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
Roboto 3 Classic brings Christian Robertson’s Android system typeface into a variable format while preserving its established design. The core family dates to Robertson’s 2011 release and his substantial 2014 revision for Material Design. Developed with Type Network, the variable project began with a conservative objective: match the metrics and appearance of the static v2.136 fonts. Unlike the broader parametric exploration of Roboto Flex, Classic concentrates on continuity, allowing existing layouts to retain their proportions while gaining continuous control over weight and width.
The face retains Robertson’s combination of mechanical structure and rounded forms. Flattened outer curves give letters a firm vertical posture, while relatively open apertures and varied character widths keep the rhythm from becoming strictly geometric. The Thin, Regular, and Bold masters were adjusted for compatible interpolation, supporting a continuous weight range from 100 to 900 and widths from Condensed to Normal, with companion italic styles. Screen rendering was also a central concern: Mike Duggan developed TrueType hinting in Microsoft VTT, and the project supplies variants with hinting and vertical metrics adapted for Windows, Android, ChromeOS, and web use.
Roboto suits software menus, mobile navigation, dashboards, technical documentation, and responsive layouts that need a broad hierarchy within a consistent family. Its width range helps accommodate compact headings and constrained columns, while the familiar letterforms give everyday controls an unobtrusive presence. Classic is particularly useful where continuity with the established Roboto design matters alongside the flexibility of a variable font.
Thin · 100
Thin Italic · 100
Thin Small Caps · 100
Extra Light · 200
Extra Light Italic · 200
Extra Light Small Caps · 200
Light · 300
Light Italic · 300
Light Small Caps · 300
Regular · 400
Regular Italic · 400
Regular Small Caps · 400
Medium · 500
Medium Italic · 500
Medium Small Caps · 500
Semi Bold · 600
Semi Bold Italic · 600
Semi Bold Small Caps · 600
Bold · 700
Bold Italic · 700
Bold Small Caps · 700
Extra Bold · 800
Extra Bold Italic · 800
Extra Bold Small Caps · 800
Black · 900
Black Italic · 900
Black Small Caps · 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?”
Width
font-variation-settings: 'wdth';
'wdth' 75
'wdth' 87.5
'wdth' 100
Standard Ligatures
font-feature-settings: 'liga';
Discretionary Ligatures
font-feature-settings: 'dlig';
Small Capitals
font-feature-settings: 'smcp', 'c2sc';
Figures
Tabular Lining (default)
Proportional Lining: 'pnum'
Tabular Oldstyle: 'onum', 'tnum'
Proportional Oldstyle: 'onum', 'pnum'
Fractions: 'frac'
Numerators: 'numr'
Denominators: 'dnom'
Subscripts: 'subs'
Superscripts: 'sups'
Stylistic Sets
font-feature-settings: 'ss--';
'ss01'
'ss02'
'ss03'
'ss04'
'ss05'
'ss06'
'ss07'
Loading glyphs…
| Glyph name | Not available |
|---|---|
| Unicode | Not encoded |
| HTML entity | Not available |
| CSS escape | Not available |