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
Libre Franklin resurrects the frank, broad-shouldered voice of the American industrial press, adapting Morris Fuller Benton’s designs for contemporary use. Conceived and directed by Pablo Impallari of the Argentine foundry Impallari Type—with contributions from Rodrigo Fuenzalida and Nhung Nguyen—the family represents a comprehensive expansion of Benton’s 1902–1912 Franklin Gothic for the American Type Founders. Named in reverence to Benjamin Franklin, printer and founding statesman, the original was never intended to whisper with philosophical detachment; it was forged to shout from broadsheet headlines, mercantile trade cards, and railway timetables. Libre Franklin honors this candid ancestry, refusing the cool, antiseptic geometry of mid-century Swiss modernism in favor of an earthy, physical candor rooted in ink, metal, and honest labor.
Where the historical foundry metal was cast predominantly in authoritative, heavyweight display cuts, Libre Franklin undertakes the meticulous optical task of distributing Benton’s DNA across a nine-weight spectrum, descending from a dense, thunderous Black to an ethereal, draughtsman-like Thin. Its anatomy retains the vital quirks of the classical nineteenth-century American gothic: the double-storey a and loop-and-tail g lend running prose a recognizable, bookish cadence, while subtle modulations in stroke weight keep junctions from clogging into unsightly ink-traps. The apertures remain hospitable and open, allowing white space to circulate freely through the interior counters. Along the measure, the typeface settles into a sturdy, resolute stride—neither brisk nor nervous—casting an even, warm-grey color that anchors the eye without imposing decorative distractions.
Typographically, Libre Franklin’s character set extends beyond the Latin alphabet, incorporating a resonant Cyrillic script designed by Alexei Vanyashin alongside a full complement of tabular and proportional figures. The United States Web Design System used it as the basis for Public Sans, adapting its outlines for federal websites and services.
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';
Figures
Proportional Lining (default)
Fractions: 'frac'
Numerators: 'numr'
Denominators: 'dnom'
Subscripts: 'subs'
Scientific Inferiors: 'sinf'
Superscripts: 'sups'
Ordinals
font-feature-settings: 'ordn';
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| Glyph name | Not available |
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| Unicode | Not encoded |
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