljalle oli aina kysyntää. Yhtiö möi tilan tuotteita työntekijöilleen. Maidon jakelu Pateniemessä tapahtui siten, että yhtiöläisperheet saivat korttiannoksensa suoraan tilalta. Pateniemen saha ei tuottanut vain puutavaraa vaan sodan jälkeen maanviljelystuotteiden avulla helpotettiin vaikeaa tilannetta alueella Paikalle rakennettiin uusi navetta, jonka toimi loppuaikoinaan mm 4H-yhdistyksen toimitiloina. Paikalla oli mahdollista käydä ihastelemassa kotieläimiä, lemmikkejä ja esimerkiksi poroja. Kun 4H-yhdistys lopetti toimintansa, tilaa käytettiin airsoft-peliareenana. Vuonna 2011 tämäkin rakennus tuhoutui tulipalossa. Lähde Lautoja ja lankkuja s. 166-7, asukkaiden haastattelut Kuva: Pohjois-Pohjanmaan museon kokoelmat, Pateniemen sahan navetta 217:Tafc,Pateniemen sahalla tiedettiin, että siellä, missä säilytetään kuivaa puutavaraa, on tulipalon vaara tavallista suurempi. Siksi jokaisen sahalaisen päähän iskostettiin, että saha-alueella ei tulen kanssa ollut leikkimistä. Pienikin tupakan hehku tai harmittomalta vaikuttava kipinä voisi saada aikaan katastrofiin päättyvän roihun. 20 –luvulla Pateniemen sahalla toimi puolivakinainen palokunta, johon palomiehet oli valittu sahalaitoksen työntekijöistä. Sodan jälkeen vakinaisen palokunnan vahvuus oli 12 miestä. Vuonna 1949 sahan vakinainen palokunta lakkautettiin ja tilalle perustettiin jälleen puolivakinainen palokunta. Palokunta piti säännöllisiä harjoituksia viikoittain. Virkanimikkeitä palokunnassa olivat mm. palopäällikkö, ruiskumestari ja kalustonhoitaja. Ruiskumestarin työhön kuului palokaluston kunnossapito ja tarkastukset. Vuonna 1951 valmistui Pateniemen sahan tiilirakenteinen paloasema, joka on edellen käytössä asuinrakennuksena. Rakennuksen tunnistaa helpoiten sen korkeasta tornista, jossa aikanaan kuivatettiin paloletkuja. Paloaseman varustukseen kuului paloauto 1000 litran vesisäiliöineen ja monien kilometrien pituinen palovesiverkosto paloposteineen. Suurimmat saha-alueella syttyneet palot olivat sahan maakartanon palo vuonna 1946, jossa tuhoutui 8 asuinhuoneistoa, navetta ja talli. Puutalotehtaan palo vuonna 1954 oli pahin ja suurin, mutta siinäkin saatiin kovin ponnistuksin tulen leviäminen muihin saha-alueen osiin estetyksi. Paloturvallisuustyössä aluevartioinnilla oli iso osuus. Sahan alue oli aidattu ja alueelle pääsi kahdesta portista - pääportista ja niin sanotusta Ojakylän portista. Pääportilla oli vuorokaudet läpeensä vartiointi. Lautatarha-aikaan saha-alueella oli 25 metriä korkea palovartiotorni, jossa oli jatkuva vartiointi siten, että paikalla oli aina yksi mies kaksi tuntia kerrallaan tarkkailemassa ympäristöä. Palokunta ei olisi oikea palokunta, ellei toiminnassa olisi mukana myös kilpailuja. Omissa harjoituksissa pidettiin monenlaisia palotorjuntaan liittyviä kilpailuja. Myös naapuripalokuntien kanssa kilpailtiin. Erityisesti tiukkoja yhteenottoja käytiin Nuottasaaren tehtaiden palokunnan kanssa. Jälkikasvun turvaamiseksi oli perustettu myös poikapalokunta, johon kuului 20- 25 innokasta poikaa. Heille pidettiin jatkuvasti harjoituksia ja leirejä. Lukuisia kertoja palopäällikkö oli ohjaamassa poikia ja pitämässä tilaisuuksia Kraaselin saaressa. Pojat olivat palokoulutuksessa innolla mukana ja heistä palokunta odotti hyviä palotorjuntamiehiä, kunhan pojat täyttäisivät 18 vuotta, jolloin he siirtyisivät varsinaisen palokunnan kirjoihin. Lähde: Pateniemiseura; Laivoja ja lankkuja Kuva: Pohjois-Pohjanmaan museon kokoelmat, Pateniemen sahan paloasema 218:T536,Pateniemen sahan museon toiminta aloitettiin kesällä 1989 sahan entisessä varastorakennuksessa eli niin sanotussa Nikkapirtissä. Tuolloin Veitsiluoto Oy lahjoitti rakennuksen Oulun kaupungin ja edelleen Pohjois-Pohjanmaan museon omistukseen. Oululaiset kauppiaat perustivat Haukiputaan Kellon kylään laivatelakan, jonka tarkoituksena oli rakentaa Venäjän armeijalle puisia sotalaivoja. Kun Venäjän armeija siirtyi metallisiin sotalaivoihin, alettiin varvilla rakentamaan kauppalaivoja. Laivavarvi siirtyi kauppahuone Bergbomin omistukseen ja vuonna 1873 varvin yhteyteen perustettiin höyrysaha. Puutavaran myynti kannatti laivanrakennusta paremmin. Työvoiman tarve sahalla oli suuri, ja niinpä sahan ympärille muodostui tiivis sahayhteisö. Toimeentulo saatiin sahalta, ja saha järjesti omat palvelut sahayhdyskunnalleen. Kysynnän kasvaessa vanha saha osoittautui liian pieneksi. Vuonna 1908 Pateniemeen valmistuikin uusi sahalaitos, joka oli käytössä vuoteen 1990 asti. Ennen lähes kaikki pateniemeläiset ansaitsivat toimeentulonsa sahalta. Vuonna 1965 Pateniemi liitettiin osaksi Oulun kaupunkia. Tuolloin Pateniemen saha oli edelleen alueen keskus. Lähde: Museo- ja luuppikeskus Luuppi, https://www.ouka.fi/oulu/luuppi/pateniemen-sahan-museo Kuva: Pohjois-Pohjanmaan museon kokoelmat, Nikkaripirtti 219:T9aa,Sahatut lankut ja laudat siirrettiin sahalta raiteita pitkin lautatarhaan tapuleihin ja siellä suoritettiin sahatavaran lajittelu. Tuore sahatavara pinottiin suorakaiteen muotoiseen tapuliin. Kerrosten välissä olevat rimat mahdollistavat ilman kierron tapulissa ja lautatavaran kuivumisen. Lautatapulit saattoivat olla parhaimmillaan useiden metrien korkuisia. Lautatarhassa työskentelivät etupäässä miehet. Naiset toimivat yleensä lautojen lajittelijoina, merkkaajina tai ylösottajina, jotka pitivät kirjanpitoa lautojen ja lankkujen lukumääristä. Lautatarhan varsinaisia työntekijöitä olivat lankunkantajat eli taaplarit ja he kantoivat lankkuja ja lautoja ja työskentelivät yleensä ryhmissä. Lautatarhan työväkeen kuuluivat myös lastaajat. Lautojen tasaaminen eli justeeraus suoritettiin käsisahalla eli pookalla, jopa 1920-luvulle saakka. Justeeraus tehtiin merkkaajan eli merkkarin ohjeiden mukaan. Paukkapojan tehtävänä oli viimeistellä tapuli puupaukalla, niin että kulmat, päädyt ja sivustat olivat tarkassa ojennuksessa. Lautapoika puolestaan lakaisi lunta tapulia tehtäessä ja toimitti muitakin pieniä tehtäviä. Pateniemen lautatarhan ja sataman uusiminen toi mukanaan myös uudet lastausmenetelmät. Sahatavaraa alettiin lajitella, ylösottaa ja leimata sitä mukaa kuin tapulia purettiin. Tavara ladottiin valmiiksi paketiksi tapulin viereen. Uudella lautatarhalla hajasäärivaunu eli Lukki siirsi paketit eteenpäin. Vanhalla lautatarhalla paketit tehtiin vielä pikkuvaunujen eli rullikoiden päälle, joilla ne työnnettiin hajasäärivaunun ulottuville. Vahvimmatkin kantajat ja taaplarit saivat väistyä viimeistään siinä vaiheessa, kun taaplauksessa otettiin käyttöön kiramot eli tukkihissit, joiden avulla tavara nousi kivuttomasti yläilmoihin. Tapulin pystytykseen riitti pari, kolme miestä, rullikasta kiramoon lastaava asettaja ja ylhäällä työskentelevä vikkelä taaplari. Hyvän taaplarin ei tarvinnut paljon selkäänsä koukistella saadakseen tavaran ojennukseen ja tapulin pysymään hyvässä ryhdissä. Kiramot valmistettiin tehtaan omassa pajassa. Työntekijöille siirtyminen lukkien ja trukkien aikakauteen oli siis huomattava helpotus. Kun laiva sitten höyrysi satamaan ja kiinnitettiin laituriin, kuljetti haaratrukki paketit laivan kupeelle, josta ne vinssattiin ruumaan. Lähde: Pateniemiseura: Lautaa ja lankkua Kuva: Pohjois-Pohjanmaan museon kokoelmat, Lautatapuleita 21a:T909,Oman merenkulun tarpeisiin ja myyntiin oli Oulun seudulla rakennettu laivoja jo 1600- luvulla. 1700-luvun jälkipuolella kiihtyi laivojen rakentaminen hyvien suhdanteiden ansiosta. Kun Suomi ja oululaiset laivanvarustajat menettivät Krimin sodan tuhoina 1853-56 suuren osan laivastostaan, oli sodan jälkeen aivan erityinen tarve saada nopsasti rakennetuksi uusia laivoja. Oululaiset liikemiehet ostivat tuolloin Pate-Iikan maatilat merenrannalta ja rakennuttivat Pateniemeen suuren laivaveistämön. Pateniemen laivavarvi perustettiin Haukiputaan Kellon kylään kuuluneelle Patelan tilalle vuonna 1857. Ensimmäinen laiva valmistui jo vuonna 1858. Se sai nimekseen ”Suuriruhtinas Konstantin”. Se kastettiin ” moninkertaisilla hurrahuudoilla ja kanuunain paukkuessa”(Oulun Wiikkosanomat 1857) jo vuoden 1857 lopulla, joskin laiva lykättiin vesille vasta syksyllä 1858. Laivalle annettiin keisariperheen kunniaksi komea nimi. Laivaveistämöllä rakennettiin tämän jälkeen laiva toisensa jälkeen ja se veti alueelle tietysti työväkeä ja vilkastutti elämää. Varvia laajennettiin sotalaivojen rakentamista varten, mutta kun tilauskantaa ei saatu kylliksi, yhtiö hajosi. Pateniemessä rakennettiin ainoastaan yksi sotalaiva, korvetti Waråg eli Varjakka. Kauppaneuvos Bergbomin omistukseen laivavarvi siirtyi huutokaupassa vuonna 1865. Hänen aikanaan laivanrakennus jatkui vuoteen 1874 saakka. Purjealuksia Pateniemen varvilla rakennettiin kaikkiaan 12. Näitä ovat esimerkiksi Gustaf Adolf -niminen fregatti, kolmimastoiset parkit Kaleva, Felix, Onni ja Birger, kaksimastoinen Aalto ja hinaaja Jalo. Vaikka Bergbomin kauppahuone tunnetaan nykyisin paremmin huomattavana sahojen perustajana ja omistajana, yhtä mahtava se oli myös laivanvarustajana. Vuosina 1853-1892 kauppahuone omisti 25 purjealusta. Viimeinen Pateniemen varvilla rakennettu suuri alus oli parkki ”Felix”, joka valmistui 31.7.1874. Sen jälkeen laivanrakennus vähitellen loppui ja varvin rakenteet purettiin. Nykyinen Pateniemen sahan museo sijaitsee 1850-luvulta peräisin olevassa laivavarvin eli laivatelakan varastorakennuksessa. Jouko Vahtola: Pateniemen tarina. Kari E.A. Holma, Purjelaivoja Haukiputaalla Kuva: Pohjois-Pohjanmaan museon kokoelmat, Parkkilaiva Felix 21b:T85f,Isolla sahalaitoksella tarvittiin monenlaista työtekijää. Sahatyön ensimmäiseen vaiheen muodosti tukkien nostaminen tukkisillalla saharaamille. Nosto-laitteen eli haalarin hoitajina toimi kaksi miestä ja heitä kutsuttiin ammattinimikkeellä repsikka. Seuraavana työvaiheena oli raamisahaus, jota hoiti sahaaja eli raamimies tai sahuri. Apusahuri oli latvamies, sahuri vastaavasti perämies. Sahuriksi siirryttiin yleensä apusahurin paikalta ja apusahuriksi pääsi repsikan paikalta. Raamisahan laudat särmättiin ja työvaiheen suoritti särmääjä, jonka apulainen oli kanttari. Vanhemmilla sahoilla varsinainen sahatyö loppui tähän. Valmiit lankut ja laudat siirrettiin sitten lautatarhaan ja siellä suoritettiin tasaaminen metrimittoihin. Tasaaminen eli justeeraus suoritettiin käsisahalla eli pookalla, jopa 1920-luvulle saakka. Justeeraus tehtiin merkkaajan eli merkkarin ohjeiden mukaan. Ylösottaja kirjoitti taulukkoon valmiin tavaran määrän, valmiit lankut menivät tästä kaukaloa pitkin sahasta ulos ja lajittelija laittoi ne rullavaunuihin. Tärkein virka sahatyöläisten piirissä oli saha-asettajalla eli ställärillä. Asettajaa kunnioitettiin ja hän oli sahalla ammattimies numero yksi. Lautatarhassa tapahtui sahatavaran lajittelu. Lautatarhassa työskentelivät etupäässä miehet. Naisiakin oli ja heitä kutsuttiin yleisnimellä (saha)jamakat. Naiset toimivat yleensä autojen lajittelijoina, merkkaajina tai ylösottajina, jotka pitivät kirjanpitoa lautojen ja lankkujen lukumääristä. Lautatarhan varsinaisia työntekijöitä olivat lankunkantajat eli taaplarit. He kantoivat lankkuja ja lautoja ja työskentelivät yleensä ryhmissä. Lautatarhan työväkeen kuuluivat myös lastaajat. Sahan työaika oli 1800-luvulla ja 1900- luvun alkuvuosina yleensä 12-13 tuntia. Työaikaan sisältyi ruokatunti ja kaksi kahvitaukoa. Sahalla palkkaus vaihteli tehtävien laadun mukaan. Vasta vuonna 1917 otettiin käyttöön tuntipalkkaus päivä- ja urakkapalkkauksen asemesta. Lähde: Pateniemiseura; Lautoja ja Lankkuja Kuva: Pohjois-Pohjanmaan museon kokoelmat, Sahan työntekijöitä 21c:Ta90,Pateniemi on yksi harvoista asuinalueista Oulussa, jossa asutus on rakentunut aivan meren rantaan. Pateniemen rannasta työntyy merelle päin kaksi rakennettua niemeä, Hiukosenniemi sekä Kiusalanniemi, jonka edustalla on vanhoja aallonmurtajarakenteita sekä suojarakenteiksi upotettuja proomuja.  Hiukosenniemi ja Kiusalanniemi ovat reunustaneet Pateniemen saha-alueen satama-allasta. Kiusalanniemen edustalle on upotettu neljä proomua, joista kolme on näkyvillä pintahylkyinä. Neljäs hylky on vajonnut kokonaan pinnan alle. Pateniemeläisillä on pitkät perinteet kalastuksen ja merenkulun harjoittamiseen. Kalastusta on harjoitettu omaan tarpeeseen ja myyntiin aina. Laivoja on Oulun seudulla rakennettu jo 1600- luvulla ja Pateniemen laivan varvillakin 1850 –luvulta alkaen. Pohjoisen tiiviistä puusta veistetyt laivat olivat tervan ohella Oulun porvarien tärkeimmät myyntitavarat 1800-luvulle. Satama oli elintärkeä sahan syntymiselle Pateniemeen. Sahan satama koki useita muutoksia elinkaarensa aikana. Sataman ruoppauksia suoritettiin usein, jotta laivaliikenne olisi ollut sujuvaa. Vuonna 1900 satama-allasta syvennettiin, koska aikaisemmin oli ollut vaikeata suojata proomuja tuulisella säällä. Suurin muutos satamassa tapahtui 50-luvulla, jolloin proomulastauksesta päätettiin siirtyä tehokkaampaan laiturilastaukseen. Uusi lastaussatama eli syväsatama, valmistui vuonna 1954. Vanhat lastausproomut kävivät silloin tarpeettomiksi. Proomulastaus tapahtui katetuissa proomuissa redillä odottaviin laivoihin kuljettamalla ja hartiavoimin laivoihin nostamalla. Ruoppausten ansiosta melko suuretkin alukset pääsivät kiinnittymään laituriin, jolloin valmiit puutavarapaketit ajettiin trukeilla laivojen kupeeseen, mistä ne nostettiin ruumaan laivojen vinsseillä. Vuonna 1973 sahalaitoksen edustan merenpohjaa ruopattiin jälleen. Siitä saatavalla maa-aineksella täytettiin pasankia, eli tukkiallasta, joka sijaitsi pohjoisemman aallonmurtajan edustalla. Satamalaiturit ja lastauslaiturit ovat olleet pääosin puurakenteisia. Sataman laiturirakenteet paloivat vuonna 2013. Palaneet osat raivattiin pois ja näkyvissä on vain rannansuuntaisia merestä pistäviä pystyrakenteita ja veden alle vajonneita elementtejä. Moni vanhempi pateniemeläinen muistelee kaiholla satamaa ja laivoja, jotka saapuivat lastaamaan lautoja ja lankkuja vietäväksi ympäri maailmaa. Moni poika pääsi toteuttamaan myös toiveensa päästä seilaamaan noilla rahtilaivoilla ympäri maailmaa. Lähteet: Jouko Vahtola, Pateniemen tarina Salo ja Huttunen, Oulu Pateniemenrannan kaavamuutoshanke (2015) Kuva: Pohjois-Pohjanmaan museon kokoelmat, Satamahinaaja Ormo 21d:T5e3,Pateniemen saha oli toiminnassa vuosina 1873-1990. Se perustettiin alun perin helpottamaan laivanrakennuksessa tarvittavan puutavaran saantia ja siten tukemaan omistajansa, kauppaneuvos Johan Gustav Bergbomin omistaman, vuonna 1857 avatun laivavarvin toimintaa. Pateniemen varvin läheisyyteen rakennettiin kaksiraaminen höyrykäyttöinen sahalaitos. Pian saha oli yksi Oulun läänin suurimmista sahoista. Laivanrakennusmateriaalin lisäksi sahatavaraa vietiin myös ulkomaille. Tärkein vientikohde oli Englanti. Raakapuuta tuotiin sahalle aluksi uittamalla mutta vuosina 1928–1929 rakennettiin Oulun–Tornion rautatieltä sahalle pistoraide. Vuonna 1906 aloitettiin uuden kuusiraamisen höyrysahan rakennustyöt, ja uusi sahalaitos aloitti tuotannon vuonna 1908. Saha laajentui pian yhdeksänraamiseksi laitokseksi. Vuonna 1912 useat alueella toimivat sahat yhdistyivät, ja yhteenliittymän nimeksi tuli Aktiebolaget Uleå Osakeyhtiö. 1930-luvulla aloitettiin sellun tuotanto osana sahatoimintaa, ja Pateniemen saha liittyi osakkaaksi vuonna 1935 perustettuun Oulu Osakeyhtiöön. Viimeisen kerran saha vaihtoi omistajaa vuonna 1986, jolloin siitä tuli osa Veitsiluoto Oy:tä. Sahan toiminta päättyi huhtikuussa 1990. Sahalaitoksen rakennukset purettiin vuosina 1994-95. Itse saharakennus paloi helmikuussa 1995. Lähde: Pateniemiseura, Laivoja ja lankkuja Kuva: Pohjois-Pohjanmaan museon kokoelmat, Sahan työntekijöitä 21e:T49c,*Forest from the Trees* is a four-part environmental art and storytelling work located on Kirkkosaari in Muhos, placed along an exercise trail. The artwork depicts the seasons on the island, and its components are made from peeled and trimmed trees using traditional working methods. The trees are painted in colors that appear in the landscape during different seasons. The artist behind the work, Mari Kämäräinen, is a visual and performance artist from Vaala, originally from the village of Pelso, and specializes in narrative, site-specific works. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [++here!++](https://rokuageopark.fi/en/see-and-experience/) 21f:T49c,*Forest from the Trees* is a four-part environmental art and storytelling work located on Kirkkosaari in Muhos, placed along an exercise trail. The artwork depicts the seasons on the island, and its components are made from peeled and trimmed trees using traditional working methods. The trees are painted in colors that appear in the landscape during different seasons. The artist behind the work, Mari Kämäräinen, is a visual and performance artist from Vaala, originally from the village of Pelso, and specializes in narrative, site-specific works. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [++here!++](https://rokuageopark.fi/en/see-and-experience/) 220:T573,*Jälki, "The Mark" , *is an environmental artwork located on the Leppiniemen Lemmenpolku trail in Muhos. The inspiration for *Jälki* comes from the giant legends of the Pyhäkoski and Montta area. According to the tale, giants once inhabited these shores until a man named Montta descended Pyhäkoski, ushering in the era of humans and sending the giants retreating into the depths of the earth. The artwork is created sustainably, using a natural earthen mound covered with selected stones and larch treated with burning. The design and execution of the *Jälki* artwork were carried out by the artist duo Johanna Riepula and Tero Mäkelä. Both work individually and together in environmental art, handicrafts, visual arts, as well as teaching and instruction. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [++here!++](https://rokuageopark.fi/en/see-and-experience/) 221:T573,*Jälki, "The Mark" , *is an environmental artwork located on the Leppiniemen Lemmenpolku trail in Muhos. The inspiration for *Jälki* comes from the giant legends of the Pyhäkoski and Montta area. According to the tale, giants once inhabited these shores until a man named Montta descended Pyhäkoski, ushering in the era of humans and sending the giants retreating into the depths of the earth. The artwork is created sustainably, using a natural earthen mound covered with selected stones and larch treated with burning. The design and execution of the *Jälki* artwork were carried out by the artist duo Johanna Riepula and Tero Mäkelä. Both work individually and together in environmental art, handicrafts, visual arts, as well as teaching and instruction. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [++here!++](https://rokuageopark.fi/en/see-and-experience/) 222:T51a,*Uoma, "The Ravine",* is an environmental artwork located in the Kivipuisto of Utajärvi. The name of the piece refers to the channels formed in the earth over time. Water routes in the area have also acted as channels when tar was transported along them. Tar has likewise flowed along its own channel inside a traditional tar pit. The red reflectors in the artwork become visible in sunlight, traffic lights, or street lighting. Their red flashes may give a passerby the impression of a glowing ember, lava, or a village by the river illuminated at night. Tiina Vehkaperä (b. 1982) is a sculptor from Oulu who expands her practice into performance, environmental, and light art. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [++here!++](https://rokuageopark.fi/en/see-and-experience/) 223:T51a,*Uoma, "The Ravine",* is an environmental artwork located in the Kivipuisto of Utajärvi. The name of the piece refers to the channels formed in the earth over time. Water routes in the area have also acted as channels when tar was transported along them. Tar has likewise flowed along its own channel inside a traditional tar pit. The red reflectors in the artwork become visible in sunlight, traffic lights, or street lighting. Their red flashes may give a passerby the impression of a glowing ember, lava, or a village by the river illuminated at night. Tiina Vehkaperä (b. 1982) is a sculptor from Oulu who expands her practice into performance, environmental, and light art. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [++here!++](https://rokuageopark.fi/en/see-and-experience/) 224:T637,## **Story** *Käpy kultainen, "The Golden Cone",* is an environmental artwork located in Ahveroinen, Rokua.* Käpy kultainen* tells the story of the ancient memory of trees. The story of the pine forest at the site began centuries ago. A pine seed develops protected by the scales of a cone and eventually germinates into new life, carrying with it the entire history of the tree—again and again. Old stories from the area have also been recorded; these inspired the idea of bringing the stories into the present and offering young people a chance to reflect on their hopes for the future. The seeds of the golden cone contain young people’s wishes and thoughts about nature and its future, as well as reflections on their relationship with nature. ## ## Artists The work was designed and created by visual artist Satu Kalliokuusi and sculptor Reetta Gröhn-Soininen, who have collaborated both as artists and as curators in several different projects. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [++here!++](https://rokuageopark.fi/en/see-and-experience/) 225:T637,## **Story** *Käpy kultainen, "The Golden Cone",* is an environmental artwork located in Ahveroinen, Rokua.* Käpy kultainen* tells the story of the ancient memory of trees. The story of the pine forest at the site began centuries ago. A pine seed develops protected by the scales of a cone and eventually germinates into new life, carrying with it the entire history of the tree—again and again. Old stories from the area have also been recorded; these inspired the idea of bringing the stories into the present and offering young people a chance to reflect on their hopes for the future. The seeds of the golden cone contain young people’s wishes and thoughts about nature and its future, as well as reflections on their relationship with nature. ## ## Artists The work was designed and created by visual artist Satu Kalliokuusi and sculptor Reetta Gröhn-Soininen, who have collaborated both as artists and as curators in several different projects. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [++here!++](https://rokuageopark.fi/en/see-and-experience/) 226:T4ba,Rokua Geoparkin alueelle on valmistunut vuoden 2024 aikana taidereitti, joka koostuu seitsemästä ympäristötaideteoksesta. Taidereitin teokset sijaitsevat ympäri Rokua Geoparkin aluetta niin Muhosella, Vaalassa kuin Utajärvelläkin. Löytöretki taiteeseen – kokonaisuus koostuu seitsemästä teoksesta, joiden inspiraationa ovat olleet Rokua Geoparkin kolme pääteemaa: geologinen perintö, terva ja legendat. Kaikki seitsemän kohdetta ovat melko helposti saavutettavissa ja niiden lähistölle pääsee helposti autolla. Myös pyöräillen reitin voi kiertää. Taidereitti tuo retkeilyreitistöjen ja luonto- ja kulttuurikohteiden yhteyteen monipuolista ja saavutettavaa taidetta, joka huomioi kestävän kehityksen periaatteiden mukaisesti ympäristön ja aktivoi ihmisiä liikkumaan luonnossa. Näin taiteen kokeminen tuodaan tyypilliseksi koetuista taideympäristöistä (museot ja taidegalleriat) ihmisten lähelle, keskelle arkea. Teosten rahoittajina ovat olleet Pohjois-Pohjanmaan liitto (AKKE-rahoitus) ja Rokua Geoparkin perustajat (Muhoksen, Utajärven ja Vaalan kunnat, Rokuan Terveys- ja Kuntouttamissäätiö ja Metsähallitus) ja niiden tilauksesta on vastannut Humanpolis Oy. 227:T514,Kuutio ilmaa, "Cube of Air", is an environmental artwork located on the hill of Rokuan Stadion. The name of the piece refers to a cubic meter filled with clean air enclosed within a cube. Air does not respect borders and cannot be owned. Finland does not have its own climate. The artistic duo Päivi Pussila and Raimo Törhönen work with painting and drawing, sculptures, installations, and environmental art. Their works draw deep meaning especially from the surrounding place, landscape, and forest. In their environmental art, it is particularly important that the environment is taken into account so that the artwork is created ecologically and blends into the landscape. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The works are inspired by three main themes: geological heritage, tar, and legends. The project has been funded by the Pohjois-Pohjanmaan liitto (AKKE funding) and the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, the Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [++here!++](https://rokuageopark.fi/en/see-and-experience/)228:T514,Kuutio ilmaa, "Cube of Air", is an environmental artwork located on the hill of Rokuan Stadion. The name of the piece refers to a cubic meter filled with clean air enclosed within a cube. Air does not respect borders and cannot be owned. Finland does not have its own climate. The artistic duo Päivi Pussila and Raimo Törhönen work with painting and drawing, sculptures, installations, and environmental art. Their works draw deep meaning especially from the surrounding place, landscape, and forest. In their environmental art, it is particularly important that the environment is taken into account so that the artwork is created ecologically and blends into the landscape. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The works are inspired by three main themes: geological heritage, tar, and legends. The project has been funded by the Pohjois-Pohjanmaan liitto (AKKE funding) and the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, the Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [++here!++](https://rokuageopark.fi/en/see-and-experience/)229:T637,## **Story** *Käpy kultainen, "The Golden Cone",* is an environmental artwork located in Ahveroinen, Rokua.* Käpy kultainen* tells the story of the ancient memory of trees. The story of the pine forest at the site began centuries ago. A pine seed develops protected by the scales of a cone and eventually germinates into new life, carrying with it the entire history of the tree—again and again. Old stories from the area have also been recorded; these inspired the idea of bringing the stories into the present and offering young people a chance to reflect on their hopes for the future. The seeds of the golden cone contain young people’s wishes and thoughts about nature and its future, as well as reflections on their relationship with nature. ## ## Artists The work was designed and created by visual artist Satu Kalliokuusi and sculptor Reetta Gröhn-Soininen, who have collaborated both as artists and as curators in several different projects. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [++here!++](https://rokuageopark.fi/en/see-and-experience/) 22a:T637,## **Story** *Käpy kultainen, "The Golden Cone",* is an environmental artwork located in Ahveroinen, Rokua.* Käpy kultainen* tells the story of the ancient memory of trees. The story of the pine forest at the site began centuries ago. A pine seed develops protected by the scales of a cone and eventually germinates into new life, carrying with it the entire history of the tree—again and again. Old stories from the area have also been recorded; these inspired the idea of bringing the stories into the present and offering young people a chance to reflect on their hopes for the future. The seeds of the golden cone contain young people’s wishes and thoughts about nature and its future, as well as reflections on their relationship with nature. ## ## Artists The work was designed and created by visual artist Satu Kalliokuusi and sculptor Reetta Gröhn-Soininen, who have collaborated both as artists and as curators in several different projects. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [++here!++](https://rokuageopark.fi/en/see-and-experience/) 22b:T51a,*Uoma, "The Ravine",* is an environmental artwork located in the Kivipuisto of Utajärvi. The name of the piece refers to the channels formed in the earth over time. Water routes in the area have also acted as channels when tar was transported along them. Tar has likewise flowed along its own channel inside a traditional tar pit. The red reflectors in the artwork become visible in sunlight, traffic lights, or street lighting. Their red flashes may give a passerby the impression of a glowing ember, lava, or a village by the river illuminated at night. Tiina Vehkaperä (b. 1982) is a sculptor from Oulu who expands her practice into performance, environmental, and light art. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [++here!++](https://rokuageopark.fi/en/see-and-experience/) 22c:T51a,*Uoma, "The Ravine",* is an environmental artwork located in the Kivipuisto of Utajärvi. The name of the piece refers to the channels formed in the earth over time. Water routes in the area have also acted as channels when tar was transported along them. Tar has likewise flowed along its own channel inside a traditional tar pit. The red reflectors in the artwork become visible in sunlight, traffic lights, or street lighting. Their red flashes may give a passerby the impression of a glowing ember, lava, or a village by the river illuminated at night. Tiina Vehkaperä (b. 1982) is a sculptor from Oulu who expands her practice into performance, environmental, and light art. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [++here!++](https://rokuageopark.fi/en/see-and-experience/) 22d:T802,Located in Vaala, *Cycles* is a narrative, interactive environmental artwork that explores time, landscape, and the relationship between humans and nature across different eras. The piece has been built inside a water tank removed from the tower of the Vaala Veturitalli, situated in the yard of the Veturitalli. Over the years, an ecosystem has formed inside the tank, containing, for example, small tree seedlings and ferns growing from decomposed leaf litter and branches that have fallen to the bottom. In the completed artwork, the miniature landscape can be observed through viewing holes cut into the walls of the tank, each fitted with filters of different colors. There are four viewing points, named according to the cardinal directions, the seasons, and the times of day. Each viewing point includes a portion of a four-part story, which can be read as text on the tank wall or listened to as read by the artist. In the dark, the interior of the tank can be illuminated through the colored filters with your own light source, such as a smartphone light or flashlight. The colors related to the seasons were selected from material created in a workshop held with local participants. The text includes excerpts from stories shared during the workshop. The artist behind the work, Mari Kämäräinen, is a visual and performance artist from Vaala, originally from the village of Pelso, and specializes in narrative, site-specific works. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [here](https://rokuageopark.fi/en/)! 22e:T802,Located in Vaala, *Cycles* is a narrative, interactive environmental artwork that explores time, landscape, and the relationship between humans and nature across different eras. The piece has been built inside a water tank removed from the tower of the Vaala Veturitalli, situated in the yard of the Veturitalli. Over the years, an ecosystem has formed inside the tank, containing, for example, small tree seedlings and ferns growing from decomposed leaf litter and branches that have fallen to the bottom. In the completed artwork, the miniature landscape can be observed through viewing holes cut into the walls of the tank, each fitted with filters of different colors. There are four viewing points, named according to the cardinal directions, the seasons, and the times of day. Each viewing point includes a portion of a four-part story, which can be read as text on the tank wall or listened to as read by the artist. In the dark, the interior of the tank can be illuminated through the colored filters with your own light source, such as a smartphone light or flashlight. The colors related to the seasons were selected from material created in a workshop held with local participants. The text includes excerpts from stories shared during the workshop. The artist behind the work, Mari Kämäräinen, is a visual and performance artist from Vaala, originally from the village of Pelso, and specializes in narrative, site-specific works. The seven works in the *Löytöretki taiteeseen* ensemble highlight the natural and cultural heritage of Rokua Geopark’s nationally valued landscapes through environmental art. The main sources of inspiration have been three themes: geological heritage, tar, and legends. The works have been funded by Pohjois-Pohjanmaan liitto (AKKE funding) and by the founders of Rokua Geopark (the municipalities of Muhos, Utajärvi, and Vaala, Rokuan Terveys- ja Kuntouttamissäätiö, and Metsähallitus), and commissioned by Humanpolis Oy. Explore the Rokua Geopark area [here](https://rokuageopark.fi/en/)! 16:[{"id":16,"title":"Oulu2026 murals","slug":"oulu2026-seinamaalaukset-taidereitti","status":"published","subzoneId":10,"content":"Experience the stunning murals in Oulu! This art route takes about 2hrs to walk, and less than 50min with a bicycle.\n\nIn 2022-2026 Oulu2026 and Upeart invite professional artists to participate in an open call for visual artists worldwide. 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Kari Akolahti (devotional). \n\n\nProgram 10 euros. "},"sv":{"title":"","content":""}}},{"id":558,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.1354616,25.3699744]},"title":"Haapavesi: Bach - Johannes Passio - church to church art program","slug":"bach-johannes-passio-kirkosta-kirkkoon-taideohjelmaa-bAYUo4Aff9k6zfo5ngaxh","content":"## The churches of Haapavesi and Haapajärvi will host thrilling Bach St. John Passion concerts.\n\n- Saturday, March 28, 2026, 6 p.m., Haapavesi Church\n- Sunday, March 29, 2026, 3 p.m., Haapajärvi Church\n\nTickets €30/€25, students €15.\n\nHaapavesi Chamber Orchestra\n\nJokilaaksojen Oratorio Choir (prepared by Mihkel Koldits)\n\n- conducted by Timo Hannula.\n- Evangelist Lasse Penttinen\n- Jesus Matthew Jämsä\n- Soprano Saara Kiiveri\n- Alto Sirpa Kurra\n- Tenor Joonas Vatjus B\n- Baritone Mikko Himanka\n\nOrganized by Haapajärvi Parish, Haapavesi Parish and Jokilatva College.\n\nThe concerts are part of the art program of the From Church to Church route. The church routes can be found online (link below) and the events will be updated in the Oulu2026 event calendar. The program has been produced and the route compiled by the cultural services of the city of Kalajoki, in cooperation with the Diocese of Oulu and the Oulu Cultural Foundation. The route and program are part of the Oulu2026 European Capital of Culture year.","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":558,"postalCode":"86600","streetAddress":" Tähtelänkuja, Haapavesi, 86600"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":2,"status":"published","title":"Taide","slug":"taide","content":"","icon":"category/art","color":"#FF7969","parentId":null,"priority":0,"createdAt":"2024-11-11T08:42:33.132Z","updatedAt":"2024-11-11T08:42:33.132Z","MapItemCategory":{"MapItemId":558,"CategoryId":2}}],"Media":[{"external":false,"id":1359,"type":"image/jpeg","title":"28.jpg","altText":null,"description":null,"userId":null,"path":"JjiRxuxKVpawe_m2CtYl_/28.jpg","thumbnailPath":null,"status":"published","createdAt":"2026-03-24T12:28:03.843Z","updatedAt":"2026-03-24T12:28:03.843Z","MapItemMedia":{"MapItemId":558,"MediaId":1359,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":9,"title":"Musiikki"},{"id":8,"title":"Taide"}],"collection":{"order":11,"title":null,"i18n":null},"i18n":{"sv":{"title":"","content":""},"en":{"title":"Haapavesi: Bach - Johannes Passio - church to church art program","content":"## The churches of Haapavesi and Haapajärvi will host thrilling Bach St. John Passion concerts.\n\n- Saturday, March 28, 2026, 6 p.m., Haapavesi Church\n- Sunday, March 29, 2026, 3 p.m., Haapajärvi Church\n\nTickets €30/€25, students €15.\n\nHaapavesi Chamber Orchestra\n\nJokilaaksojen Oratorio Choir (prepared by Mihkel Koldits)\n\n- conducted by Timo Hannula.\n- Evangelist Lasse Penttinen\n- Jesus Matthew Jämsä\n- Soprano Saara Kiiveri\n- Alto Sirpa Kurra\n- Tenor Joonas Vatjus B\n- Baritone Mikko Himanka\n\nOrganized by Haapajärvi Parish, Haapavesi Parish and Jokilatva College.\n\nThe concerts are part of the art program of the From Church to Church route. The church routes can be found online (link below) and the events will be updated in the Oulu2026 event calendar. The program has been produced and the route compiled by the cultural services of the city of Kalajoki, in cooperation with the Diocese of Oulu and the Oulu Cultural Foundation. The route and program are part of the Oulu2026 European Capital of Culture year."}}},{"id":559,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[63.7473139,25.3154933]},"title":"Haapajärvi: Bach - Johannes Passio - church to church art program","slug":"bach-johannes-passio-kirkosta-kirkkoon-taideohjelmaa-d7eFAiAtdAmYv9Tpiqy4_","content":"## The churches of Haapavesi and Haapajärvi will host thrilling Bach St. John Passion concerts.\n\n- Saturday, March 28, 2026, 6 p.m., Haapavesi Church\n- Sunday, March 29, 2026, 3 p.m., Haapajärvi Church\n\nTickets €30/€25, students €15.\n\nHaapavesi Chamber Orchestra\n\nJokilaaksojen Oratorio Choir (prepared by Mihkel Koldits)\n\n- conducted by Timo Hannula.\n- Evangelist Lasse Penttinen\n- Jesus Matthew Jämsä\n- Soprano Saara Kiiveri\n- Alto Sirpa Kurra\n- Tenor Joonas Vatjus B\n- Baritone Mikko Himanka\n\nOrganized by Haapajärvi Parish, Haapavesi Parish and Jokilatva College.\n\nThe concerts are part of the art program of the From Church to Church route. The church routes can be found online (link below) and the events will be updated in the Oulu2026 event calendar. The program has been produced and the route compiled by the cultural services of the city of Kalajoki, in cooperation with the Diocese of Oulu and the Oulu Cultural Foundation. The route and program are part of the Oulu2026 European Capital ","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":559,"postalCode":"85801","streetAddress":" Kirkkopolku, Haapajärvi, 85801"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":2,"status":"published","title":"Taide","slug":"taide","content":"","icon":"category/art","color":"#FF7969","parentId":null,"priority":0,"createdAt":"2024-11-11T08:42:33.132Z","updatedAt":"2024-11-11T08:42:33.132Z","MapItemCategory":{"MapItemId":559,"CategoryId":2}}],"Media":[{"external":false,"id":1360,"type":"image/jpeg","title":"28.jpg","altText":null,"description":null,"userId":null,"path":"iG7qYWr2rF5XwoAaq7gia/28.jpg","thumbnailPath":null,"status":"published","createdAt":"2026-03-24T12:33:18.372Z","updatedAt":"2026-03-24T12:33:18.372Z","MapItemMedia":{"MapItemId":559,"MediaId":1360,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":8,"title":"Taide"},{"id":9,"title":"Musiikki"}],"collection":{"order":12,"title":null,"i18n":null},"i18n":{"sv":{"title":"","content":""},"en":{"title":"Haapajärvi: Bach - Johannes Passio - church to church art program","content":"## The churches of Haapavesi and Haapajärvi will host thrilling Bach St. John Passion concerts.\n\n- Saturday, March 28, 2026, 6 p.m., Haapavesi Church\n- Sunday, March 29, 2026, 3 p.m., Haapajärvi Church\n\nTickets €30/€25, students €15.\n\nHaapavesi Chamber Orchestra\n\nJokilaaksojen Oratorio Choir (prepared by Mihkel Koldits)\n\n- conducted by Timo Hannula.\n- Evangelist Lasse Penttinen\n- Jesus Matthew Jämsä\n- Soprano Saara Kiiveri\n- Alto Sirpa Kurra\n- Tenor Joonas Vatjus B\n- Baritone Mikko Himanka\n\nOrganized by Haapajärvi Parish, Haapavesi Parish and Jokilatva College.\n\nThe concerts are part of the art program of the From Church to Church route. 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The route and program are part of the Oulu2026 European Capital "}}},{"id":593,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.2597421,23.9576626]},"title":"Pauper Statue art workshop - From Church to Church - art programme","slug":"vaivaisukko-taidetyopaja-kirkosta-kirkkoon-taideohjelmaa-XLsc_A4FancdoimxY-SLD","content":"## **Art workshop for children about Pauper statues**\n\n\n\nThe art workshop was organised in connection with the Kalajoki Association of the Mannerheim League for Child Welfare's *Koko perheen kevätrieha* -event on April 11, 2026.\n\n\nIn the workshop, the children were told about the background and purpose of Pauper Statues, after which the children **made their own Pauper statues out of play-dough** and **solved Pauper statue-themed puzzles**.\n\n\n\n- The church's Pauper statue is a painted wooden statue that has a hole in its chest which you can put money into\n- The money is 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Statue art workshop - From Church to Church - art programme","content":"## **Art workshop for children about Pauper statues**\n\n\n\nThe art workshop was organised in connection with the Kalajoki Association of the Mannerheim League for Child Welfare's *Koko perheen kevätrieha* -event on April 11, 2026.\n\n\nIn the workshop, the children were told about the background and purpose of Pauper Statues, after which the children **made their own Pauper statues out of play-dough** and **solved Pauper statue-themed puzzles**.\n\n\n\n- The church's Pauper statue is a painted wooden statue that has a hole in its chest which you can put money into\n- The money is donated to charity\n- There are 21 Pauper statues in Northern Ostrobothnia\n- The oldest Pauper statue is from the 17th century, the youngest from 2021\n- Pauper statues are a unique phenomenon, a similar army of benefactors cannot be found anywhere else in the world!\n\n\n*Photos: Lotta 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forest","slug":"martinkaupin-tammi-7FczkEquo1u8Aahp-om8l","content":"$f3","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":630,"postalCode":"","streetAddress":""},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":17,"status":"published","title":"Retkeilyreitti","slug":"retkeilyreitti","content":"","icon":"ui/route","color":"#FD7A09","parentId":null,"priority":0,"createdAt":"2024-11-11T08:48:43.225Z","updatedAt":"2024-11-11T08:48:43.225Z","MapItemCategory":{"MapItemId":630,"CategoryId":17}}],"Media":[{"external":false,"id":1486,"type":"image/png","title":"mets-alvejuuri-narrow-buckler-fern.png","altText":null,"description":null,"userId":null,"path":"4niE9E63qBarsbcybK3Ff/mets-alvejuuri-narrow-buckler-fern.png","thumbnailPath":null,"status":"published","createdAt":"2026-06-14T07:05:48.381Z","updatedAt":"2026-06-14T07:05:48.381Z","MapItemMedia":{"MapItemId":630,"MediaId":1486,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":1664,"type":"image/png","title":"sinivuokko-common-anemone.png","altText":null,"description":null,"userId":null,"path":"cnJS4Pfk80nI_ePMgI78C/sinivuokko-common-anemone.png","thumbnailPath":null,"status":"published","createdAt":"2026-07-02T14:29:07.466Z","updatedAt":"2026-07-02T14:29:07.466Z","MapItemMedia":{"MapItemId":630,"MediaId":1664,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[],"collection":{"order":9,"title":null,"i18n":null},"i18n":{"en":{"title":"Grove forest","content":"$f4"},"sv":{"title":"","content":""}}},{"id":631,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[65.0169186,25.4235005]},"title":"Sounds of nature","slug":"luonnon-aanet-ssP5PYvsd7WGYSf37Pn-C","content":"**Sounds of nature**\nIn the noise caused by urbanisation, restorative moments in the \"silence\" of nature are needed. In Hietasaari, you can calm down and listen to different sounds of nature.\nEach season has its own soundscape. In winter, the trees bang in the freezing cold and the snow crunches under the shoes. In the spring, nature wakes up when the birds return to their nesting sites and sign loundly and the buzzing bugs wake up. The brooks are babbling. In the summer, the wind rustles in the treetops and the rain falls on the leaves. Thunder rumbles after a hot day. In autumn, the leaves that have fallen to the ground rustle with the footsteps and the sounds of the animals become quieter.\nTask: Quiet down to listen to the surrounding sounds for the next 50 meters. What does the ground under the steps sound like? Do you hear any animals? What kind of sounds do you hear from the plants?","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":631,"postalCode":"","streetAddress":""},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":17,"status":"published","title":"Retkeilyreitti","slug":"retkeilyreitti","content":"","icon":"ui/route","color":"#FD7A09","parentId":null,"priority":0,"createdAt":"2024-11-11T08:48:43.225Z","updatedAt":"2024-11-11T08:48:43.225Z","MapItemCategory":{"MapItemId":631,"CategoryId":17}}],"Media":[{"external":false,"id":1665,"type":"image/png","title":"pensassirkkalintu-locustella-naevia-esa-v-n-nen.png","altText":null,"description":null,"userId":null,"path":"NKC0BzYo48hDiQUw9MJH9/pensassirkkalintu-locustella-naevia-esa-v-n-nen.png","thumbnailPath":null,"status":"published","createdAt":"2026-07-02T14:33:25.530Z","updatedAt":"2026-07-02T14:33:25.530Z","MapItemMedia":{"MapItemId":631,"MediaId":1665,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[],"collection":{"order":10,"title":null,"i18n":null},"i18n":{"sv":{"title":"","content":""},"en":{"title":"Sounds of nature","content":"**Sounds of nature**\nIn the noise caused by urbanisation, restorative moments in the \"silence\" of nature are needed. In Hietasaari, you can calm down and listen to different sounds of nature.\nEach season has its own soundscape. In winter, the trees bang in the freezing cold and the snow crunches under the shoes. In the spring, nature wakes up when the birds return to their nesting sites and sign loundly and the buzzing bugs wake up. The brooks are babbling. In the summer, the wind rustles in the treetops and the rain falls on the leaves. Thunder rumbles after a hot day. In autumn, the leaves that have fallen to the ground rustle with the footsteps and the sounds of the animals become quieter.\nTask: Quiet down to listen to the surrounding sounds for the next 50 meters. What does the ground under the steps sound like? Do you hear any animals? What kind of sounds do you hear from the plants?"}}}],"Media":[],"i18n":{"sv":{"title":"","content":""},"en":{"title":"","content":""}}},{"id":76,"title":"Alavieska's Oulu2026 events","slug":"alavieskan-oulu2026-tapahtumat-arcEawtXaAZVKQnrjSax8","status":"published","subzoneId":11,"content":"","shortDescription":null,"contentBlocks":null,"isOrdered":false,"duration":0,"mainMediaId":null,"icon":"","color":"","length":null,"createdAt":"2026-06-11T09:17:55.040Z","updatedAt":"2026-06-11T09:17:55.040Z","Subzone":{"subtitle":""},"Tags":[],"MapItems":[{"id":610,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.1739125,24.293164]},"title":"Hannulan talo: Mother's Day Dinner on 7.7.2026 at 17-20.30","slug":"aitienpaivan-kattaus-sh7XCYbesn_2lLztvPhl_","content":"Mother's Day was first celebrated in Alavieska on July 7, 1918. To celebrate, we will set a long table in the yard of Hannula House, where you can listen to live music and enjoy your own meals or the delicacies of local entrepreneurs. There will also be free tea served at the event. Alavieska's Mother's Day Dinner is a celebration for everyone!\nThe program of the event and additional information can be found at: [Mother's Day Dinner](https://oulu2026.eu/en/event/?localhub_page_id=69369c1845fdce04a0717a50&localhub_origin_widget_id=68ade7e1ca34b90c140357cd).","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":610,"postalCode":"85200","streetAddress":" Jatkolantie 5, Alavieska, 85200"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":4,"status":"published","title":"Kulttuuri","slug":"kulttuuri","content":"","icon":"category/culture","color":"#A93A3A","parentId":null,"priority":0,"createdAt":"2024-11-11T08:45:43.382Z","updatedAt":"2024-11-11T08:45:43.382Z","MapItemCategory":{"MapItemId":610,"CategoryId":4}}],"Media":[{"external":false,"id":1423,"type":"image/jpeg","title":"hannulan-talo.jpg","altText":null,"description":null,"userId":null,"path":"XuLUKXFJjPXx6lxgbWGsm/hannulan-talo.jpg","thumbnailPath":null,"status":"published","createdAt":"2026-05-08T09:19:47.225Z","updatedAt":"2026-05-08T09:19:47.225Z","MapItemMedia":{"MapItemId":610,"MediaId":1423,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[],"collection":{"order":0,"title":null,"i18n":null},"i18n":{"sv":{"title":"","content":""},"en":{"title":"Hannulan talo: Mother's Day Dinner on 7.7.2026 at 17-20.30","content":"Mother's Day was first celebrated in Alavieska on July 7, 1918. To celebrate, we will set a long table in the yard of Hannula House, where you can listen to live music and enjoy your own meals or the delicacies of local entrepreneurs. There will also be free tea served at the event. 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This is a wonderful opportunity to hear the robust music of the Male Choir accompanied by a brass band and to learn more about our home region through music. A large part of the arrangements of the songs are new, made for this purpose.\nThe SoLa Male Choir, founded in 2020, has 19 singers and is led by Joonas Vatjus. The Laine Brass Ensemble is also from Oulu and consists of brass instrument enthusiasts from the area.","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":612,"postalCode":"85200","streetAddress":" Keskustie, Alavieska, 85200"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":4,"status":"published","title":"Kulttuuri","slug":"kulttuuri","content":"","icon":"category/culture","color":"#A93A3A","parentId":null,"priority":0,"createdAt":"2024-11-11T08:45:43.382Z","updatedAt":"2024-11-11T08:45:43.382Z","MapItemCategory":{"MapItemId":612,"CategoryId":4}}],"Media":[{"external":false,"id":1425,"type":"image/jpeg","title":"sola.jpg","altText":null,"description":null,"userId":null,"path":"t3WnJ4SNd9JSAFJtzY-rV/sola.jpg","thumbnailPath":null,"status":"published","createdAt":"2026-05-08T09:43:47.613Z","updatedAt":"2026-05-08T09:43:47.613Z","MapItemMedia":{"MapItemId":612,"MediaId":1425,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[],"collection":{"order":1,"title":null,"i18n":null},"i18n":{"sv":{"title":"","content":""},"en":{"title":"","content":"In honor of the Capital of Culture 2026, the SoLa Male Choir and the Laine Brass Ensemble are going on a concert tour, highlighting the uniqueness, lifestyle, people and nature of Northern Ostrobothnia - our identity. 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The demolition art project On the Way of Development wants to give a voice and space to discuss the direction of development for both artists active in the area and the residents of the community. 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Saloinen"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":236,"CategoryId":15}}],"Media":[{"external":false,"id":1209,"type":"image/jpeg","title":"saloistenukko2.jpg","altText":null,"description":null,"userId":null,"path":"NV4DKLUtZpS-x4VbOmvJF/saloistenukko2.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T10:58:00.962Z","updatedAt":"2025-12-22T10:58:00.962Z","MapItemMedia":{"MapItemId":236,"MediaId":1209,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":1208,"type":"image/jpeg","title":"saloistenukko.jpg","altText":null,"description":null,"userId":null,"path":"LHbcW55Uis4YH4fFxTprX/saloistenukko.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T10:56:41.682Z","updatedAt":"2025-12-22T10:56:41.682Z","MapItemMedia":{"MapItemId":236,"MediaId":1208,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":433,"type":"image/jpeg","title":"saloistenvanhakirkko.jpg","altText":null,"description":null,"userId":null,"path":"pKSR8S5LUxK8NN4-Ny-Gf/saloistenvanhakirkko.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-01T12:01:07.739Z","updatedAt":"2025-12-01T12:01:07.739Z","MapItemMedia":{"MapItemId":236,"MediaId":433,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":432,"type":"image/jpeg","title":"saloistentapuli-esamikkola.jpg","altText":null,"description":null,"userId":null,"path":"I-U5-vzaaFL-I7nxp2ofa/saloistentapuli-esamikkola.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-01T12:00:05.885Z","updatedAt":"2025-12-01T12:00:05.885Z","MapItemMedia":{"MapItemId":236,"MediaId":432,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":13,"title":"Arkkitehtuuri"},{"id":8,"title":"Taide"}],"collection":{"order":3,"title":null,"i18n":null},"i18n":{"en":{"title":"Saloinen bell tower and Pauper Statue ","content":"$109"},"sv":{"title":"","content":""}}},{"id":257,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.9164631,25.4850787]},"title":"Kempele Pauper Statues ","slug":"kempeleen-tapuli-XG-Qgl15kHZBuLIOP15vI","content":"## Kempele Pauper Statues \n\n \n\nThe older Pauper Statue was sculpted by Aappo Kontiokari in 1853. It was attached to a pillar in front of the old church's bell tower and was taken out of use in 1954. The statue is currently kept in the Holy Trinity Church. \n\nThe newer Pauper Statue was made in 1954 by Olli Turunen, a student at the Kempele Gardening School. The sad-looking Pauper Statue with a hat in his left hand once served in front of the bell tower in the yard of the Old Church. One hand has been torn off, perhaps as a result of vandalism. The newer Pauper Statue named Niilo now serves in the lobby of the Holy Trinity Church and collects donations for those in need. \n\n\n\n_Image credits:_ \n\n- Anneli Salo / Kempele parish. \n- Elias Härö (1969), The Finnish Heritage Agency / Architectural History Collection. \n","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":257,"postalCode":"","streetAddress":"Vihiluodontie 590, 90440 Kempele"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":257,"CategoryId":15}}],"Media":[{"external":false,"id":458,"type":"image/jpeg","title":"kempeletapuli-eliash-r-.jpg","altText":null,"description":null,"userId":null,"path":"KdoNZu39zcfp7tZYKB1f7/kempeletapuli-eliash-r-.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-02T11:17:21.304Z","updatedAt":"2025-12-02T11:17:21.304Z","MapItemMedia":{"MapItemId":257,"MediaId":458,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":1198,"type":"image/jpeg","title":"kempeleen-seurakunnan-vaivaisukot.jpg","altText":null,"description":null,"userId":null,"path":"DX1QKph4iHISh8gkAdVhn/kempeleen-seurakunnan-vaivaisukot.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T08:26:35.735Z","updatedAt":"2025-12-22T08:26:35.735Z","MapItemMedia":{"MapItemId":257,"MediaId":1198,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":13,"title":"Arkkitehtuuri"}],"collection":{"order":4,"title":null,"i18n":null},"i18n":{"en":{"title":"Kempele Pauper Statues ","content":"## Kempele Pauper Statues \n\n \n\nThe older Pauper Statue was sculpted by Aappo Kontiokari in 1853. It was attached to a pillar in front of the old church's bell tower and was taken out of use in 1954. The statue is currently kept in the Holy Trinity Church. \n\nThe newer Pauper Statue was made in 1954 by Olli Turunen, a student at the Kempele Gardening School. The sad-looking Pauper Statue with a hat in his left hand once served in front of the bell tower in the yard of the Old Church. One hand has been torn off, perhaps as a result of vandalism. The newer Pauper Statue named Niilo now serves in the lobby of the Holy Trinity Church and collects donations for those in need. \n\n\n\n_Image credits:_ \n\n- Anneli Salo / Kempele parish. \n- Elias Härö (1969), The Finnish Heritage Agency / Architectural History Collection. \n"},"sv":{"title":"","content":""}}},{"id":501,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.6753712,25.5978066]},"title":"Temmes Pauper Statue ","slug":"temmeksen-vaivaisukko-CDPkQfPOw_yupUGPxpu54","content":"## Temmes Pauper Statue \n\n \n\n**The largest Pauper Statue in Finland was made in 1858 by Johan** **Kandelberg**. He used the Pauper Statue from Rantsila as a reference. \n\nThe Pauper Statue was robbed many times, and eventually it was moved to a shed. It was repaired by the town councilor Lauri Littow in 1947. \n\nThe Pauper Statue's iron sheet clothes come from an old mail van. The hat is also made of three-millimeter-thick iron. The statue's cane and mittens are also made of iron. Littow made a new robust face for the statue, which is attached to the body with three nails in the eyes and chin. \n\nThe Pauper Statue painted with tar and grey paint stands handsomely and freely in front of the church wall. \n\n\n\n_Image credits:_ \n\n- Estormiz (2015), Wikimedia Commons \n","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":501,"postalCode":"","streetAddress":"Temmeksen kirkkotie, 91950 Temmes"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":501,"CategoryId":15}}],"Media":[{"external":false,"id":1213,"type":"image/jpeg","title":"temmes.jpg","altText":null,"description":null,"userId":null,"path":"lLPqePFt7ju0kC5BbHO-V/temmes.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T11:23:08.488Z","updatedAt":"2025-12-22T11:23:08.488Z","MapItemMedia":{"MapItemId":501,"MediaId":1213,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":8,"title":"Taide"},{"id":13,"title":"Arkkitehtuuri"}],"collection":{"order":5,"title":null,"i18n":null},"i18n":{"sv":{"title":"","content":""},"en":{"title":"Temmes Pauper Statue ","content":"## Temmes Pauper Statue \n\n \n\n**The largest Pauper Statue in Finland was made in 1858 by Johan** **Kandelberg**. He used the Pauper Statue from Rantsila as a reference. \n\nThe Pauper Statue was robbed many times, and eventually it was moved to a shed. It was repaired by the town councilor Lauri Littow in 1947. \n\nThe Pauper Statue's iron sheet clothes come from an old mail van. The hat is also made of three-millimeter-thick iron. The statue's cane and mittens are also made of iron. Littow made a new robust face for the statue, which is attached to the body with three nails in the eyes and chin. \n\nThe Pauper Statue painted with tar and grey paint stands handsomely and freely in front of the church wall. \n\n\n\n_Image credits:_ \n\n- Estormiz (2015), Wikimedia Commons \n"}}},{"id":498,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.5054254,25.6543878]},"title":"Rantsila Pauper Statue ","slug":"rantsilan-vaivaisukko-PGENklEONU_OL0oepOYwH","content":"## Rantsila Pauper Statues\n\n \n\nThe old Pauper Statue from Rantsila has been moved to the Oulu Museum and Science Centre. It was carved in 1860 by the carpenter Juho Jääskelä from Rantsila. The Pauper Statue is about the same height as the statues from Kalajoki, Haapajärvi and Temmes. This statue has the largest feet – the length of his shoes is 35 cm. \n\nIn 2012 a new Pauper Statue made by the artist **Toni** **Iskulehto** was completed in front of the bell tower. The Rantsila statue is rough and masculine in appearance and made with respect to old craft traditions. \n\n\n\n_Image credits:_ \n\n- Wikimedia Commons (2023), Toni Iskulehto 2012 \n","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":498,"postalCode":"","streetAddress":"Rantsilanraitti 10, 92500 Rantsila"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":498,"CategoryId":15}}],"Media":[{"external":false,"id":1210,"type":"image/jpeg","title":"rantsila.jpg","altText":null,"description":null,"userId":null,"path":"g5cwR0O0jFT8nSty7cDU_/rantsila.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T11:03:21.143Z","updatedAt":"2025-12-22T11:03:21.143Z","MapItemMedia":{"MapItemId":498,"MediaId":1210,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":13,"title":"Arkkitehtuuri"},{"id":8,"title":"Taide"}],"collection":{"order":6,"title":null,"i18n":null},"i18n":{"sv":{"title":"","content":""},"en":{"title":"Rantsila Pauper Statue ","content":"## Rantsila Pauper Statues\n\n \n\nThe old Pauper Statue from Rantsila has been moved to the Oulu Museum and Science Centre. It was carved in 1860 by the carpenter Juho Jääskelä from Rantsila. The Pauper Statue is about the same height as the statues from Kalajoki, Haapajärvi and Temmes. This statue has the largest feet – the length of his shoes is 35 cm. \n\nIn 2012 a new Pauper Statue made by the artist **Toni** **Iskulehto** was completed in front of the bell tower. The Rantsila statue is rough and masculine in appearance and made with respect to old craft traditions. \n\n\n\n_Image credits:_ \n\n- Wikimedia Commons (2023), Toni Iskulehto 2012 \n"}}},{"id":493,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.3515783,26.2839961]},"title":"Kestilä Pauper Statue","slug":"kestilan-vaivaisukko-0_x3eiLRkrrlPZdq8DGs7","content":"## Kestilä Pauper Statue\n\n\n\nThe long-armed Pauper Statue, which has been moved to the entryway of the church for shelter, was made by Juho Myllyoja in 1895. The black-clad man has a round-domed hat with the brim curved upwards. His face is white. The former “Poor Matti” Pauper Statue, sculpted by the “barber” Juho Rasinkangas, was in front of the church at least as early as 1857, but it has disappeared. \n\n\n\n_Image credits:_ \n\n- Pauli Ylikoski ja Petri Valoaho / Siikalatva parish. \n","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":493,"postalCode":"","streetAddress":"Kestilänraitti 3, 92700 Kestilä"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":493,"CategoryId":15}}],"Media":[{"external":false,"id":1199,"type":"image/jpeg","title":"n-ytt-kuva-22-12-2025-103339-www.jpg","altText":null,"description":null,"userId":null,"path":"lUi_3BdoaDom7M3P5rpee/n-ytt-kuva-22-12-2025-103339-www.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T08:33:51.580Z","updatedAt":"2025-12-22T08:33:51.580Z","MapItemMedia":{"MapItemId":493,"MediaId":1199,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":1200,"type":"image/jpeg","title":"n-ytt-kuva-22-12-2025-10336-www.jpg","altText":null,"description":null,"userId":null,"path":"RwIXUUZpptCt_LOMHejr8/n-ytt-kuva-22-12-2025-10336-www.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T08:33:52.121Z","updatedAt":"2025-12-22T08:33:52.121Z","MapItemMedia":{"MapItemId":493,"MediaId":1200,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":1201,"type":"image/jpeg","title":"kestil-n-vaivaisukko.jpg","altText":null,"description":null,"userId":null,"path":"vFG3MZV6cyQeGRpgfsuir/kestil-n-vaivaisukko.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T08:33:52.553Z","updatedAt":"2025-12-22T08:33:52.553Z","MapItemMedia":{"MapItemId":493,"MediaId":1201,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":8,"title":"Taide"},{"id":13,"title":"Arkkitehtuuri"}],"collection":{"order":7,"title":null,"i18n":null},"i18n":{"en":{"title":"Kestilä Pauper Statue","content":"## Kestilä Pauper Statue\n\n\n\nThe long-armed Pauper Statue, which has been moved to the entryway of the church for shelter, was made by Juho Myllyoja in 1895. The black-clad man has a round-domed hat with the brim curved upwards. His face is white. The former “Poor Matti” Pauper Statue, sculpted by the “barber” Juho Rasinkangas, was in front of the church at least as early as 1857, but it has disappeared. \n\n\n\n_Image credits:_ \n\n- Pauli Ylikoski ja Petri Valoaho / Siikalatva parish. \n"},"sv":{"title":"","content":""}}},{"id":232,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.4444927,26.7893672]},"title":"Säräisniemi bell tower","slug":"saraisniemen-tapuli-g45tfdhJZ3ihvqmyWEVEQ","content":"## Säräisniemi bell tower\n\n \n\nThe bell tower designed by Jacob Rijf was completed in front of Säräisniemi church in 1793. The bell tower represents late 18th-century classicism with its gables and shows the handiwork of a trained architect. \n\nThe cross church is the work of Jaakko Suonperä who began construction for the church in 1769 without permission from Stockholm. Work was interrupted at times, and the church was not completed until 1781. \n\nThe church and bell tower were changed to their current appearance according to plans by J.F. Basilieri in 1898. At that time the spire was removed from the church’s roof and the entryways were added. \n\n\n\n_Image credits:_ \n\n- SeppVei (2010) / Wikimedia Commons \n","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":232,"postalCode":"","streetAddress":"Ylikyläntie 15, 91760 Säräisniemi"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":232,"CategoryId":15}}],"Media":[{"external":false,"id":426,"type":"image/jpeg","title":"s-r-isniemi-belltower.jpg","altText":null,"description":null,"userId":null,"path":"nsTIKs-dHEx7JUCYX20dp/s-r-isniemi-belltower.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-01T11:01:22.642Z","updatedAt":"2025-12-01T11:01:22.642Z","MapItemMedia":{"MapItemId":232,"MediaId":426,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":13,"title":"Arkkitehtuuri"}],"collection":{"order":8,"title":null,"i18n":null},"i18n":{"sv":{"title":"","content":""},"en":{"title":"Säräisniemi bell tower","content":"## Säräisniemi bell tower\n\n \n\nThe bell tower designed by Jacob Rijf was completed in front of Säräisniemi church in 1793. The bell tower represents late 18th-century classicism with its gables and shows the handiwork of a trained architect. \n\nThe cross church is the work of Jaakko Suonperä who began construction for the church in 1769 without permission from Stockholm. Work was interrupted at times, and the church was not completed until 1781. \n\nThe church and bell tower were changed to their current appearance according to plans by J.F. Basilieri in 1898. At that time the spire was removed from the church’s roof and the entryways were added. \n\n\n\n_Image credits:_ \n\n- SeppVei (2010) / Wikimedia Commons \n"}}},{"id":497,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.6874932,24.4714451]},"title":"Raahe Pauper Statue ","slug":"raahen-vaivaisukko-kAiGyIFtBdbKwA8fpVRP2","content":"## Raahe Pauper Statue \n\n\n\nThe old church in Raahe burned down in 1908, but the bell tower with the Pauper Statue on its wall survived. The bell tower was demolished to make way for the new church in 1909, and the Pauper Statue was taken to storage. \n\n**It was placed in the Raahe Museum at the turn of 1911-1912.** \n\nThe Pauper Statue has black eyes and eyebrows, and his hair is cut in the manner of a brave prince. There are marks above and below the Pauper Statue’s attachment iron bars that could be interpreted as the remains of painted writing. \n\nThe “inscription” looks like a fracture, and the eye can only distinguish the numbers 1691. If this is the case, Raahe’s Pauper Statue “Prince Brave” would surpass Hauho’s Bartimeus in age and would thus be the oldest Pauper Statue in Finland. \n\n\n\nYou can visit the statue during the museum's opening hours. \n\n\n\n_Image credits:_ \n\n- Anna Latomaa/Raahe Museum \n","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":497,"postalCode":"","streetAddress":"Rantakatu 33, 92100 Raahe"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":497,"CategoryId":15}}],"Media":[{"external":false,"id":1222,"type":"image/jpeg","title":"raahen-kirkon-vanha-vaivaisukko.jpg","altText":null,"description":null,"userId":null,"path":"FyZRHcm-PAaw6RJPVDhYh/raahen-kirkon-vanha-vaivaisukko.jpg","thumbnailPath":null,"status":"published","createdAt":"2026-01-08T06:14:53.064Z","updatedAt":"2026-01-08T06:14:53.064Z","MapItemMedia":{"MapItemId":497,"MediaId":1222,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":8,"title":"Taide"},{"id":13,"title":"Arkkitehtuuri"}],"collection":{"order":10,"title":null,"i18n":null},"i18n":{"sv":{"title":"","content":""},"en":{"title":"Raahe Pauper Statue ","content":"## Raahe Pauper Statue \n\n\n\nThe old church in Raahe burned down in 1908, but the bell tower with the Pauper Statue on its wall survived. The bell tower was demolished to make way for the new church in 1909, and the Pauper Statue was taken to storage. \n\n**It was placed in the Raahe Museum at the turn of 1911-1912.** \n\nThe Pauper Statue has black eyes and eyebrows, and his hair is cut in the manner of a brave prince. There are marks above and below the Pauper Statue’s attachment iron bars that could be interpreted as the remains of painted writing. \n\nThe “inscription” looks like a fracture, and the eye can only distinguish the numbers 1691. If this is the case, Raahe’s Pauper Statue “Prince Brave” would surpass Hauho’s Bartimeus in age and would thus be the oldest Pauper Statue in Finland. \n\n\n\nYou can visit the statue during the museum's opening hours. \n\n\n\n_Image credits:_ \n\n- Anna Latomaa/Raahe Museum \n"}}},{"id":495,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.9358697,25.4207459]},"title":"Oulunsalo Pauper Statue ","slug":"oulunsalon-vaivaisukko-hJIVvXRFD2WwHysEfPxJP","content":"## Oulunsalo Pauper Statue \n\n \n\nThe newest of the Pauper Statues in Northern Ostrobothnia can be found next to the main door of Oulunsalo church. \n\nIt was made by the vicar Petri Satomaa in 2021. \n\nRead more about the creation of the Pauper Statue (article in Finnish): [++Oulunsalolaiset saivat viikonloppuna vaivaisukon – kirkkoherra teki puuveistoksen | Rauhan Tervehdys++ ](https://rauhantervehdys.fi/artikkelit/oulunsalolaiset-saivat-viikonloppuna-vaivaisukon-kirkkoherra-teki-puuveistoksen/)\n\n\n\n_Image credits:_ \n\n- Riitta Hirvonen (2021) / Rauhan Tervehdys \n","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[{"id":1766397952049,"url":"https://rauhantervehdys.fi/artikkelit/oulunsalolaiset-saivat-viikonloppuna-vaivaisukon-kirkkoherra-teki-puuveistoksen/","color":"#85A097","title":"Rauhan Tervehdyksen artikkeli"}],"Point":{"MapItemId":495,"postalCode":"","streetAddress":"Uhrikirkonkuja 2, 90460 Oulunsalo"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":495,"CategoryId":15}}],"Media":[{"external":false,"id":1205,"type":"image/jpeg","title":"oulunsalonukko-riittahirvonen.jpg","altText":null,"description":null,"userId":null,"path":"qZDUqlNY5hnNeUjl9bYko/oulunsalonukko-riittahirvonen.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T10:03:16.079Z","updatedAt":"2025-12-22T10:03:16.079Z","MapItemMedia":{"MapItemId":495,"MediaId":1205,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":1206,"type":"image/jpeg","title":"oulunsalonukko-riittahirvonen2.jpg","altText":null,"description":null,"userId":null,"path":"wEF4v7kRlfW4WU8OG-na5/oulunsalonukko-riittahirvonen2.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T10:03:16.591Z","updatedAt":"2025-12-22T10:03:16.591Z","MapItemMedia":{"MapItemId":495,"MediaId":1206,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":13,"title":"Arkkitehtuuri"},{"id":8,"title":"Taide"}],"collection":{"order":11,"title":null,"i18n":null},"i18n":{"en":{"title":"Oulunsalo Pauper Statue ","content":"## Oulunsalo Pauper Statue \n\n \n\nThe newest of the Pauper Statues in Northern Ostrobothnia can be found next to the main door of Oulunsalo church. \n\nIt was made by the vicar Petri Satomaa in 2021. \n\nRead more about the creation of the Pauper Statue (article in Finnish): [++Oulunsalolaiset saivat viikonloppuna vaivaisukon – kirkkoherra teki puuveistoksen | Rauhan Tervehdys++ ](https://rauhantervehdys.fi/artikkelit/oulunsalolaiset-saivat-viikonloppuna-vaivaisukon-kirkkoherra-teki-puuveistoksen/)\n\n\n\n_Image credits:_ \n\n- Riitta Hirvonen (2021) / Rauhan Tervehdys \n"},"sv":{"title":"","content":""}}},{"id":238,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.2544275,23.9394665]},"title":"Kalajoki bell tower and Pauper Statue ","slug":"kalajoen-tapuli-3d26bIwd4ygk0bLiqkESa","content":"$10a","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":238,"postalCode":"","streetAddress":"Etelänkyläntie 1, 85100 Kalajoki"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":238,"CategoryId":15}}],"Media":[{"external":false,"id":438,"type":"image/jpeg","title":"kalajoentapuli-elka.jpg","altText":null,"description":null,"userId":null,"path":"GdDNBE1y2ieH5QcTz4pv1/kalajoentapuli-elka.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-01T12:25:14.907Z","updatedAt":"2025-12-01T12:25:14.907Z","MapItemMedia":{"MapItemId":238,"MediaId":438,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":436,"type":"image/jpeg","title":"kalajoen-kellotapuli.jpg","altText":null,"description":null,"userId":null,"path":"nOjDSMf40AK29pgJw1xDC/kalajoen-kellotapuli.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-01T12:24:07.971Z","updatedAt":"2025-12-01T12:24:07.971Z","MapItemMedia":{"MapItemId":238,"MediaId":436,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":437,"type":"image/jpeg","title":"kalajoenvaivaisukko.jpg","altText":null,"description":null,"userId":null,"path":"IAMZCMm52ySWR_I1uFxTy/kalajoenvaivaisukko.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-01T12:25:14.568Z","updatedAt":"2025-12-01T12:25:14.568Z","MapItemMedia":{"MapItemId":238,"MediaId":437,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":13,"title":"Arkkitehtuuri"}],"collection":{"order":12,"title":null,"i18n":null},"i18n":{"sv":{"title":"","content":""},"en":{"title":"Kalajoki bell tower and Pauper Statue ","content":"$10b"}}},{"id":491,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.8140731,25.4020214]},"title":"Liminka bell tower and Pauper Statue ","slug":"limingan-tapuli-9oriWkaBT8mBVbmC8KtoY","content":"## Liminka bell tower \n\n \n\nThe bell tower, which is almost a hundred years older than the church, was built in 1733 under the leadership of Grels Norrling, who worked as a carpenter at Kajaani Castle. The tower is in the old churchyard to the west of the church. \n\nThe three-story church with a passageway is of the Ostrobothnian Renaissance type and was built for the parish's fourth church. \n\nThe exterior lining of the bell tower dates from the 1880s. The passageway of the tower has paintings by Petter Bergström. \n\n\n\n## Liminka Pauper Statue \n\n\n\nThe Pauper Statue is exceptionally found in the church hall where it performs its function. Before that, it was locked away for a long time because it scared children. There is no further information about the creator, history of its creation, or year of completion. \n\n\n\n_Image credits:_ \n\n- Lapponica / flickr (2017) \n- Central Archive for Finnish Business Records (1956)\n","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":491,"postalCode":"","streetAddress":"Kirkkotie 9, 91900 Liminka"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":491,"CategoryId":15}}],"Media":[{"external":false,"id":1192,"type":"image/jpeg","title":"35426470610-3164f274ed-o.jpg","altText":null,"description":null,"userId":null,"path":"Kuh-FL3FNe5uEbn6AnsRF/35426470610-3164f274ed-o.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T07:41:25.348Z","updatedAt":"2025-12-22T07:41:25.348Z","MapItemMedia":{"MapItemId":491,"MediaId":1192,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":1191,"type":"image/jpeg","title":"limingantapuli-elka.jpg","altText":null,"description":null,"userId":null,"path":"eDxc-z6ZVB92lLIpe5uMy/limingantapuli-elka.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T07:38:43.282Z","updatedAt":"2025-12-22T07:38:43.282Z","MapItemMedia":{"MapItemId":491,"MediaId":1191,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":13,"title":"Arkkitehtuuri"}],"collection":{"order":13,"title":null,"i18n":null},"i18n":{"en":{"title":"Liminka bell tower and Pauper Statue ","content":"## Liminka bell tower \n\n \n\nThe bell tower, which is almost a hundred years older than the church, was built in 1733 under the leadership of Grels Norrling, who worked as a carpenter at Kajaani Castle. The tower is in the old churchyard to the west of the church. \n\nThe three-story church with a passageway is of the Ostrobothnian Renaissance type and was built for the parish's fourth church. \n\nThe exterior lining of the bell tower dates from the 1880s. The passageway of the tower has paintings by Petter Bergström. \n\n\n\n## Liminka Pauper Statue \n\n\n\nThe Pauper Statue is exceptionally found in the church hall where it performs its function. Before that, it was locked away for a long time because it scared children. There is no further information about the creator, history of its creation, or year of completion. \n\n\n\n_Image credits:_ \n\n- Lapponica / flickr (2017) \n- Central Archive for Finnish Business Records (1956)\n"},"sv":{"title":"","content":""}}},{"id":494,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.8155044,25.9871534]},"title":"Muhos Pauper Statue ","slug":"muhoksen-vaivaisukko-EDNvx6xArNPQZV5u6Mg3L","content":"## Muhos Pauper Statue \n\n \n\nIn his canopy on the wall of the bell tower stands a tarred Pauper Statue with a pair of bast shoes, made by Elias Vainio in 1934. The statue's coat is fastened with a buckle across his chest. Between his crossed hands is a money donation box with a hinged lid. The statue's fundraiser probably hasn’t made any notable progress because the lid of the box is unlocked. \n\n\n\n_Image credits:_ \n\n- SeppVei / Wikimedia Commons (2008) \n","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":494,"postalCode":"","streetAddress":"Kirkkotie 3, 95100 Muhos"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":494,"CategoryId":15}}],"Media":[{"external":false,"id":1203,"type":"image/jpeg","title":"07259f53-9b4a-4dbb-8aef-a91d6b34a618.jpg","altText":null,"description":null,"userId":null,"path":"a8JJnLPqpXSUknEq09aAe/07259f53-9b4a-4dbb-8aef-a91d6b34a618.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T08:59:41.305Z","updatedAt":"2025-12-22T08:59:41.305Z","MapItemMedia":{"MapItemId":494,"MediaId":1203,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":13,"title":"Arkkitehtuuri"},{"id":8,"title":"Taide"}],"collection":{"order":14,"title":null,"i18n":null},"i18n":{"en":{"title":"Muhos Pauper Statue ","content":"## Muhos Pauper Statue \n\n \n\nIn his canopy on the wall of the bell tower stands a tarred Pauper Statue with a pair of bast shoes, made by Elias Vainio in 1934. The statue's coat is fastened with a buckle across his chest. Between his crossed hands is a money donation box with a hinged lid. The statue's fundraiser probably hasn’t made any notable progress because the lid of the box is unlocked. \n\n\n\n_Image credits:_ \n\n- SeppVei / Wikimedia Commons (2008) \n"},"sv":{"title":"","content":""}}},{"id":255,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[65.1794701,25.3502601]},"title":"Haukipudas Pauper Statue ","slug":"haukiputaan-tapuli--FeVmmn2KKC_QetvKllQ0","content":"## Haukipudas Pauper Statue \n\n \n\nThe original Pauper Statue, made by Juho Vahtola in 1850, is in the collections of the Oulu Museum and Science Centre. A copy made by Rauno Lampila in 1984 now stands on the wall of the bell tower. \n\nThere is an exhortation sentence in the large hat of the dark-haired Pauper Statue with a long coat, beard, and a mustache. The lapels and edges of the coat, the pant legs and the button placket of the shirt are decorated with carved braids. There is a bandage in his right hand and the remains of a cane in his left fist. \n\n\n\n_Image credits:_ \n\n- Estormiz (2006), Wikimedia Commons \n- István Rácz (1966-67), The Finnish Heritage Agency / Historical Picture Collection. \n","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":255,"postalCode":"","streetAddress":"Kirkkotie 10, 90830 Haukipudas"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":255,"CategoryId":15}}],"Media":[{"external":false,"id":454,"type":"image/jpeg","title":"haukiputaantapuli-istvan.jpg","altText":null,"description":null,"userId":null,"path":"00CaNmvMpU2p59R4cW0KP/haukiputaantapuli-istvan.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-02T09:02:44.992Z","updatedAt":"2025-12-02T09:02:44.992Z","MapItemMedia":{"MapItemId":255,"MediaId":454,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":1193,"type":"image/jpeg","title":"haukiputaanukko.jpg","altText":null,"description":null,"userId":null,"path":"kvqDVYgafnwTBUDTertcj/haukiputaanukko.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T07:56:45.765Z","updatedAt":"2025-12-22T07:56:45.765Z","MapItemMedia":{"MapItemId":255,"MediaId":1193,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":13,"title":"Arkkitehtuuri"}],"collection":{"order":15,"title":null,"i18n":null},"i18n":{"en":{"title":"Haukipudas Pauper Statue ","content":"## Haukipudas Pauper Statue \n\n \n\nThe original Pauper Statue, made by Juho Vahtola in 1850, is in the collections of the Oulu Museum and Science Centre. A copy made by Rauno Lampila in 1984 now stands on the wall of the bell tower. \n\nThere is an exhortation sentence in the large hat of the dark-haired Pauper Statue with a long coat, beard, and a mustache. The lapels and edges of the coat, the pant legs and the button placket of the shirt are decorated with carved braids. There is a bandage in his right hand and the remains of a cane in his left fist. \n\n\n\n_Image credits:_ \n\n- Estormiz (2006), Wikimedia Commons \n- István Rácz (1966-67), The Finnish Heritage Agency / Historical Picture Collection. \n"},"sv":{"title":"","content":""}}},{"id":235,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.2645945,24.8057771]},"title":"Oulainen bell tower and Pauper Statue ","slug":"oulaisten-tapuli-OPpOSuVICztTbq9UDVjwj","content":"$10c","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":235,"postalCode":"","streetAddress":"Oulaistenkatu 57, 86300 Oulainen"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":235,"CategoryId":15}}],"Media":[{"external":false,"id":428,"type":"image/jpeg","title":"oulaistentapuli-marttijokinen.jpg","altText":null,"description":null,"userId":null,"path":"d5Es-mOFUfQ6ZHwpx11hP/oulaistentapuli-marttijokinen.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-01T11:28:13.448Z","updatedAt":"2025-12-01T11:28:13.448Z","MapItemMedia":{"MapItemId":235,"MediaId":428,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":1204,"type":"image/jpeg","title":"oulainen.jpg","altText":null,"description":null,"userId":null,"path":"bViZgPaXz6az0sTgQL5gk/oulainen.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T09:55:30.620Z","updatedAt":"2025-12-22T09:55:30.620Z","MapItemMedia":{"MapItemId":235,"MediaId":1204,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":429,"type":"image/jpeg","title":"oulaisten-tapuli-elka.jpg","altText":null,"description":null,"userId":null,"path":"7e5BbPOMvyZFLysL0GBsK/oulaisten-tapuli-elka.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-01T11:28:13.838Z","updatedAt":"2025-12-01T11:28:13.838Z","MapItemMedia":{"MapItemId":235,"MediaId":429,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":13,"title":"Arkkitehtuuri"},{"id":8,"title":"Taide"}],"collection":{"order":16,"title":null,"i18n":null},"i18n":{"en":{"title":"Oulainen bell tower and Pauper Statue ","content":"$10d"},"sv":{"title":"","content":""}}},{"id":500,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[63.9086557,24.5109594]},"title":"Sievi Pauper Statue ","slug":"sievin-vaivaisukko-6qS0jWtpqzg-tZJZ6IHOR","content":"## Sievi Pauper Statue \n\n \n\nSievi Pauper Statue stands under a canopy on the wall of the former morgue in the cemetery. There is no further information about its maker, history of creation, or year of completion. \n\nThe Pauper Statue is wearing a bowler hat, a black jacket, a white shirt, and grey pants. The statue had previously fallen into poor condition was repaired in the 2000s. \n\nSievi church is part of the Roadside Churches network: \n\n- Roadside churches are **free** **and open** **rest** **areas** **on summer** **routes** \n- Open **2.6.-2.8.2026**, Tue-Fri at 12-17.\n\n\n\n*Image credits:* \n\n- Wikimedia Commons (2023) \n","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[{"id":1772442525191,"url":"https://www.tiekirkot.fi/kirkot/sievin-kirkko/","color":"#5412C7","title":"Sievin kirkko Tiekirkot-palvelussa"}],"Point":{"MapItemId":500,"postalCode":"","streetAddress":"Haikolantie 44, 85410 Sievi"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":500,"CategoryId":15}}],"Media":[{"external":false,"id":1212,"type":"image/jpeg","title":"sievi.jpg","altText":null,"description":null,"userId":null,"path":"biJ26OJDVJxkr8zqNqhKm/sievi.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T11:18:17.761Z","updatedAt":"2025-12-22T11:18:17.761Z","MapItemMedia":{"MapItemId":500,"MediaId":1212,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":8,"title":"Taide"},{"id":13,"title":"Arkkitehtuuri"}],"collection":{"order":17,"title":null,"i18n":null},"i18n":{"en":{"title":"Sievi Pauper Statue ","content":"## Sievi Pauper Statue \n\n \n\nSievi Pauper Statue stands under a canopy on the wall of the former morgue in the cemetery. There is no further information about its maker, history of creation, or year of completion. \n\nThe Pauper Statue is wearing a bowler hat, a black jacket, a white shirt, and grey pants. The statue had previously fallen into poor condition was repaired in the 2000s. \n\nSievi church is part of the Roadside Churches network: \n\n- Roadside churches are **free** **and open** **rest** **areas** **on summer** **routes** \n- Open **2.6.-2.8.2026**, Tue-Fri at 12-17.\n\n\n\n*Image credits:* \n\n- Wikimedia Commons (2023) \n"},"sv":{"title":"","content":""}}},{"id":499,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.0760835,24.2042837]},"title":"Rautio Pauper Statue ","slug":"raution-vaivaisukko-h01zbZAlSujezRrRosACi","content":"## Rautio Pauper Statue \n\n \n\nThe Pauper Statue attached to the wall of the bell tower resembles the Pauper Statues of Haapajärvi and Kalajoki, but it does not reach the bulkiness of the statue in Kalajoki. \n\nThe Pauper Statue is wearing a black tailcoat that reaches down to his waist from the front, with round lapels and grey cuffs. The jacket has five pairs of buttons. The shirt collars have green trims. \n\nThis statue has also been robbed, most recently in 2012, when he was found in Kannus with the money inside taken but otherwise in good condition. \n\n\n\n*Image credits:* \n\n- Alaiho (2019), Wikimedia Commons \n","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":499,"postalCode":"","streetAddress":"Rautiontie 1700, 85160 Rautio"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":499,"CategoryId":15}}],"Media":[{"external":false,"id":1211,"type":"image/jpeg","title":"rautionukko.jpg","altText":null,"description":null,"userId":null,"path":"d5hXU7npK5KzYmt2R2kIL/rautionukko.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T11:08:49.180Z","updatedAt":"2025-12-22T11:08:49.180Z","MapItemMedia":{"MapItemId":499,"MediaId":1211,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":13,"title":"Arkkitehtuuri"},{"id":8,"title":"Taide"}],"collection":{"order":18,"title":null,"i18n":null},"i18n":{"sv":{"title":"","content":""},"en":{"title":"Rautio Pauper Statue ","content":"## Rautio Pauper Statue \n\n \n\nThe Pauper Statue attached to the wall of the bell tower resembles the Pauper Statues of Haapajärvi and Kalajoki, but it does not reach the bulkiness of the statue in Kalajoki. \n\nThe Pauper Statue is wearing a black tailcoat that reaches down to his waist from the front, with round lapels and grey cuffs. The jacket has five pairs of buttons. The shirt collars have green trims. \n\nThis statue has also been robbed, most recently in 2012, when he was found in Kannus with the money inside taken but otherwise in good condition. \n\n\n\n*Image credits:* \n\n- Alaiho (2019), Wikimedia Commons \n"}}},{"id":256,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.0611054,23.6550343]},"title":"Himanka Pauper Statue ","slug":"himangan-tapuli-o0tq-he9IxjSqKMPddxPi","content":"## Himanka Pauper Statue\n\n\n\nUnder the canopy next to the main door of the church stands a wealthy-looking Pauper Statue with a book in his left hand.\n\nThe Pauper Statue might have been carved in 1827, but the date may have been the previous statue’s. According to Paulaharju's notes (1916), the Pauper Statue was carved by the churchwarden Aleksanteri Boren, and the date would have been much later. The statue has been called \"the churchwarden’s youngest son\".\n\nThe face is pale, with only the eyeballs, eyebrows and lips painted on. It has a knee-length grey collared jacket with three pairs of buttons, black trousers and shoes. The hat has a conical dome. The edges of the hat and the collar of the coat, painted in a darker grey, could imitate a short-cropped wool or sheepskin.\n\nOn the front of the canopy is the sentence \"Who helps the poor lends to the Lord.\"\n\nThe Pauper Statue had a rough time in 2010 when he was forcibly taken off the wall and robbed.\n\n\n\n*Image credits:*\n\n- Lotta Puurula (2025)\n","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":256,"postalCode":"","streetAddress":"Haahdentie 1, 68100 Himanka"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":256,"CategoryId":15}}],"Media":[{"external":false,"id":1195,"type":"image/jpeg","title":"puu-ij-2.jpg","altText":null,"description":null,"userId":null,"path":"T740uwcszAWPykNDurqzT/puu-ij-2.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T08:00:25.284Z","updatedAt":"2025-12-22T08:00:25.284Z","MapItemMedia":{"MapItemId":256,"MediaId":1195,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":1196,"type":"image/jpeg","title":"kirkko4.jpg","altText":null,"description":null,"userId":null,"path":"KrWrN70UwHBiHYnfJpTPO/kirkko4.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T08:00:55.971Z","updatedAt":"2025-12-22T08:00:55.971Z","MapItemMedia":{"MapItemId":256,"MediaId":1196,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":1194,"type":"image/jpeg","title":"puu-ij-1.jpg","altText":null,"description":null,"userId":null,"path":"RrdIijl1ECt4Sgj2W8obH/puu-ij-1.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T08:00:24.654Z","updatedAt":"2025-12-22T08:00:24.654Z","MapItemMedia":{"MapItemId":256,"MediaId":1194,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":13,"title":"Arkkitehtuuri"}],"collection":{"order":19,"title":null,"i18n":null},"i18n":{"sv":{"title":"","content":""},"en":{"title":"Himanka Pauper Statue ","content":"## Himanka Pauper Statue\n\n\n\nUnder the canopy next to the main door of the church stands a wealthy-looking Pauper Statue with a book in his left hand.\n\nThe Pauper Statue might have been carved in 1827, but the date may have been the previous statue’s. According to Paulaharju's notes (1916), the Pauper Statue was carved by the churchwarden Aleksanteri Boren, and the date would have been much later. The statue has been called \"the churchwarden’s youngest son\".\n\nThe face is pale, with only the eyeballs, eyebrows and lips painted on. It has a knee-length grey collared jacket with three pairs of buttons, black trousers and shoes. The hat has a conical dome. The edges of the hat and the collar of the coat, painted in a darker grey, could imitate a short-cropped wool or sheepskin.\n\nOn the front of the canopy is the sentence \"Who helps the poor lends to the Lord.\"\n\nThe Pauper Statue had a rough time in 2010 when he was forcibly taken off the wall and robbed.\n\n\n\n*Image credits:*\n\n- Lotta Puurula (2025)\n"}}},{"id":492,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.3152456,23.51255]},"title":"Maakalla Pauper Statue ","slug":"maakallan-vaivaisukko-ikMtwWL_4JzCdlcp83S1r","content":"## Maakalla Pauper Statue\n\n\n\nIn the doorway of the church, under a canopy, stands a Pauper Statue in a grey suit and a church hat, sculpted in 1967 by the fisherman and carpenter Ville Orelli from Plassi. The shoes, iron fastening belt, and the cover of the money slot are made of black painted iron. The money received will be used for the renovation of the church.\n\n\n\n*Image credits:*\n\n- Pekka Kyytinen (1970), The Finnish Heritage Agency / Ethnographic Picture Collection\n","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":492,"postalCode":"","streetAddress":"Maakalla"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":492,"CategoryId":15}}],"Media":[{"external":false,"id":1197,"type":"image/jpeg","title":"maakalla-vaivaisukko.jpg","altText":null,"description":null,"userId":null,"path":"rkxAw6AGjc3-MOAOMLUg1/maakalla-vaivaisukko.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T08:20:48.392Z","updatedAt":"2025-12-22T08:20:48.392Z","MapItemMedia":{"MapItemId":492,"MediaId":1197,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":13,"title":"Arkkitehtuuri"}],"collection":{"order":20,"title":null,"i18n":null},"i18n":{"sv":{"title":"","content":""},"en":{"title":"Maakalla Pauper Statue ","content":"## Maakalla Pauper Statue\n\n\n\nIn the doorway of the church, under a canopy, stands a Pauper Statue in a grey suit and a church hat, sculpted in 1967 by the fisherman and carpenter Ville Orelli from Plassi. The shoes, iron fastening belt, and the cover of the money slot are made of black painted iron. The money received will be used for the renovation of the church.\n\n\n\n*Image credits:*\n\n- Pekka Kyytinen (1970), The Finnish Heritage Agency / Ethnographic Picture Collection\n"}}},{"id":496,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.4682671,24.255766]},"title":"Pyhäjoki Pauper Statue ","slug":"pyhajoen-vaivaisukko-JOLqC0wErocBzHfBjKWFA","content":"$10e","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":496,"postalCode":"","streetAddress":"Vanhatie 27, 86100 Pyhäjoki"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":496,"CategoryId":15}}],"Media":[{"external":false,"id":1207,"type":"image/jpeg","title":"pyh-jokiukko.jpg","altText":null,"description":null,"userId":null,"path":"poBuKr3DSGL-AL-0hyuiY/pyh-jokiukko.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-22T10:11:38.450Z","updatedAt":"2025-12-22T10:11:38.450Z","MapItemMedia":{"MapItemId":496,"MediaId":1207,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":13,"title":"Arkkitehtuuri"},{"id":8,"title":"Taide"}],"collection":{"order":21,"title":null,"i18n":null},"i18n":{"en":{"title":"Pyhäjoki Pauper Statue ","content":"$10f"},"sv":{"title":"","content":""}}},{"id":234,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.2733048,25.8665586]},"title":"Pulkkila bell tower ","slug":"pulkkilan-tapuli-5rLHJfAzp6GQOi9S3-pAY","content":"## Pulkkila bell tower \n\n \n\nThe bell tower of Pulkkila church was built when the previous church was in use in 1843. It was designed by Carl Ludvig Engel at the Finnish Intendant's Office. The builder was Jaakko Kuorikoski. The style of the bell tower is neo-Gothic. \n\nThe wooden cruciform church that preceded the current one was built by Jaakko Suonperä in 1768–1769. \n\nThe current church was built in 1908–1909 according to the plans of architect Josef Stenbäck. The church combines neo-Gothic and Art Nouveau styles. \n\n\n\n*Image credits:* \n\n- The Finnish Heritage Agency / Historical Picture Collection (1899). \n","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[],"Point":{"MapItemId":234,"postalCode":"","streetAddress":"Pulkkilantie 27, 92600 Pulkkila"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":234,"CategoryId":15}}],"Media":[{"external":false,"id":427,"type":"image/jpeg","title":"pulkkilantapuli-museovirasto.jpg","altText":null,"description":null,"userId":null,"path":"5GAzBXXCc_LsaC9WyzTcp/pulkkilantapuli-museovirasto.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-01T11:21:16.964Z","updatedAt":"2025-12-01T11:21:16.964Z","MapItemMedia":{"MapItemId":234,"MediaId":427,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":13,"title":"Arkkitehtuuri"}],"collection":{"order":22,"title":null,"i18n":null},"i18n":{"en":{"title":"Pulkkila bell tower ","content":"## Pulkkila bell tower \n\n \n\nThe bell tower of Pulkkila church was built when the previous church was in use in 1843. It was designed by Carl Ludvig Engel at the Finnish Intendant's Office. The builder was Jaakko Kuorikoski. The style of the bell tower is neo-Gothic. \n\nThe wooden cruciform church that preceded the current one was built by Jaakko Suonperä in 1768–1769. \n\nThe current church was built in 1908–1909 according to the plans of architect Josef Stenbäck. The church combines neo-Gothic and Art Nouveau styles. \n\n\n\n*Image credits:* \n\n- The Finnish Heritage Agency / Historical Picture Collection (1899). \n"},"sv":{"title":"","content":""}}},{"id":259,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[63.9785474,25.765729]},"title":"Kärsämäki bell tower and Pauper Statue ","slug":"karsamaen-tapuli-LzVZ5yPUAbWTYlpBPCc3V","content":"$110","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[{"id":1772442726854,"url":"https://www.tiekirkot.fi/kirkot/karsamaen-engelin-kirkko/","color":"#5412C7","title":"Kärsämäen kirkko Tiekirkot-palvelussa"}],"Point":{"MapItemId":259,"postalCode":"","streetAddress":"Frosteruksenkatu 17, 86710 Kärsämäki"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":259,"CategoryId":15}}],"Media":[{"external":false,"id":1217,"type":"image/jpeg","title":"k-rs-m-ki2.jpg","altText":null,"description":null,"userId":null,"path":"m7mLD8_ni9YDXVytndfCS/k-rs-m-ki2.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-29T06:27:39.066Z","updatedAt":"2025-12-29T06:27:39.066Z","MapItemMedia":{"MapItemId":259,"MediaId":1217,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":1215,"type":"image/jpeg","title":"k-rs-m-ki3.jpg","altText":null,"description":null,"userId":null,"path":"hJXM44BVGTM17Jn3evgQo/k-rs-m-ki3.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-29T06:27:34.550Z","updatedAt":"2025-12-29T06:27:34.550Z","MapItemMedia":{"MapItemId":259,"MediaId":1215,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":460,"type":"image/jpeg","title":"k-rs-m-entapuli-elka.jpg","altText":null,"description":null,"userId":null,"path":"ZxHzdQR2Wy5PFXpIK10qX/k-rs-m-entapuli-elka.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-02T11:26:55.935Z","updatedAt":"2025-12-02T11:26:55.935Z","MapItemMedia":{"MapItemId":259,"MediaId":460,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":461,"type":"image/png","title":"ilmakuvak-rs-m-ki.png","altText":null,"description":null,"userId":null,"path":"jKSvxwQ_DRVX8l01Ao5ex/ilmakuvak-rs-m-ki.png","thumbnailPath":null,"status":"published","createdAt":"2025-12-02T11:29:05.549Z","updatedAt":"2025-12-02T11:29:05.549Z","MapItemMedia":{"MapItemId":259,"MediaId":461,"coordinates":null,"is360":false,"order":0,"langs":[]}},{"external":false,"id":1216,"type":"image/jpeg","title":"k-rs-m-ki1.jpg","altText":null,"description":null,"userId":null,"path":"JHD3szMyPa0Wrl5UaJzlu/k-rs-m-ki1.jpg","thumbnailPath":null,"status":"published","createdAt":"2025-12-29T06:27:36.697Z","updatedAt":"2025-12-29T06:27:36.697Z","MapItemMedia":{"MapItemId":259,"MediaId":1216,"coordinates":null,"is360":false,"order":0,"langs":[]}}],"Tags":[{"id":13,"title":"Arkkitehtuuri"}],"collection":{"order":23,"title":null,"i18n":null},"i18n":{"en":{"title":"Kärsämäki bell tower and Pauper Statue ","content":"$111"},"sv":{"title":"","content":""}}}],"Media":[{"external":false,"id":1214,"title":"kirkosta-kirkkoon-2-.png","type":"image/png","path":"ZumZpki7gMqAfDQzyfKKu/kirkosta-kirkkoon-2-.png","altText":null,"description":null,"thumbnailPath":null,"meta":{"order":0,"langs":[]}}],"i18n":{"en":{"title":"Bell towers and Pauper Statues – From Church to Church / Oulu2026 ","content":"$112"},"sv":{"title":"","content":""}}},{"id":9,"title":"The history and stories of the Kalajoki mother parish – From Church to Church / Oulu2026 ","slug":"kalajoen-kirkot-emaseurakunnan-vaiheita","status":"published","subzoneId":9,"content":"$113","shortDescription":null,"contentBlocks":null,"isOrdered":false,"duration":0,"mainMediaId":181,"icon":"","color":"","length":null,"createdAt":"2025-02-26T09:56:57.685Z","updatedAt":"2026-03-20T09:43:07.194Z","Subzone":{"subtitle":""},"Tags":[],"MapItems":[{"id":43,"type":"Point","status":"published","geo":{"crs":{"type":"name","properties":{"name":"EPSG:4326"}},"type":"Point","coordinates":[64.06070538639291,23.65519523620606]},"title":"Himanka Church","slug":"himangan-kirkko","content":"$114","isInteractive":true,"isGeofenced":0,"oEmbeds":[],"buttons":[{"id":1772441490391,"url":"https://www.tiekirkot.fi/kirkot/himangan-kirkko/","i18n":{"en":{"title":"Himanka Church in Tiekirkot website"}},"color":"#5412C7","title":"Himangan kirkko Tiekirkot-palvelussa"}],"Point":{"MapItemId":43,"postalCode":"","streetAddress":"Haahdentie 1, 68100 Himanka"},"Event":null,"Route":null,"Area":null,"Categories":[{"iconColor":"#ffffff","id":15,"status":"published","title":"Kirkko","slug":"kirkko-1","content":"","icon":"category/church","color":"#2BC46C","parentId":null,"priority":0,"createdAt":"2025-01-21T06:29:20.656Z","updatedAt":"2025-01-21T06:29:20.656Z","MapItemCategory":{"MapItemId":43,"CategoryId":15}}],"Media":[{"external":false,"id":251,"type":"image/jpeg","title":"himangankirkko_elka.jpg","altText":null,"description":null,"userId":"268b85b0-81c7-4fb4-b139-c9c1b8529a6e","path":"0775d31c-407b-412e-9c85-c1e656237da8/himangankirkko-elka.jpeg","thumbnailPath":"0775d31c-407b-412e-9c85-c1e656237da8/himangankirkko-elka-thumbnail.jpeg","status":"published","createdAt":"2025-10-17T10:01:36.099Z","updatedAt":"2025-10-17T10:01:36.099Z","MapItemMedia":{"MapItemId":43,"MediaId":251,"coordinates":null,"is360":null,"order":4,"langs":[]}},{"external":false,"id":344,"type":"image/jpeg","title":"kirkko4.JPG","altText":null,"description":null,"userId":"268b85b0-81c7-4fb4-b139-c9c1b8529a6e","path":"a3a41bfb-739c-487d-8a81-534ea9e58f09/kirkko4.jpeg","thumbnailPath":"a3a41bfb-739c-487d-8a81-534ea9e58f09/kirkko4-thumbnail.jpeg","status":"published","createdAt":"2025-10-23T07:41:43.191Z","updatedAt":"2025-10-23T07:41:43.191Z","MapItemMedia":{"MapItemId":43,"MediaId":344,"coordinates":null,"is360":null,"order":1,"langs":[]}},{"external":false,"id":132,"type":"image/jpeg","title":"tapuli1.JPG","altText":null,"description":null,"userId":"268b85b0-81c7-4fb4-b139-c9c1b8529a6e","path":"a51dd27b-1147-467d-b6e0-5e08d1a4b7ba/tapuli1.jpeg","thumbnailPath":"a51dd27b-1147-467d-b6e0-5e08d1a4b7ba/tapuli1-thumbnail.jpeg","status":"published","createdAt":"2025-09-02T05:28:02.206Z","updatedAt":"2025-09-02T05:28:02.206Z","MapItemMedia":{"MapItemId":43,"MediaId":132,"coordinates":null,"is360":null,"order":3,"langs":[]}},{"external":false,"id":131,"type":"image/jpeg","title":"puuäijä2.JPG","altText":null,"description":null,"userId":"268b85b0-81c7-4fb4-b139-c9c1b8529a6e","path":"8b6b70af-53dd-437b-8118-7875e3fae1c4/puu-ij-2.jpeg","thumbnailPath":"8b6b70af-53dd-437b-8118-7875e3fae1c4/puu-ij-2-thumbnail.jpeg","status":"published","createdAt":"2025-09-02T05:28:01.136Z","updatedAt":"2025-09-02T05:28:01.136Z","MapItemMedia":{"MapItemId":43,"MediaId":131,"coordinates":null,"is360":null,"order":2,"langs":[]}},{"external":false,"id":46,"type":"image/jpeg","title":"Himangan 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