Mariusz SzypuraによるChopin Residue ミュージックアルバムカバー

Mariusz SzypuraによるChopin Residue ミュージックアルバムカバーは、パッケージデザインコンペティションカテゴリーにおける非常に権威ある2026 A' Design Award 銅賞の優れた受賞作品です。

銅パッケージ· 2026

Chopin Residue ミュージックアルバムカバー

デザイナー： Mariusz Szypura

クライアント: Black Element Label

パッケージカテゴリーのA' Design Award 銅賞受賞者

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デザイン

Chopin Residue ミュージックアルバムカバーについて

アルバムのインサートに掲載されたアートワークは、ラサンチカット・ヴァイナル工程で生じる糸状の廃材——溝の物理的なネガ——から制作された一連の大判作品を記録したものです。このデザインは、パッケージを音楽の延長として捉え、音、素材、そして工程を一つの物理的なオブジェクトに統合しています。本アルバムは、Portishead、Sonic Youth、Battles、Beck、David Bowie、Tortoiseに関わるアーティストたちとともに、フレデリック・ショパンの作品を再解釈しています。

受賞

A' Design Award 銅賞について

Chopin Residue ミュージックアルバムカバーは、創造性、独創性、鋭い洞察力で際立つ傑出したデザインに授与される、高い権威をもつ評価である A' Design Award 銅賞の受賞作品です。銅賞の受賞作品は、十分に巧みで印象的なほど創造的な工芸品であり、デザイナーの豊富な経験、想像力、機知を裏づけています。Chopin Residue ミュージックアルバムカバーは、高く評価され、称賛され、愛される品であり、顕著にプロフェッショナルで革新的であることが期待されます。この A' Design Award 銅賞を受賞したデザインは、芸術・科学・デザイン・技術のベストプラクティスを取り入れており、細部への配慮に優れています。Chopin Residue ミュージックアルバムカバーは、ニーズを見事に満たし、欲求に触れ、感情を魅了し、好奇心を引きつけます。

デザインの裏側

プレスキット

デザイナーが提供するクレジット、チームメンバー、技術的な詳細。

独自の特性: 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.
寸法とパッケージ: 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.
タグ: residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
製造技術: 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.
デザインの課題: 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.
リサーチ: 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.
インスピレーション: 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.
プロジェクト期間: 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.
オペレーションフロー: 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.
特許: Copyrights belong to Mariusz Szypura, 2025
画像クレジット: 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.