Chopin Residue Uhi Pukapuka Puoro nā Mariusz Szypura

Ko te hoahoa Chopin Residue Uhi Pukapuka Puoro nā Mariusz Szypura he kaitoa whakahirahira o te 2026 A' Design Award Parahi i te Wāhanga Whakataetae Hoahoa Takai.

ParahiTakai· 2026

Chopin Residue Uhi Pukapuka Puoro

nā Mariusz Szypura

Kiritaki: Black Element Label

Kaitoa o te A' Design Award Parahi i te Wāhanga Takai

7,551

Kaitoa Tohu Manatokohia

Manatokohia te Tūnga Tohu mō #179587

Torohia te Pae Tirohia i te A' Design Award Pānui Pāpāho Tohu Tohu

Ngā Tae

Te Hoahoa

Mō Chopin Residue Uhi Pukapuka Puoro

Ko ngā mahi toi e whakaaturia ana i roto i ngā kohinga o te pukapuka puoro he tuhinga o tētahi rārangi tāonga rahi-whārahi i hangaia mai i ngā para miro i puta mai i te tukanga tapahi-huri kōnae vinyl, te tino takahi o te awaawa. Ka āta whakahaere te hoahoa i te kōpaki hei toronga o te puoro, e whakakotahi ana i te oro, te rauemi, me te tukanga i roto i tētahi taonga tinana kotahi. Ka whakaaweawe anō te pukapuka puoro i ngā mahi a Fryderyk Chopin me ngā kaitoi e hono ana ki a Portishead, Sonic Youth, Battles, Beck, David Bowie, me Tortoise.

Te Whakamihi

Mō te A' Design Award Parahi

Ko Chopin Residue Uhi Pukapuka Puoro te toa o te A' Design Award Parahi, he whakaaetanga tino whai mana e hoatu ana ki ngā hoahoa kōeke e tohua ana mā te auaha, te mahi mōhio me te whakaaro hōhonu. Ko ngā toa Parahi he mahi pukenga e rite ana, he auaha mīharo, e whakatūturu ana i te wheako nui, te whakaaro me te mōhio-ā-ringa o ā rātou kaihoahoa. E tūmanakohia ana ko Chopin Residue Uhi Pukapuka Puoro he taonga whakanuia, whakamīharotia, aroha nui, he ngaio, he auaha hoki. Ko tēnei hoahoa i toa i te Parahi e whakauru ana i ngā tikanga pai rawa i te toi, te pūtaiao, te hoahoa me te hangarau, ā, he tino mīharo ki ngā taipitopito. Ka whakatutuki a Chopin Residue Uhi Pukapuka Puoro i ngā hiahia, ka pā ki ngā hiahia, ka whakaoho i ngā kare-ā-roto, ā, ka kume i te pākiki.

I Muri i te Hoahoa

Kete Pāpāho

Ngā whakamihi, ngā mema o te rōpū me ngā taipitopito hangarau i whakaratohia e te kaihoahoa.

Āhuatanga Motuhake: 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.
Inenga & Pēketanga: 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.
Tūtohu: residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
Hangarau Whakanao: 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.
Wero Hoahoa: 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.
Rangahau: 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.
Whakaaweawe: 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.
Roanga o te Kaupapa: 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.
Rerenga Mahi: 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.
Pātene: Copyrights belong to Mariusz Szypura, 2025
Whakamana Whakaahua: 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.