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
Extra Light
Italic
200
Light
Italic
300
Regular
Italic
400
Medium
Italic
500
Semi Bold
Italic
600
Bold
Italic
700
Extra Bold
Italic
800
Black
Italic
900
Geist Sans was commissioned by Vercel in collaboration with Argentine design practice Basement Studio, with contributions from Andrés Briganti, Mateo Zaragoza, and Vercel’s design team, and introduced in late 2023. Developed for Vercel’s product ecosystem, the family draws on the structural discipline of Swiss modernist typography and mid-century grotesques such as Univers, alongside more recent references including Inter. Its restrained detailing and systematic construction connect that tradition to the requirements of software platforms, developer tools, and technical documentation.
Anatomically, the face combines a low-contrast skeleton with a generous x-height and relatively compact extenders, giving lowercase text a clear presence within buttons, cards, and data tables. Crisp terminals and controlled stroke junctions contribute to an even texture, while the proportions balance geometric forms with the varied widths of a proportional grotesque. Nine named weights run from Thin (100) to Black (900), with a continuous variable weight axis and companion italics. Eleven stylistic sets offer alternative constructions for letters such as a, l, R, I, and G, alongside changes to dots, arrows, numerals, and punctuation. Proportional and tabular figures support both running text and aligned numerical information.
Geist Sans is well suited to developer tooling, application interfaces, dashboards, and responsive digital products. Its regular rhythm and restrained character provide a consistent background for information, while the heavier weights and alternate forms can give headings a more distinct voice. Paired with Geist Mono, it provides a related proportional and fixed-pitch system for application controls, documentation, and code.
Thin · 100
Thin Italic · 100
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
Extra Bold · 800
Extra Bold 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?”
Standard Ligatures
font-feature-settings: 'liga';
Discretionary Ligatures
font-feature-settings: 'dlig';
Figures
Proportional Lining (default)
Tabular Lining: 'tnum'
Fractions: 'frac'
Numerators: 'numr'
Denominators: 'dnom'
Superscripts: 'sups'
Subscripts: 'subs'
Ordinals
font-feature-settings: 'ordn';
Stylistic Sets
font-feature-settings: 'ss--';
'ss01' · No tail a
'ss02' · Alternate a
'ss03'
'ss04'
'ss05'
'ss06'
'ss07'
'ss08' · Rounded dots
'ss09'
'ss10' · Enclosing shapes
'ss11' · Contextual brand styles
Loading glyphs…
| Glyph name | Not available |
|---|---|
| Unicode | Not encoded |
| HTML entity | Not available |
| CSS escape | Not available |