Chopin Residue Primary Function: Igifuniko cy'Albumu y'Umuziki na Mariusz Szypura

Umushinga Chopin Residue Primary Function: Igifuniko cy'Albumu y'Umuziki wa Mariusz Szypura ni uwatsinze igihembo cyubahwa cyane 2026 Igihembo cya A' Design Award cya Buronze mu Cyiciro cy'Ihiganwa cya Igishushanyo cy'Ipaki.

BuronzeIpaki· 2026

Chopin Residue Primary Function: Igifuniko cy'Albumu y'Umuziki

na Mariusz Szypura

Umukiriya: Black Element Label

Uwatsinze Igihembo cya A' Design Award cya Buronze mu Cyiciro cya Ipaki

7,049

Uwatsinze Igihembo Yemejwe

Emeza Uko Igihembo Gihagaze ku #179587

Sura Urubuga Reba kuri A' Design Award Itangazo ry'Ikinyamakuru Ikimenyetso cy'Igihembo

Amabara

Imigereranyo

Ibyerekeye Chopin Residue Primary Function: Igifuniko cy'Albumu y'Umuziki

Book Text: Ubuhanzi bugaragara mu byongerwa kuri iyi albumu bwandika urukurikirane rw'ibice binini byakozwe mu mfunmu z'imigozi zikomoka mu nzira yo gukata vinyl, ari yo negatif y'umubiri w'umurongo. Iyi gahunda ifata ifunika nk'igice gikomeza umuziki, ihuza ijwi, ibikoresho, n'inzira mu kintu kimwe cy'umubiri. Iyi albumu isobanura bundi bushya imirimo ya Fryderyk Chopin hamwe n'abahanzi bafitanye isano na Portishead, Sonic Youth, Battles, Beck, David Bowie, na Tortoise.

Ishimwe

Ibyerekeye Igihembo cya A' Design Award cya Buronze

Chopin Residue Primary Function: Igifuniko cy'Albumu y'Umuziki ni uwegukanye Igihembo cya A' Design Award cya Buronze, ishimwe ry'agaciro gakomeye ritangwa ku bishushanyo by'indashyikirwa birangwa no guhanga, ubwenge n'ubushishozi. Abegukanye Buronze ni ibihangano bifite ubuhanga bwinshi kandi bihanga cyane, bishimangira uburambe, ubwenge n'ubushobozi bw'ababihanze. Chopin Residue Primary Function: Igifuniko cy'Albumu y'Umuziki biteganyijwe ko izaba ikintu cyubahwa, gishimwa kandi gikundwa, gifite ubunyamwuga n'udushya. Iki gishushanyo cyegukanye Buronze gikoresha uburyo bwiza mu buhanzi, ubumenyi, ubushushanyo n'ikoranabuhanga kandi kirarenze mu gutaha ku tuntu duto. Chopin Residue Primary Function: Igifuniko cy'Albumu y'Umuziki ishimisha ibyo dukeneye, ikora ku byifuzo byacu, itwara amarangamutima yacu kandi ikurura amatsiko yacu.

Inyuma y'Imigereranyo

Dosiye y'Itangazamakuru

Amazina y'abagize uruhare, abagize itsinda n'amakuru y'ubuhanga byatanzwe n'umuhanzi.

Ibintu Bidasanzwe: 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.
Ibipimo n'Ipaki: 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.
Ibibazo Fatizo: residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
Ikoranabuhanga ryo Guteza Imbere: 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.
Ikibazo cy'Ishusho: 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.
Ubushakashatsi: 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.
Ibyatumye Habaho: 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.
Igihe cy'Umushinga: 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.
Uburyo bw'Imikorere: 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.
Patente: Copyrights belong to Mariusz Szypura, 2025
Abafotoye: 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.