Chopin Residue Frumhlutverk: Plötuumslag fyrir tónlistarplötu eftir Mariusz Szypura

Hönnunarverkið Chopin Residue Frumhlutverk: Plötuumslag fyrir tónlistarplötu eftir Mariusz Szypura er hávirt verðlaunaverk sem hlaut hin virtu 2026 A' Design Award í bronsi verðlaun í keppnisflokknum Umbúðahönnun.

BronsUmbúðir· 2026

Chopin Residue Frumhlutverk: Plötuumslag fyrir tónlistarplötu

eftir Mariusz Szypura

Viðskiptavinur: Black Element Label

Handhafi A' Design Award í bronsi í flokknum Umbúðir

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Litir

Hönnunin

Um Chopin Residue Frumhlutverk: Plötuumslag fyrir tónlistarplötu

Bókartexti: Listaverkin sem birtast í plötufylgiritunum sýna röð stórformataverka sem unnin eru úr þráðaúrgangi sem myndast við rennibekkjarskurð á vínyl, hinni efnislegu neikvæðu mynd rásarinnar. Hönnunin meðhöndlar umbúðirnar sem framlengingu á tónlistinni og sameinar hljóð, efni og ferli í einum efnislegum hlut. Platan endurtúlkar verk Fryderyks Chopin með listamönnum sem tengjast Portishead, Sonic Youth, Battles, Beck, David Bowie og Tortoise.

Viðurkenningin

Um A' Design Award í bronsi

Chopin Residue Frumhlutverk: Plötuumslag fyrir tónlistarplötu vann A' Design Award í bronsi, mjög virta viðurkenningu sem veitt er framúrskarandi hönnunarverkum sem einkennast af sköpunargáfu, hugvitssemi og skarpskyggni. Sigurvegarar í bronsi eru ríkulega leiknir og áberandi skapandi gripir sem staðfesta víðtæka reynslu, ímyndunarafl og útsjónarsemi hönnuða sinna. Þess er vænst að Chopin Residue Frumhlutverk: Plötuumslag fyrir tónlistarplötu sé mjög metinn, dáður og elskaður hlutur sem er einstaklega fagmannlegur og nýstárlegur. Þetta hönnunarverk sem vann A' Design Award í bronsi felur í sér bestu starfsvenjur í list, vísindum, hönnun og tækni og er framúrskarandi fyrir athygli sína á smáatriðum. Chopin Residue Frumhlutverk: Plötuumslag fyrir tónlistarplötu fullnægir þörfum á dásamlegan hátt, snertir langanir, heillar tilfinningar og vekur forvitni.

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Fjölmiðlapakki

Heimildir, hópmeðlimir og tæknilegar upplýsingar frá hönnuðinum.

Einstakar eiginleikar: 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.
Stærðir og umbúðir: 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.
Merki: residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
Framleiðslutækni: 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.
Hönnunaráskorun: 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.
Rannsóknir: 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.
Innblástur: 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.
Lengd verkefnis: 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.
Verkflæði: 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.
Einkaleyfi: Copyrights belong to Mariusz Szypura, 2025
Myndheimildir: 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.