Chopin Residue Hilina'i Mua: Uhi Buke Mele na Mariusz Szypura

ʻO Chopin Residue Hilina'i Mua: Uhi Buke Mele na Mariusz Szypura he mea lanakila hanohano loa o ka 2026 A' Design Award Keleawe ma ka Māhele Hoʻokūkū Hoʻolālā ʻUhi.

KeleaweʻUhi· 2026

Chopin Residue Hilina'i Mua: Uhi Buke Mele

na Mariusz Szypura

Mea Kūʻai: Black Element Label

Mea Lanakila A' Design Award Keleawe ma ka Māhele ʻUhi

7,551

Mea Lanakila i Hōʻoia ʻIa

Hōʻoia i ke Kūlana Makana no #179587

Kipa i ka Pūnaewele Nānā ma A' Design Award Hoʻolaha Nūhou Hōʻailona Makana

Nā Waihoʻoluʻu

Ka Hoʻolālā

E Pili Ana iā Chopin Residue Hilina'i Mua: Uhi Buke Mele

'O nā hana no'eau i hō'ike 'ia ma loko o nā 'āpana o ka buke mele, hō'ike ia i ka pūʻulu o nā 'āpana nui i hana 'ia mai ka 'ōpala lopi i hana 'ia i loko o ke kaʻina hana vinila 'oki lathe, 'o ia ka 'āpana maoli kūʻē o ka 'auwaha. Mālama ka hoʻolālā i ka 'eke ma ke 'ano he 'oki 'ana o ka mele, e hoʻohui ana i ke kani, ka mea waiwai, a me ke kaʻina hana i loko o ho'okahi mea kino. Wehewehe hou ka buke mele i nā hana a Fryderyk Chopin me nā mea pena pili me Portishead, Sonic Youth, Battles, Beck, David Bowie, a me Tortoise.

Ka Hoʻomaikai

E Pili Ana i ka A' Design Award Keleawe

Ua lanakila ka hoʻolālā Chopin Residue Hilina'i Mua: Uhi Buke Mele i ka A' Design Award Keleawe, he ʻike hoʻohanohano nui loa i hāʻawi ʻia i nā hoʻolālā kūʻokoʻa i ʻike ʻia ma o ka hana noʻeau, ka akamai a me ka makakoho. He mau hana mākaukau a hana noʻeau kupaianaha nā lanakila Keleawe e hōʻoia ana i ka ʻike nui, ka noʻonoʻo a me ka maʻalea o kā lākou poʻe hoʻolālā. Manaʻo ʻia ʻo ka hoʻolālā Chopin Residue Hilina'i Mua: Uhi Buke Mele he mea i mahalo nui ʻia, hoʻohiwahiwa ʻia a aloha ʻia, he ʻoihana a hou loa. ʻO kēia hoʻolālā i lanakila i ka A' Design Award Keleawe e hoʻohui ana i nā hana maikaʻi loa o ka hana noʻeau, ka ʻepekema, ka hoʻolālā a me ka ʻenehana, a maikaʻi no kona nānā ʻana i nā kikoʻī. Hoʻokō maikaʻi ka hoʻolālā Chopin Residue Hilina'i Mua: Uhi Buke Mele i nā pono, hoʻopā i ka makemake, hoʻohiwahiwa i nā manaʻo a huki i ka makemake e ʻike.

Ma Hope o ka Hoʻolālā

ʻEke Nūhou

Nā hōʻoia, nā lālā hui a me nā kikoʻī ʻenehana i hāʻawi ʻia e ka mea hoʻolālā.

Nā ʻAno Kūʻokoʻa: 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.
Nā Ana a me ka Hoʻopili: 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.
Nā Lepili: residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
ʻEnehana Hana: 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.
Pilikia Hoʻolālā: 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.
Noiʻi: 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.
Hoʻoulu Manaʻo: 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.
Ka Lōʻihi o ka Papahana: 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.
Kaʻina Hana: 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.
Nā Palapala Kuleana: Copyrights belong to Mariusz Szypura, 2025
Nā Kuleana Kiʻi: 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.