Chopin Residue Mūzikas albuma vāks — Mariusz Szypura

Darbs Chopin Residue Mūzikas albuma vāks, kura autors ir Mariusz Szypura, ir augsti novērtēts un ļoti prestižās 2026 Bronzas balva A' Design Award ieguvējs kategorijā Iepakojuma dizains.

BronzasIepakojums· 2026

Chopin Residue Mūzikas albuma vāks

Autors: Mariusz Szypura

Klients: Black Element Label

Bronzas balva A' Design Award ieguvējs kategorijā Iepakojums

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Dizains

Par Chopin Residue Mūzikas albuma vāks

Albuma ieliktnī iekļautie mākslas darbi dokumentē virkni liela formāta darbu, kas radīti no diegu atkritumiem, kuri rodas virpotā vinila izgatavošanas procesā – fiziskā skaņas ieraksta rievas negatīva. Dizains uztver iepakojumu kā mūzikas turpinājumu, vienā fiziskā objektā apvienojot skaņu, materiālu un procesu. Albums no jauna interpretē Frederika Šopēna darbus kopā ar māksliniekiem, kas saistīti ar Portishead, Sonic Youth, Battles, Beck, David Bowie un Tortoise.

Atzinība

Par Bronzas balva A' Design Award

Chopin Residue Mūzikas albuma vāks ir Bronzas balvas A' Design Award ieguvējs, ļoti prestiža atzinība, ko piešķir izciliem dizainiem, kas izceļas ar radošumu, atjautību un viedumu. Bronzas ieguvēji ir pietiekami prasmīgi un pārsteidzoši radoši darbi, kas apliecina to dizaineru plašo pieredzi, iztēli un izdarību. Sagaidāms, ka Chopin Residue Mūzikas albuma vāks būs augsti vērtēts, apbrīnots un cienīts priekšmets, ievērojami profesionāls un inovatīvs. Šis ar Bronzas balvu apbalvotais dizains iekļauj labāko praksi mākslā, zinātnē, dizainā un tehnoloģijās un izceļas ar uzmanību detaļām. Chopin Residue Mūzikas albuma vāks lieliski apmierina vajadzības, skar vēlmes, valdzina jūtas un piesaista zinātkāri.

Aiz dizaina

Preses materiāli

Dizainera sniegtie autori, komandas dalībnieki un tehniskie dati.

Unikālās īpašības: 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.
Izmēri un iepakojums: 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.
Birkas: residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
Ražošanas tehnoloģija: 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.
Dizaina izaicinājums: 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.
Pētījums: 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.
Iedvesma: 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.
Projekta ilgums: 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.
Darbības plūsma: 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.
Patenti: Copyrights belong to Mariusz Szypura, 2025
Attēlu autori: 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.