Kirkjubøur, Tórshavn & Hoyvík, Streymoy, Faroe Islands

Today was truly a spectacular day and it’s honestly going to be difficult to distill it into a single blog post. The Faroe Islands are more than I expected and it’s such a privilege to be able to visit such a unique and truly beautiful place. One thing I’ve quickly learned in the Faroes is that flexibility is key here – the tour I was supposed to attend today got moved (they got a larger booking and I’d given additional availability, which is totally fair!) and then the tour I booked to replace the original tour suggested we go tomorrow (better weather in the north of the country!). So, I opted to move tomorrow’s plan to today: rent a car and drive around the island of Streymoy, visiting sights in Tórshavn and a few nearby cities. For a country with pretty “limited” tourist infrastructure, I have to say RentYourCar.Fo did an amazing job – they literally dropped off the car at my Airbnb, upgraded it for free, and (hilariously!) let me know its so safe here I can just leave the keys in it and they’ll grab it sometime tomorrow.

With the car secured, I headed to the town of Kirkjubøur. It’s roughly ~15 minutes to the southwest of the capital city, with most of that time on one-lane roads with many furry friends as traffic. Interestingly, I’d rented a “mini” (with the logic that these one-lane roads are probably similar to Italy where an oversized car will be a problem) and observed today that everyone actually prefers a midsize (which is what I was “upgraded” to by the rental company). The lanes are extremely narrow, but I’ve realized that the ruggedness of the country does require the larger car, both for safety in the rain and for maneuverability. Similarly, my hiking boots came extremely in handy.

A scenic view of the Faroe Islands with a body of water in the background, featuring several sheep on green grass and rocky terrain under a cloudy sky.

Kirkjubøur blew my mind. The sights, the cultural history, the experience of standing on a huge volcanic rock on the edge of the Atlantic Ocean and just feeling the wind rush over you – it had it all. The village is relatively “large” by Faroese standards, with lovely homes set against the incredible mountainous terrain.

A scenic view of Kirkjubøur village in the Faroe Islands, featuring traditional wooden houses set against a mountainous landscape under a cloudy sky.
A scenic view of colorful houses set against a backdrop of lush green hills and a calm sea under a partly cloudy sky in the Faroe Islands.

The “draw” of the village for me initially was the Roykstovan farmhouse, which has been owned by the same family for 17 generations going back to the Viking period. Sadly it only had 18 reviews on Google (mine makes 19 and I tried to be comprehensive!), but it was well worth the visit.

Traditional Faroese houses with grass roofs and red windows in Kirkjubøur, surrounded by lush green grass and rocky terrain under a cloudy sky.

The farmhouse fascinated me for several reasons. First, the exterior architecture. As I’d learn later today at the National Museum, the facade is traditional Faroese – and, as you can see, the rock siding suggests that these were not especially wealthy individuals, as timber was and is incredibly scarce here (traditionally, just driftwood gathered after shipwrecks and any wood imported from Norway) and would have been reserved for supporting roofs. Interestingly, the number of windows suggests there was some wealth (these also may have been added later). The interior is extremely beautiful as well, with thick beams and gorgeous carvings.

The photos below are from both the upstairs and downstairs – given the medieval layout, it was difficult to show the blueprint from a photo. Essentially, the downstairs is a large “hall” with one room to the side, off a very narrow “staircase” (basically a vertical ladder) – those are the “museum” photos below. The study photos here are the only “upstairs” room (taken through the small hole in the door you can see in the photo below off the narrow hallway).

Interior of a wooden room displaying a table with books and papers, framed portraits on the walls, and a stained glass window.
Interior of a traditional Faroese farmhouse featuring a wooden door with decorative elements, a wooden stool, a stone grinding stone, and various artifacts including a rifle and an antique tool, set against rustic wooden walls.
Close-up of a decorative metal latch on a wooden door, highlighting the intricate design and craftsmanship.
Interior view of a traditional Faroese farmhouse, featuring wooden walls and beams, a wooden chair, and a spinning wheel in a well-lit corner.

I also appreciated the remaining artifacts, which are a mixture of Viking and “Faroese” – as I’d learn again later today, the “bags” in the far left photo are likely whale bladders, which were repurposed for many uses. You can absolutely picture a feast happening in the space – I can only image what this room has seen.

Interior of a traditional Faroese farmhouse showing wooden walls, a red door with ornate designs, hanging ropes, and various artifacts including kitchenware and tools.
A traditional cooking stove in a wooden room, featuring a black metal surface with cooking pots and various rustic kitchen items surrounding it.
Interior of a traditional Faroese farmhouse featuring a long wooden table, benches, and rustic decor

The “study” on the first floor was also lovely and acts as a “museum” of sorts.

An interior view of a traditional Faroese farmhouse displaying wooden walls and floors, antique furniture, photographs on the walls, and a glass case with a model of a church.
Carved decorative panels with intricate designs displayed against a wooden wall, showcasing traditional Faroese craftsmanship.

Especially exciting for me was this Viking chest, which I cannot believe exists into modernity.

Interior view of a traditional Faroese farmhouse, featuring wooden walls, a bench with a decorative wool covering, a small table, and windows that let in natural light. A wall-mounted map and framed photographs are visible.
A vintage Viking chest with a wooden frame and iron fittings, resting on a wooden floor inside a rustic building.

Of course, the house isn’t alone it is historicity. The Kirkjubømúrurin, aka the ruined old church known as Magnus Cathedral, still stands; according to historical record, it began construction in ~1300. However, after Reformation, it was abandoned in 1537 as the Faroes moved from Catholicism to Protestantism. Today, it’s the largest remaining ruin of a medieval building within the Faroe Islands.

Ruins of a historic stone church with arched windows, surrounded by green grass and a cloudy sky in the Faroe Islands.
A scenic view of the ruins of a historic church surrounded by lush green grass, with the ocean in the background and a cloudy sky.

More interesting to me than this “ruined” church was the Kirkjubøar Kirkja, aka Saint Olav’s Church.

A decorative metal gate with blue-tinted glass inserts, leading into a picturesque grassy area with a cloudy sky in the background.
Exterior view of Saint Olav's Church in Kirkjubøur, with a grassy graveyard and mountains in the background under a cloudy sky.
Interior view of a simple church with wooden benches, a small altar, and colorful artwork on the wall.

While it’s obviously been modernized now, it’s known to have originally been built before 1200, making it the oldest church in the Faroe Islands – and, until Reformation, the seat of the Catholic bishop of the Faroe Islands. As I’d discover at the National Museum, the “pew ends” from this church were absolutely incredible!

A carved wooden figure representing a saint, displaying intricate details and a shield above, set against a textured dark background.
A wooden sculpture depicting a historical figure, intricately carved with detailed features and clothing, displayed against a dark background.
Wooden medieval carving depicting a figure, possibly a saint, with intricate details and a circular symbol above.
A historic wooden wall fragment depicting a figure holding a child, with intricate carvings and details, displayed against a dark wall.
A carved wooden panel depicting two figures with crowns, likely representing historical or religious figures, set against a textured gray background.
A wooden sculpture depicting a religious figure, intricately carved with details of a face, body, and symbols, displayed against a textured gray wall.
A carved wooden sculpture depicting a bearded figure, possibly a saint, holding a sword, with an ornate circular design above featuring an animal motif.
A historical wooden carving depicting a figure holding a child, with decorative elements above it, displayed against a textured dark background.
A wooden medieval carving depicting a figure holding a cup, adorned with intricate details and situated against a dark background, showcasing historical craftsmanship.
A carved wooden statue depicting a historical figure holding a staff, with intricate designs on their robe and a shield featuring crossed weapons above them, set against a dark background.
A wooden Viking-era artifact featuring a carved figure holding a staff, surrounded by a circular emblem with cross-like symbols, displayed against a textured gray background.
A wooden carving of a saint or historical figure, featuring intricate details, including a circular symbol above the figure and flowing robes.

There are 14 in total (11 apostles and 3 additional “scenes”) and they’re all stunning, as are the former confessional and baptismal font (which, in the Viking era, would have needed to be big enough to submerge a baby in).

A close-up view of an intricately carved wooden artifact from the National Museum, showcasing historical figures and symbols against a dark background.
An ancient stone artifact displayed in a museum, positioned on a pedestal with a wooden floor in the background.

While wandering, I couldn’t get over how amazing the surroundings were – could you imagine being a subsistence farmer in the ~1000s, moving to a new land via boat from Norway, experiencing 20 hours of light and then 20 hours of darkness respectively with each season, right on the edge of the Atlantic?

A scenic view of a green hillside leading down to a calm sea under a cloudy sky, with yellow flowers in the foreground.

I will admit, I attempted to leave multiple times, and each time I found something new to turn around and park again to explore. Item 1: the gorgeous agriculture.

A scenic landscape in the Faroe Islands featuring green grass and rocky cliffs, with several sheep grazing peacefully in the foreground.
A grazing horse in a lush green meadow with rocky cliffs in the background under a partly cloudy sky.

Item 2: a Viking-era storehouse. Today, it’s largely empty minus a rope, a weird… leather contraption (I don’t want to know…) and some dried herbs (I suspect I was not intended to enter it!).

A view of a grassy shoreline with a rocky coast and a small stone structure with a grass roof, under a partly cloudy sky in the Faroe Islands.
A scenic view of the shoreline in the Faroe Islands, showing rocky formations and distant mountainous terrain under a cloudy sky.
A panoramic view of the tranquil water and green hills of the Faroe Islands, showcasing rocky shorelines and distant mountains under a cloudy sky.

Once I was finally able to retract myself, I headed to lunch at Hamsa, a restaurant in Hoyvík, which is also the location of the National Museum and the Open Air Farm (Hoyvíksgarður). The restaurant is a combination “Western – Indian – Scandinavian” vibe, and although it smelled like incredibly good Indian food, I opted for the salmon pizza as I suspected that was something I couldn’t get elsewhere. The pizza delivered – amazing Faroese smoked salmon, delicious cranberry sauce, arugula, and some kind of whipped cheese.

A close-up of a salmon pizza topped with arugula, cranberry sauce, and small dollops of cream on a wooden plate.

On my way to the National Museum, I stopped by the Hoyvikar Kirkja, which was built in the mid-60s and has a wonderfully geometric design. Unfortunately, it was closed, but the facade was lovely.

A modern church building with a striking geometric design, featuring a tall triangular roof and large windows, set against a cloudy sky.

Then, finally, I arrived at the National Museum. It’s an interesting one – it is basically a big warehouse located in what’s otherwise a shipping area (lots of big trucks!) and chronicles the Faroes from both a geological and then semi-anthropological perspective.

Exterior view of the Tjodsavnið, the National Museum of the Faroe Islands, showcasing modern architecture and a welcoming entrance.

Interesting, it did go through the history of the islands, detailing all of the different ways that lava would have erupted, solidified, and then eroded over time to create the unique geography. Also, apparently, the Faroes historically would have been adjacent to or directly connected to Greenland (and now, I want to visit Greenland…). There was also quite a large exhibit on various flora / fauna of the islands.

I found the semi-anthropological items more interesting, beginning with Viking artifacts (including wood that matches very early shipwrecks) as well as some of the items from wrecks of ships that would have been traveling from Java and the East Indies, respectively.

Collection of historical artifacts displayed in a museum, including a ceramic jug, metal tools, and decorative fragments.
A historical Viking chest with ornate silver decorations, displayed on a pedestal with a label.

Most of the museum focuses on the transition to fishing from an agricultural society (and then the remainder is about Vikings, native dress, and sheep, respectively!). Interestingly, fishing is relatively new in the Faroe Islands, beginning in 1872 with “smack” fisheries. Apparently, this period ended in the 1940s and was perceived as an “industrial revolution” for the Faroes (without the industrial technology). This period also helped the Faroes transition from subsistence to a money-based economy.

Exhibit featuring traditional Faroese fishing gear, including a wetsuit, fishing equipment, and a display board with ocean background.
Interior view of a museum showcasing traditional Faroese boats and artifacts under a large whale skeleton.
Traditional Faroese clothing displayed in a museum showcasing historic garments, including jackets and trousers, highlighting the local textile heritage.

The history of fishing in the Faroes included many interesting tidbits, including:

  • Women and children typically produced “salt fish” and could wash 300-600 cods a day, using a broom and water to scrub them; the process of making “salt fish” required a lot of labor, as they had to be turned frequently and consistently monitored for sun and rain; these women were also advisors to the ship-owners who would then market the fish as a high-class article in Spain, Portugal, Italy and Greece
  • From 1931-35, unmarried women were 80% of the workforce in vital fishing ports within the Faroes; in 1937, they founded their own union
  • In the 1920s, Danish-born Ebba Müller became a famous fishing-fleet owner, ultimately becoming the leader of the United Danish Steamship Company and later the first chair of the association of export companies for the Faroese Ship-Owners’ Association; she was eventually knighted in 1954 for her contributions to Faroese commerce
  • Faroese fishermen started fishing in “distant” waters (aka Newfoundland, Canada) in ~1956, using ~24,000 hooks a day (ultimately making salt cod); since they were just outside Canada’s 200 nautical mile exclusionary zone, the area was known as the “Flemish Cap” and it sadly went out of business in the 1990s due to overfishing
  • Trawlers and then processing plants were at their peak from the 1960s-1990s in the Faroes; apparently at that time there were ~20 plants; thus far, I’ve seen 3 (although I haven’t been everywhere!)

The exhibits then moved on to the Viking and medieval eras. Apparently, Viking kids would have loved to play with swords the same way kids today do, which made me smile.

Display of ancient Faroese artifacts at a museum, including traditional wooden tools and implements.

I also found the runic letters from the mid-1600s interesting – from the 11th to 13 century, apparently runic lettering was commonplace, being replaced afterwards by the Latin alphabet. However, in the 16th-17th century, there was apparently a resurgence of runic letters, which is when this board is from.

A wooden tablet inscribed with runic letters, displayed alongside a guide showing the runic alphabet in a museum setting.

The Viking exhibit had many interesting facts (including many that reinforced some of the insights I gained in Iceland, although it’s clear the Faroes have an incredibly distinct heritage from Iceland):

  • The exhibit corroborated that Irish hermits (and/or monks) had settled “some islands in the North Atlantic” in the ~720s; however, these islands were ravaged by Vikings; place names in the Faroes do confirm settlement by those from the British Isles
  • Apparently, 80% of Faroese women, as with Icelanders, have “kinship” in the Scottish-Irish area (they don’t explicitly state why, but I suspect a similar situation where women were enslaved for sexual purposes)
  • Interestingly, many Viking-era Steatite bowls and vessels have been found here; these vessels are common in Norway, so many suspect they may have been mass imported. However, they may also have come from Shetland (Scotland), where the material is a natural part of the geography
  • Apparently, both sheep milking and pig farming was a part of the culture / economy until the Middle Ages; both were then abandoned, and sheep farming and “regular” agriculture were adopted
  • Baptismal fonts needed to be able to fully submerge babies; the water was consecrated on Easter Eve and then kept until the following Easter. Then, it was poured into consecrated ground
  • It’s frequently believed that Christianity was formally adopted in the Faroes around ~1000 (note this is well before the Icelanders, given the Viking knowledge of the Faroes); however, crosses were identified dating from even the 9th century, which suggests Norse Paganism and Christianity may have been coexisting for quite a while in the Faroes

Next up was the Faroese “culture” exhibit (which, inherently, attached to the “sheep” exhibit). It focused primarily on traditional Faroese dress (only recorded since the late 1700s and largely attributed to Hans Marius Debes, who was born in 1888 and died in 1978). As a tailor, he was responsible for essentially designing, aligning, and propagating all the fashions known to be “Faroese” over time.

A mannequin dressed in traditional Faroese attire, complete with a vibrant red vest and blue socks, seated at a table in a tastefully decorated room with a lamp and a patterned wallpaper.
Display of traditional Faroese clothing including dresses, vests, and accessories, showcased on mannequins in a museum setting.

I loved that the exhibit also contained items such as luxury gems and sweaters that have been shown on runways as far away as Tokyo.

A display of traditional Faroese jewelry featuring an intricate golden necklace and decorative hairpins, set against a textured background.
An exhibition space featuring traditional Faroese sweaters displayed against a backdrop of vibrant Tokyo city signage, with items showcased on a wooden pallet lit with blue lighting.

From there, I visited Hoyvíksgarður, aka the Open Air Museum associated with the National Museum. It was essentially just a ~200 year old farmhouse, although the docent’s stories made it more amusing. According to her, the man who built the property was a very rich man for the mid-1880s and decided to “flex” by building a house primarily made of wood.

A black house with a stone base and a corrugated metal roof, surrounded by green grass and rocky terrain in the Faroe Islands.
Two traditional Faroese farmhouse buildings with grass roofs, surrounded by lush green grass and a cloudy sky.
A traditional Faroese farmhouse with a grass-covered roof, surrounded by lush green hills and rocky terrain under a cloudy sky.

As mentioned before, the Faroes don’t have wood available, requiring it to be imported. He not only purchased a whole boat full of wood from Norway, but when the boat arrived and didn’t have sufficient wood for his tastes, he disassembled said boat and used the masts for the beams in the home. According to the docent: “Well, I guess the crew were Faroese, then!”

I also learned that the traditional way of installing the turf roofs was to use birchwood under the wood beams; the birch is waterproof and allows for the turf roots to actually “grasp” onto something. Apparently, from the 1920s-1970s, they switched to tar roofing paper vs. birchwood (this explains our taxi driver yesterday saying they were made with tar); today, they’ve tried yet again to switch materials to a modern roofing tile, but apparently the turf doesn’t adhere as well.

Interior view of a rustic wooden ceiling with exposed beams and a light fixture, showcasing traditional Faroese architecture.

The rest of the home has been “restored” to the ~1920s era, and has many beautiful features.

Interior view of a traditional Faroese bedroom featuring a wooden bed with white bedding, a decorative rug on wooden flooring, and a small chair by the window adorned with green curtains.
An interior view of a traditional Faroese farmhouse showcasing vintage decor, including a round dining table surrounded by yellow upholstered chairs, a small metallic stove, and patterned wallpaper.
A vintage wooden telephone mounted on a wall, featuring a decorative design and an inscription that reads 'TÍÐ TAIL FOROYAR.'
A vintage living space featuring a decorative metal stove, a fringed lampshade, and a wicker stool, with patterned wallpaper in the background.

Next up, I headed to the National Liquor Store (in Iceland, I was informed they have a 120% tax on liquor, with that 20% going towards programs that support alcohol treatment support!) and the woman at the register was very sweet in sharing her favorites with me to enjoy over the next several days. We decided on local aquavit, vodka, gin, and the “bitters” which are apparently her favorite – and the rhubarb tonic (they love rhubarb here when it’s in season!).

A collection of alcoholic beverages displayed on a windowsill, including a bottle of Fentimans Pink Rhubarb Tonic Water and several mini bottles of local spirits such as Akvavit and Gin.

Then, I visited the Nordic Culture House, which is essentially a multi-purpose space designed to a) honor Nordic cultures (including Finland, Sweden, Norway, Denmark, and Iceland as well as other self-governing places like Greenland and Aaland). I appreciated that the space is designed for specific purposes, including a “dance” room to honor the Faroese “chain-dance” (an ancient tradition learned by children during winter months).

Exterior view of Nordurlandahusið building with a grassy roof and modern architecture, located in the Faroe Islands.
Interior view of the Nordic Culture House featuring a wooden ceiling and an audience seating area designed for performances.
Interior of a modern building featuring wooden architecture, seating areas with circular tables and black chairs, and large windows allowing natural light in. A spiral staircase adds an elegant touch to the design.
Interior view of a wooden room with a polished wooden floor, wooden paneled walls, and a blue mural depicting dancing figures.

Next up, the National Gallery of the Faroe Islands. I appreciated that the curation focused on different themes relevant to the Faroes – sea, rocks, land, sheep, conservation, etc. A couple pieces stood out:

  • Gorgeous portrait of Jesus as a Faroese on the sea
  • A whale bladder as art
  • Wool (sheep’s fur) as rocks – the twist here is that the Faroese, like Icelanders, believe in trolls and other beings that live in the rocks, so this is a multifaceted piece
  • A pilot whale made of toy soldiers (representing plastic in the oceans) meant to spark discussion / reflection on grindadráp (a historic Faroese tradition in which whales, dolphins and other sea life are hunted and killed en masse annually) – the art piece is mixed media, with audio from those who acknowledge the tradition, those who find it abhorrent, and the pilot whale song itself
  • Some amazing Mondrian-style impressions of the Faroes from the ~1970s
  • A haunting portrait from the “sea” exhibit
  • Some amazing abstract art regarding the Faroes’ bird population
  • A series showcasing how many different patterns of wool knitting exist
  • The curvature of an uninhabited island; I loved that they encouraged you to stand inside the art piece, representing how you can still “feel” the Faroes, even if you can’t physically visit that island
A vibrant abstract painting depicting figures on a boat in turbulent waters, framed elegantly in gold.
A sculptural display featuring a bowl-like shape filled with numerous spherical objects, all in a natural wood finish, set on a white pedestal inside an art gallery.
A sculpture of felted stones arranged in a pile, displayed on a white pedestal in a gallery with wooden flooring.
A contemporary art installation featuring a large whale sculpture made of black material, displayed on a yellow and black striped pedestal. In the background, abstract artworks depicting water and a colorful bird figure in a suit.
Two abstract paintings by Jack Kampmann, displayed on a white wall with labels underneath each artwork.
A painting depicting a group of eight somber figures seated together, with a dark and moody background. The figures are primarily dressed in dark clothing, their expressions reflecting a sense of contemplation or solemnity.
An artistic representation of a large, spiky green pear shape featuring numerous small, dark birds or creatures arranged symmetrically on its surface.
A woven textile artwork displayed on a wall, featuring a grid-like pattern with alternating dark brown and colorful sections.
An art installation featuring elongated, black metal rods connected by ropes and wooden knobs, set against a backdrop of traditional Nordic paintings in a gallery space.

The statue garden outside was also beautiful, although I wish descriptions were available:

A sculpture depicting a standing figure with a pregnant torso, symbolically interacting with another figure hanging upside down, surrounded by trees in a natural setting.
A bronze sculpture of two human figures, one representing a football player in motion, with one arm extended and the other in a dynamic pose, positioned on a round granite base, set in a grassy area with a backdrop of sports facilities.

Then, I visited the Vesturkirkjan, which is a lovely geometric church.

A modern church building with a distinctive triangular roof structure, located in a scenic area.
Interior view of a modern church featuring a high ceiling with wooden paneling, stylish chandeliers, and a large cross on the wall.
Interior view of a modern church with a vaulted triangular ceiling, featuring decorative chandeliers and an organ, creating a spacious and serene atmosphere.

Lastly, I visited the Skansin, which is a fort where the Faroes fortified themselves after a Turkish pirate attack in the mid-1600s. The site itself isn’t super exciting, but it was interesting to see how the roofing looks in practice.

A lighthouse with a red top stands tall next to a grassy area, with a stone building featuring a turf roof in the foreground. The harbor and town of Tórshavn are visible in the background under cloudy skies.
A close-up of a traditional Faroese grass-roofed building, showcasing the stone walls and greenery on the roof.
Close-up view of a traditional Faroese turf roof with grass growing on top of wooden beams.

Reflecting on today, I do wish I’d been able to experience a couple items here. Referenced in both the National Museum and the National Gallery, “knitting clubs” are still extremely popular – I tried to sign up for one, but unfortunately they need a minimum of 2 people to accept you for a given evening. Similarly, I tried to attend a “living room concert” (hard to host for just one person, although if a group had booked, I could have tagged along), and I also was unable to secure a Heimablídni (aka “home hospitality” or a home cooked meal with Faroese people) as one person (and it seems these offerings are now being combined more often than not with pre-planned excursions). That being said, these offerings suggest the Faroese continue their traditional of warm, welcoming, inclusive hospitality and I hope next time I’m able to join. I’ll see if I can work any magic with my guides the next couple days!

Since I did a full 8 hours of touring and have Michelin-rated dinners booked the next two nights, I figured I’d relax at the Airbnb and make dinner tonight. Overall, a fantastic first full day in the Faroes!

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