Chopin Residue Tawuri tagejdant: AsAru n Uẓawan sɣur Mariusz Szypura

Chopin Residue Tawuri tagejdant: AsAru n Uẓawan sɣur Mariusz Szypura d anerbaz yettwaqadren meqqren n 2026 Tarbaḥt A' Design Award n Lbrunz deg Taggayt n Tnaflit n Afeṣṣel n Ukemmus.

LbrunzAkemmus· 2026

Chopin Residue Tawuri tagejdant: AsAru n Uẓawan

sɣur Mariusz Szypura

Amsaɣ: Black Element Label

Anerbaz n Tarbaḥt A' Design Award n Lbrunz deg Taggayt n Akemmus

7,049

Anerbaz n Urraz Yettwasenqden

Senqed Addad n Urraz i #179587

Rzu ɣer usmel Wali deg A' Design Award Tabḍert n tɣamsa Tanecḍa n wammud

Initen

Afeṣṣel

Ɣef Chopin Residue Tawuri tagejdant: AsAru n Uẓawan

Aḍris n udlis: Aṣewweɣ i d-yettwabedren deg ten yegget n udlis n uẓawan d aqeddes n yibẓan imeqqranen yettwaxedmen seg yixulaf n ufil i d-yettwarnan deg tsekfelt n lqeṭ n vinyl, anqilan amaḍḍal n tqedfit. Aɣawas yettkemmil-d tawmu.t n uẓawan, yesdukkel imesli, agnaw, akked tarrayt deg yiwen n usun amaḍḍal. Adlis-a n uẓawan yettmalas-d tira n Fryderyk Chopin akked yineggaɣen yeqqnen ɣer Portishead, Sonic Youth, Battles, Beck, David Bowie, akked Tortoise.

Asmekti

Ɣef Tarbaḥt A' Design Award n Lbrunz

Chopin Residue Tawuri tagejdant: AsAru n Uẓawan d amerbaḥ n Tarbaḥt A' Design Award n Lbrunz, tagmat ɛlayen i yisnulfa yelhan, yeṭṭafaren tinawt, tamusni d tezmert. Imerbaḥen n Lbrunz d isnulfa yelhan, ttbanen d timusniwin n tmusni n yimahilen-nsen. Chopin Residue Tawuri tagejdant: AsAru n Uẓawan ad yili d asnulfu yettwaɛezzen, yelhan, amaynut. Chopin Residue Tawuri tagejdant: AsAru n Uẓawan yettemlil ɣef yimawlan, yettwaɛezzen s tmahilt-is.

Deffir n ufeṣṣel

Tagrurt n tɣamsa

Ismawen n terbaɛt, iferdisen itiknikanen akked telɣut i d-yefka umeṣṣufeɣ.

Taɣara Tasuft: 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.
Tigejdiwin & Akemmus: 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.
Tibzimin: residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
Tasnakta n Ufares: 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.
Asewḥel n Usnulfu: 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.
Anadi: 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.
Aseḥbiber: 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.
Tanzagt n Usenfar: 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.
Tanila n Umahil: 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.
Ibrivan: Copyrights belong to Mariusz Szypura, 2025
Imsuren n Tugniwin: 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.