Chopin Residue Aikin Farko: Murfin Kundin Waƙa daga Mariusz Szypura

Zane Chopin Residue Aikin Farko: Murfin Kundin Waƙa daga Mariusz Szypura mai nasara ne mai daraja sosai na 2026 Kyautar A' Design Award ta Tagulla a Rukunin Gasar Ƙirar Kunshin Kaya.

TagullaKunshin Kaya· 2026

Chopin Residue Aikin Farko: Murfin Kundin Waƙa

daga Mariusz Szypura

Abokin Ciniki: Black Element Label

Mai Nasarar Kyautar A' Design Award ta Tagulla a Rukunin Kunshin Kaya

7,551

Mai Nasara da Aka Tabbatar

Tabbatar da Matsayin Kyauta na #179587

Ziyarci Shafin Duba a A' Design Award Sanarwar Manema Labarai Alamar Kyauta

Launuka

Ƙirar

Game da Chopin Residue Aikin Farko: Murfin Kundin Waƙa

Rubutun Littafi: Aikin fasaha da ke cikin shafukan kundin yana rubuta jerin manyan ayyuka da aka ƙirƙira daga sharar zaren da ake samarwa yayin aikin yanke vinyl na lathe, wato kishiyar zahiri na rami. Ƙirar tana ɗaukar marfin a matsayin ƙarin abu ga waƙar, tana haɗa sauti, kayan aiki, da tsari a cikin abu ɗaya na zahiri. Kundin yana sake fassara ayyukan Fryderyk Chopin tare da masu fasaha da ke da alaƙa da Portishead, Sonic Youth, Battles, Beck, David Bowie, da Tortoise.

Amincewa

Game da Kyautar A' Design Award ta Tagulla

Zanen Chopin Residue Aikin Farko: Murfin Kundin Waƙa ya lashe Kyautar A' Design Award ta Tagulla, wata karramawa mai tsananin daraja da ake bai wa zane-zane na musamman waɗanda ke da ƙirƙira, basira da hikima. Waɗanda suka lashe kyautar Tagulla kayayyakin fasaha ne masu ƙwarewa da ƙirƙira mai ban mamaki waɗanda ke tabbatar da babban gogewa, tunani da dabarun masu zanensu. Ana sa ran zanen Chopin Residue Aikin Farko: Murfin Kundin Waƙa ya zama abu da ake girmamawa sosai, ake sha'awa da ƙauna, mai ƙwarewa da ƙirƙire-ƙirƙire. Wannan zane da ya lashe Kyautar A' Design Award ta Tagulla yana haɗa mafi kyawun ayyuka a fasaha, kimiyya, zane da fasahar zamani, kuma yana da kyau saboda kulawarsa ga cikakkun bayanai. Zanen Chopin Residue Aikin Farko: Murfin Kundin Waƙa yana biyan buƙatu da kyau, yana taɓa sha'awa, yana jan hankalin zukata kuma yana jawo sha'awar sani.

Bayan Ƙirar

Kayan Manema Labarai

Bayanin ƙungiyar, membobinta da cikakkun bayanai na fasaha da mai ƙirar ya bayar.

Siffofi Na Musamman: 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.
Girma da Fakitin: 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.
Kalmomin Alama: residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
Fasahar Samarwa: 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.
Ƙalubalen Zane: 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.
Bincike: 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.
Wahayi: 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.
Tsawon Lokacin Aikin: 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.
Tsarin Aiki: 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.
Haƙƙoƙin Ƙirƙira: Copyrights belong to Mariusz Szypura, 2025
Godiyar Hotuna: 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.