01 / Peckham, London
Almond Yard
A tiled shopfront becomes a neighbourhood kitchen, with a shared table where the counter used to be and a courtyard open for Sunday lunch.
| Existing area | 128 m² |
|---|---|
| Added area | 24 m² |
| Structure kept | 86% |
| On site | 26 weeks |
Extra Light
Italic
200
Light
Italic
300
Regular
Italic
400
Medium
Italic
500
Semi Bold
Italic
600
Bold
Italic
700
Commit Mono was designed by Danish creative developer and designer Eigil Nikolajsen and released in 2023. Informed by the “Super Normal” design philosophy associated with Jasper Morrison and Naoto Fukasawa, the project approaches neutrality as a practical goal: a programming typeface should support reading without continually drawing attention to its own construction. Nikolajsen’s references include the letterforms of Franklin Gothic, particularly its double-storey g, the simple monospaced shapes of Letter Gothic, and the treatment of symbols in Fira Mono. The restrained character of Klim Type Foundry’s Untitled Sans provided another point of reference.
The design combines low stroke contrast, open apertures, and clearly differentiated characters within a fixed-width grid. Letters and figures that can be confused in code—such as zero and capital O, or the numeral one, lowercase l, and capital I—receive distinct constructions. Its central spacing feature, Smart Kerning, addresses the uneven gaps that arise when narrow and wide forms share identical advance widths. Contextual OpenType substitutions select alternate glyphs whose outlines sit farther left or right within their cells, moving them toward narrower neighboring characters while preserving the character grid. The variable family runs from Extra Light to Bold with companion slanted styles. Optional features include more cursive italic forms, character alternatives, connected arrows, code ligatures, and adjustments to punctuation and symbol spacing.
Commit Mono is well suited to code editors, integrated development environments, terminals, diffs, and technical documentation. Its subdued forms let syntax and layout carry the hierarchy, while the optional spacing features offer a more adjusted texture without disrupting column alignment. The same qualities can serve tables, captions, and editorial settings that call for a quiet monospaced voice.
Extra Light · 200
Extra Light Italic · 200
Light · 300
Light Italic · 300
Regular · 400
Regular Italic · 400
Medium · 500
Medium Italic · 500
Semi Bold · 600
Semi Bold Italic · 600
Bold · 700
Bold Italic · 700
Reframe.
We give empty shops, tired offices, and forgotten warehouses a reason to open their doors again.
01 / Peckham, London
A tiled shopfront becomes a neighbourhood kitchen, with a shared table where the counter used to be and a courtyard open for Sunday lunch.
| Existing area | 128 m² |
|---|---|
| Added area | 24 m² |
| Structure kept | 86% |
| On site | 26 weeks |
02 / Kelham Island, Sheffield
A former cutlery workshop makes room for a ceramicist, a frame maker, and a bicycle repair shop. New partitions stop below the original roof trusses.
| Existing area | 640 m² |
|---|---|
| Added area | 48 m² |
| Structure kept | 94% |
| On site | 38 weeks |
03 / Stokes Croft, Bristol
Two empty floors above a corner shop become six compact homes. A new stair brings daylight into the centre; the shop keeps trading throughout.
| Existing area | 312 m² |
|---|---|
| Added area | 0 m² |
| Structure kept | 91% |
| On site | 32 weeks |
04 / Cliftonville, Margate
An empty cinema finds its second act as a rehearsal room and evening venue. The curved balcony remains, along with the ticket window on the street.
| Existing area | 875 m² |
|---|---|
| Added area | 36 m² |
| Structure kept | 97% |
| On site | 44 weeks |
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
Figures
Tabular Lining (default)
Code Ligatures
font-feature-settings: 'ss01';
Arrows
font-feature-settings: 'ss02';
Smart Case
font-feature-settings: 'ss03';
Symbol Spacing
font-feature-settings: 'ss04';
Smart Kerning
font-feature-settings: 'ss05';
Character Variants
font-feature-settings: 'cv--';
'cv01'
'cv02'
'cv03'
'cv04'
'cv05'
'cv06'
'cv07'
'cv08' · Italic
'cv09'
'cv10'
'cv11'
Loading glyphs…
| Glyph name | Not available |
|---|---|
| Unicode | Not encoded |
| HTML entity | Not available |
| CSS escape | Not available |