Chopin Residue Sekhahla sa Album ya 'Mino ka Mariusz Szypura

Moralo oa Chopin Residue Sekhahla sa Album ya 'Mino ka Mariusz Szypura ke mohlodi oa khau e hlomphehang haholo ya 2026 Moputso oa Boronse oa A' Design Award Mokhahleong oa Tlhodisano oa Moralo wa Phuthelo.

BoronsePhuthelo· 2026

Chopin Residue Sekhahla sa Album ya 'Mino

ka Mariusz Szypura

Moreki: Black Element Label

Mohlodi oa Moputso oa Boronse oa A' Design Award Mokhahleong oa Phuthelo

7,551

Mohlodi oa Khau ea Netefaditsweng

Netefatsa Boemo ba Khau bakeng sa #179587

Etela Sebaka Sheba ho A' Design Award Tokollo ya Boraditaba Baeche ya Moputso

Mebala

Moralo

Mabapi le Chopin Residue Sekhahla sa Album ya 'Mino

Mosebetsi wa botaki o hlahisitsoeng ka har'a li-insert tsa album o ngola letoto la likotoana tse kholo tse entsoeng ka litshila tsa thapo tse hlahisitsoeng nakong ya ts'ebetso ya ho seha vinyl ka mochine, e leng e mpe ya 'mele ya mokoti. Moralo o sebelisa sephuthelo joalo ka katoloso ya 'mino, o kopanya molumo, thepa, le ts'ebetso ka har'a ntho e le 'ngoe ya 'mele. Album e hlalosa bocha mesebetsi ya Fryderyk Chopin le bataki ba amanang le Portishead, Sonic Youth, Battles, Beck, David Bowie, le Tortoise.

Kamohelo

Mabapi le Moputso oa Boronse oa A' Design Award

Chopin Residue Sekhahla sa Album ya 'Mino ke mohapi oa Moputso oa Boronse oa A' Design Award, kananelo e hlomphehang haholo e fuoang meralo e ikhethang e tsejoang ka boqapi, bohlale ba ho qapa le bohlale. Bahapi ba Boronse ke lintho tse nang le bokhoni ka ho felletseng le boqapi bo hlollang tse tiisang boiphihlelo bo bongata, mohopolo le bokhoni ba ho iphumana ba baqapi ba tsona. Chopin Residue Sekhahla sa Album ya 'Mino e lebelletsoe ho ba ntho e hlomphuoang haholo, e ratoang le e ratehang, e nang le boprofeshenale bo bonahalang le mehopolo e mecha. Moralo ona o hapileng Moputso oa Boronse oa A' Design Award o kenyelletsa mekhoa e metle ka ho fetesisa bonong, mahlaleng, moralong le theknolojing mme o hlahella ka ho tsepamisa maikutlo lintlheng tse nyenyane. Chopin Residue Sekhahla sa Album ya 'Mino e kutloisisa litlhoko hantle, e ama litakatso, e hapa maikutlo mme e tsosa takatso ea ho tseba.

Ka Mora Moralo

Sete ya Boraditaba

Litlhaku, ditho tsa sehlopha le lintlha tsa botekgeniki tse fanoeng ke moetsi wa moralo.

Boleng bo Ikhethang: 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.
Boholo le Phuthelo: 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.
Lithegi: residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
Theknoloji ya Tlhahiso: 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.
Phephetso ya Moralo: 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.
Dipatlisiso: 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.
Kgothaletso: 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.
Nako ya Projeke: 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.
Tsamaiso ya Mosebetsi: 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.
Diphatente: Copyrights belong to Mariusz Szypura, 2025
Litlotla tsa Setshwantsho: 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.