‘The pike climbed into a tree to sing…’

pike1The totem-like sculpture consists of three parts. The pike at the centre has alder branches entwined around it. Next to the pike are two towers made of the lids of concert grand pianos and piles of firewood.

The 13-meter high artwork measures six metres in width and nine in length, and is made of aluminium and steel. The making of the 50,000-tonne sculpture required more skill and time than anyone would have thought.

The head of the pike and the five firewood piles were cast at the Lapinlahden Taidevalu Oy’s foundry. This stage of the project alone took two years.

Efficient welding with a push-pull gun

‘Welding and finishing the teeth in the upper jaw of the pike took several days’, CEOTomi Sinisalo of Lapinlahden Taidevalu Oy says, shedding light on the scale of the project.

The head of the pike is made of 70 separate cast pieces. Sinisalo recalls that 1,600 kg of plaster was used to make the moulds.

The head, weighing 700 kg, and the firewood piles were welded together using aluminium. Sinisalo does not dare to think of the total amount of hours spent on the welding work.

‘We had one to three men working on the pieces for two years. In total, 20 feed rolls of 1.2 mm diameter aluminium wire were needed to complete the project,’ he says.

All welding was done with a KempoMat 3200 machine equipped with a push-pull gun which made wire feeding more efficient.

Sinisalo says the secret behind the successful completion of the project was the right welding machine settings and patience: ‘The weld seams had to be ground and finished to look exactly like the rest of the sculpture, which meant that all weld beads had to be removed. You also had to be patient and give the pieces time to cool to avoid burn-through.’

The welders’ skills in aluminium welding developed as the project progressed.

‘Now we are all very good at welding aluminium.’ Sinisalo says that KempoMat 3200 has also proven highly suitable for other welding work at the company.  ‘The after-sales services are also good, and spare parts can be ordered in Finnish.’

Sinisalo was one of the welders who joined the head of the pike to its body. He was relieved when the challenging project was completed. ‘It was a great achievement.’

pike3 pike2

Unique workmanship

The other parts of the sculpture were made at Halikko IKP Works Oy. Plater-welder Marko Yli-Tokola, who was in charge of the production process, estimates that he spent around two thousand hours on the project.

The sides of the pike were made of a 40 mm thick sheet while the tail was made of a 20 mm thick sheet.

‘Most of the work had to be done by hand. For instance, I bent the tail of the pike to shape by heating the sheet metal to a red glow and shaping it with a sledge hammer and hammer,’ he explains.

Yli-Tokola also finished the sides of the fish by hand. That involved making thousands of holes with a router.

‘The edge of each hole had to be ground round to a certain measure to prevent the painted surface from cracking and causing rusting. The aim was to produce high-quality work which would be as durable as possible,’ he sums up.

He says the project required spatial perception in addition to workmanship. The position of the pike was one of the biggest challenges. It reaches for the skies, leaning back around six degrees. Because of its height, the fish had to be assembled in a horizontal position.

‘The shape of the pike was difficult to visualise when you were standing next to it. I had to keep using a ladder to check that it still had the right shape.’

The fascinating world of welding

Sculptor Reijo Hukkanen’s Laulupuut sculpture won the 2010 Helsinki Music Centre Art Competition, which received nearly 800 entries in total.

Hukkanen got the idea for his sculpture from ‘The Pike’s Song,’ a poem by Aaro Hellaakoski. It was first published in the anthology Ice Mirror in 1928, and is one of the most discussed poems in 20th-century Finnish literature. In the enigmatic stanzas, a fish is singing a hymn and biting on a red cone at the top of a fir tree.

The poem, which Hukkanen had heard on the radio as a schoolboy, came back to his mind when he was sketching entries for the competition.

‘I had a lot of ideas and even made some scale models, but nothing really worked. Then my eyes fell on a plastic whale I had bought as a souvenir at the American Museum of Natural History in New York, which was leaning against the wall. I said to my wife that even fish can sing here, but I cannot do anything.’

At the same moment the poem about the pike came back to Hukkanen and gave him the idea for the sculpture.

‘Still, my idea was not to illustrate the poem. The sculpture is like a piece of knitting that turned out as a mitten thanks to good luck,’ he describes.

When he was sketching the sculpture, Hukkanen was not thinking about the practicalities yet.

‘Thinking about the technical details early on is restricting. The time to sit down and think about how an artwork can be produced comes after the brainstorming stage.’

Hukkanen was closely involved in the production of the artwork. He is very impressed by the workmanship he witnessed.

‘Assembly and weld seams are an important aspect of the sculpture. The weld seams have their own visual characteristics. That is why each joint had to be considered carefully.’

He was surprised at how complex and demanding welding work is. ‘It still looks like a miracle when two pieces of metal are joined together.’

Hukkanen has been touched by the number of people who have told him about their affection for Laulupuut.


This was not first time Kemppi Oy’s welding machines had been used to create a famous work of art. Jukka Lehtinen’s sculpture Oma maa mansikka (‘Where the Strawberries Grow’) is located at the front of the Finnish Parliament Annex in Helsinki. An article about the sculpture, made with Kemppi machines, was published in ProNews 2/2007.

The Kempomat 3200 machine used for the assembly of the pike sculpture belongs to Kemppi’s world-famous KempoMat range of products. Ever since their introduction to the market, Kempomat machines have been popular MIG/MAG welding devices among professional welders.

In 2012, Kemppi replaced the Kempomat range with the new Kempact RA range, which boasts 21st-century usability and technology. Kempact RA was recognised with the prestigious iF product design award soon after it was introduced.


Welding and motorsport are inextricably linked

The combination of high strength, lightweight alloys used throughout race car design demands reliable joining techniques that can repel the exacting forces and high stress loads of competition.

From the Rally car chassis to the advanced performance engineering of Formula 1 Grand Prix racing, Kemppi supply welding solutions to get the job done first time, every time.

Of course, carbon fibre and fully machined components are now used extensively throughout motorsport, offering high strength and light weight, but welding is still the joining process of choice for key components.

Kemppi is the official partner of Williams F1 Team, supplying equipment solutions and welding consultancy for their factory workshops and race circuit needs.

Williams F1 Team use Kemppi equipment during the construction of key components on the FW35 grand prix car, including:

a. Aluminium cooling radiators for engine cooling water, oil cooling, and the kinetic energy recovery system (KERS) cooling

b. Inconel exhaust pipe systems

c. Titanium pipework, flanges and brackets

d. Titanium suspension wishbones

e. Race team and trackside support equipment





Valtteri Bottas hopes to challenge for points

Williams’ Valtteri Bottas is well into his first season in the Formula One series, and he is hoping to challenge for points from the very first race in 2014.

2013 British Grand Prix - Saturday

The current season, however, has not gone entirely to plan.

‘Everyone in the team was expecting a lot better results than we actually got in the first half of the season, so we can’t be satisfied. We need points, and we need to work really hard to improve the car to get them,’ Bottas explains.

With hindsight, he thinks that the team might have focused too strongly on developing certain aspects of the car’s aerodynamics during winter testing, and this was at the expense of other key elements. The new car has not performed as well as last season’s car.

‘However, we now have a better understanding of which aspects of aerodynamics are the most important for the speed and downforce of the car. Now we have to put all the pieces of the puzzle together,’ Bottas says.

Instead of feeling sorry for themselves, the team have been working tirelessly to solve the problems. Bottas’s personal aim is to do his best on the track, always.

‘My aim is always to give 100% both on and off the track – that is all I can do,’ he explains.


Finding the best set-up – a matter of teamwork

Feedback from the driver plays a key role in efforts to improve the car.

‘Continuous, detailed feedback on how the car behaves on the track is absolutely crucial. It is particularly important when we are testing new parts,’ says Bottas.

On qualifying and race days, Bottas discusses his car’s set-up with the team’s race engineer, and the key decisions are made jointly. The race strategy is always planned by the team’s strategy engineer.

However, Bottas adds, ‘The driver’s opinions are also taken into account in the planning of the race strategy.’


Improvement race by race

Bottas has settled well into his role as an F1 racing driver.

‘The Williams F1 Team are like a second family to me. I enjoy every day that I spend with the team,’ he says.

Throughout the 2013 season, the main problem has been the slowness of the car. Also, the car’s driveability has not been as good as it could be.

‘At times, even qualifying for the race has been difficult, but the car is getting better all the time,’ explains Bottas.

He is justifiably happy with his own contribution so far this season: ‘I have been quick in comparison with my teammate, and I have learnt a lot. I’m getting better race by race,’ Bottas says.

He hopes that he will be able to challenge for points right from the start in the 2014 season. ‘It’s important for the whole team to take a big leap forward next season,’ he concludes .


2013 Spanish Grand Prix - Sunday


Kemppi lands a movie role


Kemppi is going to get some movie glamour next fall when movie “Werther” will premiere in Finland. In the movie, the main character is metal sculpture who uses Kempact RA 181A when making his art.

– “Werther” is a story about a man who finds out he has a son, but only after the son has died in an accident. The man sets out to find out what kind of person his son was. It’s like a melancholic detective story, says the film director Jarmo Lampela.

“Werther” is Lampela’s fifth feature film. Previously Lampela has depicted human fates in movies like “Sairaan kaunis maailma”, “Joki”, “Eila” and “Conversations between men”. “Werther” is starred with preeminent Finnish actors such as Juha Kukkonen in the leading role, Iina Kuustonen in her first major film role and young Jyri Ojansivu as the son.

Kukkonen’s character is an artistic welder who has a shop at Suomenlinna sea fortress. Lampela decided to make the character metal sculptor, because on an island artists usually make their art from scrap and recycled material.

– Welding is also lot more cinematographic than traditional sculpting or drawing, he says.

Actors had to learn some welding, naturally. Movie crew contacted Kemppi after they had some difficulties with other welding equipment.

– When our scenographer got his hands on Kempact RA, we were getting somewhere. With easy-to-use Kemppi machine even the actors learned it quickly, Lampela describes.

The movie “Werther” is now in postproduction and will hit Finnish theatres around September.


The position of welding and welders in cinematography and other arts was also discussed in the joystory “Master of the Grooves“, published in Kemppi’s customer magazine ProNews #2/2008.