دیزاینی Chopin Residue بەرگی ئەلبوومی مۆسیقا لەلایەن Mariusz Szypura خەڵاتگرێکی بەناوبانگی خەڵاتی شکۆمەندی 2026 Xelata A' Design Award a Tuncîn لە پۆلی پێشبڕکێی Dîzayna Pakêtkirinê.
TuncPakêtkirin· 2026
Chopin Residue بەرگی ئەلبوومی مۆسیقا
لەلایەن Mariusz Szypura
کڕیار: Black Element Label
خەڵاتگری Xelata A' Design Award a Tuncîn لە پۆلی Pakêtkirin
خەڵاتگری پشتڕاستکراو
پشتڕاستکردنەوەی باری خەڵات بۆ #179587دیزاینەکە
دەربارەی Chopin Residue بەرگی ئەلبوومی مۆسیقا
ئەو هونەرە کە لە ناو دانراوەکانی ئەلبوومدا هاتووە، کۆمەڵێک بەرهەمی قەبارە گەورە تۆمار دەکات کە لە پاشماوەی دەزووەکانی پرۆسەی بڕینی پلێتی ڤاینیل بە تۆراخ دروستکراون، ئەوەی نمونەی فیزیکی نێگەتیڤی شیارەکەیە. دیزاینەکە مامەڵە لەگەڵ پاکێجەکە دەکات وەک درێژکراوەی مۆسیقا، دەنگ و کەرەستە و پرۆسە لە یەک تەنی فیزیکیدا یەکدەخات. ئەلبوومەکە بەرهەمەکانی فریدریک شۆپان دووبارە لێکدەداتەوە لەگەڵ ئەو هونەرمەندانەی کە پەیوەستن بە پۆرتیشێد، سۆنیک یوس، باتڵز، بێک، دەیڤید بۆوی و تۆرتویز.
پێناسەکردن
دەربارەی Xelata A' Design Award a Tuncîn
Chopin Residue بەرگی ئەلبوومی مۆسیقا xelatgirê Xelata A' Design Award a Tuncîn e, nasîneke pir bi prestîj ku ji sêwiranên berbiçav ên bi afirînerî, jêhatîbûn û zîrekiyê têne cudakirin re tê dayîn. Xelatgirên Tuncînê karên bi têra xwe jêhatî û bi awayekî balkêş afirîner in, yên ku ezmûna fireh, xeyal û çareserkirina sêwiranerên xwe piştrast dikin. Tê hêvîkirin ku Chopin Residue بەرگی ئەلبوومی مۆسیقا tiştekî pir hatiye rêzgirtin, sitayişkirin û delal be, bi awayekî berbiçav pîşekar û nûjen. Ev sêwirana bi Tuncînê serketî pratîkên çêtirîn ên huner, zanist, sêwiran û teknolojiyê digire nav xwe û ji bo baldariya li hûrgiliyan hêja ye. Chopin Residue بەرگی ئەلبوومی مۆسیقا pêdiviyan bi rengekî xweş tîne cih, destê xwe dide daxwazan, hestan dihejîne û meraqê dikişîne.
لە پشت دیزاینەوە
کیتی چاپەمەنی
باوەڕپێکراوەکان، ئەندامانی تیم و وردەکاری تەکنیکی کە لەلایەن دیزاینەرەوە پێشکەش کراون.
- تایبەتمەندییە تایبەتەکان
- 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.
- قەبارە و پاکێج
- 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.
- تاگەکان
- residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
- تەکنەلۆژیای بەرهەمهێنان
- 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.
- هەڵەنگاندنی دیزاین
- 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.
- توێژینەوە
- 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. - ئیلهام
- 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.
- ماوەی پڕۆژە
- 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.
- ڕێڕەوی کارکردن
- 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.
- پەتێنتەکان
- Copyrights belong to Mariusz Szypura, 2025
- کرێدیتی وێنەکان
- 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.
سپۆنسەرکراو
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