Naqshadda Chopin Residue Primary Function: Daboolka Albamka Muusikada oo uu sameeyey Mariusz Szypura waa mid aad u sharaf badan oo ku guulaysatay tartanka qaybta Naqshadeynta Xirmooyinka ee 2026 Abaalmarinta Naxaasta ah ee A' Design Award.
NaxaasXirmooyin· 2026
Chopin Residue Primary Function: Daboolka Albamka Muusikada
Mariusz Szypura uu sameeyay
Macmiilka: Black Element Label
Ku Guuleystaha Abaalmarinta Naxaasta ah ee A' Design Award ee Qaybta Xirmooyin
Ku Guuleystaha Abaalmarinta La Xaqiijiyey
Xaqiiji Xaaladda Abaalmarinta #179587Naqshadeynta
Wax ku saabsan Chopin Residue Primary Function: Daboolka Albamka Muusikada
Book Text: Farshaxanka lagu soo bandhigay galalka albamka wuxuu diiwaangelinayaa taxane qaybo waaweyn oo laga sameeyay qashinka dunta laga soo saaray habka jarista fiinleeyga (lathe cut vinyl), oo ah qaybta jirka ah ee ka soo horjeedda farta diiwaanka. Naqshadeynta waxay galka u aragtaa sidii kordhin muusikada, iyadoo midaysa codka, walxaha, iyo habka hal walax oo jir ah. Albamku wuxuu dib u tarjumayaa shaqooyinka Fryderyk Chopin oo lala kaashaday fannaaniin la xidhiidha Portishead, Sonic Youth, Battles, Beck, David Bowie, iyo Tortoise.
Aqoonsiga
Wax ku saabsan Abaalmarinta Naxaasta ah ee A' Design Award
Chopin Residue Primary Function: Daboolka Albamka Muusikada waa guuleystaha Abaalmarinta Naxaasta ah ee A' Design Award, aqoonsi sharaf sare leh oo la siiyo naqshado aan caadi ahayn oo lagu garto hal-abuur, hal-abuur cusub iyo caqli. Guuleystayaasha Naxaasta waa shaqooyin xirfad buuxda leh iyo hal-abuur yaab leh oo xaqiijiya khibrad weyn, male-awaal iyo kartida naqshadeeyayaashooda. Chopin Residue Primary Function: Daboolka Albamka Muusikada waa walax la filayo inay noqoto mid aad loo tixgeliyo, la ixtiraamo oo la jecel yahay, xirfad cad leh oo hal-abuur cusub leh. Naqshadahan ku guuleystay Abaalmarinta Naxaasta ah ee A' Design Award wuxuu ku darsadaa hab-dhaqanno ugu wanaagsan farshaxanka, sayniska, naqshadaynta iyo tignoolajiyada wuxuuna ku fiican yahay dhawrista tafaasiisha. Chopin Residue Primary Function: Daboolka Albamka Muusikada si fiican ayay u buuxisaa baahiyaha, taabataa rabitaannada, soo jiidataa dareenka kicinayaanna xiisaha aqoonta.
Gadaasha Naqshadeynta
Xirmada Warbaahinta
Shahaadooyinka, xubnaha kooxda iyo faahfaahinta farsamada ee uu bixiyay naqshadeeluhu.
- Sifooyinka Gaarka ah
- 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.
- Cabbirka & Qaabaynta
- 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.
- Summado
- residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
- Tiknoloojiyada Soo Saarka
- 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.
- Caqabadda Naqshadda
- 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.
- Cilmi-baadhis
- 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. - Dhiirrigelinta
- 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.
- Muddada Mashruuca
- 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.
- Socodka Hawlgalka
- 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.
- Shatiyada
- Copyrights belong to Mariusz Szypura, 2025
- Amaanta Sawirrada
- 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.
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