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 |
Thin
Italic
100
Light
Italic
300
Regular
Italic
400
Medium
Italic
500
Bold
Italic
700
Heavy
Italic
800
Black
Italic
900
Fivo Sans enters the typographic landscape as a conscious reclamation of the mid-century International Typographic Style, pursuing that austere, disciplined ideal of objective communication. Conceived by designer Alexander Slobzheninov, the family sets out to be, in its author’s own pragmatic phrase, "Swiss enough"—a deliberate embrace of the neo-grotesque heritage forged in Basel and Zurich by the mid-century progenitors of Univers and Neue Haas Grotesk. Yet where those twentieth-century archetypes were cast within the physical strictures of hot metal and mechanical photo-typesetting, Fivo Sans adapts that neutral approach to contemporary digital design.
Anatomically, the face is governed by the cool restraint of the caliper rather than the kinetic sweep of the broad pen. Its stroke modulation is held to a near-monolinear uniformity, while its apertures curve inward with tight, disciplined composure, yielding compact, self-contained letterforms. Terminals are sheared flush against the horizontal and vertical axes, establishing an orderly, rectilinear rhythm that allows words to assemble like precision-milled tiles. Across reading sizes, its generous x-height and hospitable interior counters ensure that the line does not clog into darkness; instead, it casts an even, pale-grey texture that refuses to editorialize or impose its own emotional weather upon the author’s text.
Arranged across seven balanced weights—from the gossamer draughtsmanship of Thin to the authoritative mass of Black, each attended by an analytical oblique—the family functions as an adaptable workhorse for poster, page, and interface alike. While Slobzheninov would later indulge in sculptural theatricality with Fivo Sans Modern and its cavernous ink traps, the original Fivo Sans remains devoted to quiet architectural utility.
Thin · 100
Thin Italic · 100
Light · 300
Light Italic · 300
Regular · 400
Regular Italic · 400
Medium · 500
Medium Italic · 500
Bold · 700
Bold Italic · 700
Heavy · 800
Heavy Italic · 800
Black · 900
Black Italic · 900
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
Proportional Lining (default)
Stylistic Alternates
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