Chopin Residue Ọwụwa Egwu: Mkpuchi Album Egwu nke Mariusz Szypura

Ihe emepụtara bụ Chopin Residue Ọwụwa Egwu: Mkpuchi Album Egwu nke Mariusz Szypura bụ onye meriri a na-asọpụrụ nke ukwuu nke 2026 Ihe Nrite A' Design Award nke Bronz na Udi Asọmpi Nhazi Ngwungwu.

BronzNgwungwu· 2026

Chopin Residue Ọwụwa Egwu: Mkpuchi Album Egwu

nke Mariusz Szypura

Onye Ahịa: Black Element Label

Onye Meriri Ihe Nrite A' Design Award nke Bronz na Udi Ngwungwu

7,049

Onye Meriri Onyinye A Kwadoro

Nyochaa Ọnọdụ Onyinye maka #179587

Gaa Saịtị Lee na A' Design Award Akụkọ Mgbasa Ozi Akara Onyinye

Agba

Nhazi a

Maka Chopin Residue Ọwụwa Egwu: Mkpuchi Album Egwu

Nkà na ụzụ e gosipụtara n'ime ihe ntinye album na-edekọ usoro nke ọtụtụ ihe nkà buru ibu emepụtara site na nkpọ ahịhịa eriri sitere na usoro lathe cut vinyl, bụ ihe negative anụ ahụ nke groove ahụ. Imewe a na-emeso ngwugwu ahụ dị ka ndọtị nke egwu ahụ, na-ejikọta ụda, ihe, na usoro n'otu ihe anụ ahụ. Album a na-akọwaghachi ọrụ Fryderyk Chopin ya na ndị na-eme nka jikọtara ya na Portishead, Sonic Youth, Battles, Beck, David Bowie, na Tortoise.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Bronz

Chopin Residue Ọwụwa Egwu: Mkpuchi Album Egwu meriri A' Design Award nke Bronz, nnabata dị oke ugwu e nyere design ndị pụtara ìhè nke a ma ama maka nzụlite ihe, ọgụgụ isi na nghọta. Ndị meriri na Bronz bụ ihe e mere nke ndị nwere nka nke ukwuu ma dị mma n'imepụta nke na-egosi ahụmahụ buru ibu, echiche na ọgụgụ isi nke ndị designer ha. A na-atụ anya na Chopin Residue Ọwụwa Egwu: Mkpuchi Album Egwu ga-abụ ihe a na-asọpụrụ nke ukwuu, a na-eto na a hụrụ n'anya, nke dị oke ọrụ ma dị ọhụrụ. Design a meriri A' Design Award nke Bronz na-agụnye ụzọ kacha mma n'ime nka, sayensị, design na teknụzụ, ma dị mma nke ukwuu maka nlebara anya ya n'obere ihe. Chopin Residue Ọwụwa Egwu: Mkpuchi Album Egwu na-emezu mkpa nke ọma, na-emetụ ọchịchọ aka, na-adọrọ mmetụta obi ma na-adọta ọchịchọ ịmara.

N'azụ Nhazi a

Ngwugwu Mgbasa Ozi

Nkwurịta okwu, ndị otu na nkọwa teknụzụ nke onye nhazi nyere.

Àgwà Pụrụ Iche: The cover of Chopin Residue is generated from the album’s core idea: residue as what remains after deconstruction. Created through the same lathe-cut process that produces the sound, the artwork uses vinyl waste as its visual material. Reinterpreting the music of Fryderyk Chopin with artists linked to projects such as Portishead, Sonic Youth, Battles, Beck, David Bowie, and Tortoise, the package becomes a physical extension of the composition, uniting sound, material, and process.
Nha & Mkpuchi: Physical formats include: Vinyl LP sleeve approx. 315 x 315 x 5 mm; CD digipack approx. 142 x 125 x 10 mm; cassette case approx. 110 x 70 x 17 mm. All formats were designed as tactile objects, with dimensions following industry standards to emphasize material presence and consistency across editions.
Mkpado: residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
Teknụzụ Mmepụta: The design was developed through a process-based methodology, treating sound recording as a material practice. Vinyl shavings produced during the lathe-cut process were collected, preserved, and used to create physical artworks. These works were then photographed and translated into the album packaging. The production emphasized minimal intervention, tactile materials, and small-batch manufacturing, allowing process and material to define the visual language.
Ịma Aka Imepụta: The main challenge was translating an abstract musical concept into a physical object without illustration or decoration. Internally, this required rethinking historical album design and treating sound production as material practice. Externally, limitations included small-scale manufacturing, legal constraints of physical formats, and the unpredictability of lathe-cut processes. Balancing conceptual clarity with technical constraints required continuous testing and adaptation.
Nchọpụta: Type of Research: practice-based artistic research.
Research Objectives: to translate musical deconstruction into physical form.
Methodology: sound recording treated as a material process.
Data & Tools: lathe-cut vinyl recording, material observation, photography.
Participants: the artist and collaborating musicians.
Results: vinyl residue became visual material.
Insights & Impact: the research links sound, object, and design, showing how production traces can shape meaning in music packaging and contemporary design.
Mkpali: The project was inspired by the idea of residue as a creative outcome - what remains after a process of reduction and transformation. The design emerged from research into lathe-cut vinyl as a physical recording method, treating sound production as material practice. The motivation was to translate an abstract musical concept into a tangible object, where recording, waste, and form become a unified design language.
Oge Ọrụ: The project was developed between 2023 and 2025. Music recording and vinyl cutting were carried out during this period, followed by the creation of the visual artworks and packaging design. The album and its physical editions were completed and released in November 2025, accompanied by exhibitions in NY and Osaka and presentations of the related artworks.
Usoro Ọrụ: The object is experienced by opening, holding, and listening. The package reveals the music while visually showing traces of how it was made. Images and materials guide the user from sound to its physical remains. Interaction is slow and tactile, encouraging attention and reflection. By connecting listening with touch and sight, the object creates a deeper, more memorable experience than a standard album cover.
Patentị: Copyrights belong to Mariusz Szypura, 2025
Asụsụ Foto: Image #1: Photo by TAKT, Chopin Residue, 2025.
Image #2: Photo by TAKT, Chopin Residue, 2025.
Image #3: Photo by TAKT, Chopin Residue, 2025.
Image #4: Photo by TAKT, Chopin Residue, 2025.
Image #5: Photo by TAKT, Chopin Residue, 2025.

Video Credits: Concept, Direction, Music, and Visuals by Mariusz Szypura, 2025.