David Worthington Unveils A Series Of Monumental Travertine Boulder Benches

Key Takeaways

• Four travertine benches up to 5 m, 2.5 t each
• Collaboration includes JRA, Marble Projects, Bill Amberg Studio
• Benches blend sculpture, architecture, and functional design
• New product line offers stone furniture for sale
• Exhibition planned for Marmomac Stone Fair, Verona, Sep 2026

Summary

Award‑winning sculptor David Worthington, in partnership with John Robertson Architects, Marble Projects and Bill Amberg Studio, has installed four monumental travertine “boulder benches” at 20 Gresham Street in the City of London. The benches, carved from single blocks of Tuscan travertine, range from three to five metres in length and weigh up to 2.5 tons, turning the corporate entrance hall into a gallery‑like space. The project showcases a hybrid of sculpture, architecture and functional design, and introduces a new commercial line of stone furniture available for commission. An exhibition of the work is slated for the Marmomac International Stone Fair in Verona later this year.

Pulse Analysis

Corporate interiors are increasingly being reimagined as cultural destinations, and the travertine benches at 20 Gresham Street epitomise this shift. By integrating large‑scale sculpture into a high‑traffic reception area, the project blurs the line between art exhibition and everyday functionality, offering tenants a distinctive brand experience that aligns with London’s reputation for design innovation. This approach reflects a broader trend where firms leverage bespoke art installations to differentiate office space, attract talent, and signal commitment to sustainability through the use of natural stone.

The benches’ creation involved a complex supply chain that underscores the value of artisanal expertise. Sourced from a single block at the S.I.T.I. Travertino Toscano quarry in Tuscany, each piece was hand‑carved in Pietrasanta, a historic hub for marble craftsmanship. Partnering with Marble Projects and Bill Amberg Studio ensured precise stone shaping and the addition of Tuscan‑leather cushions, marrying traditional techniques with contemporary comfort. Such collaborations highlight how architects, artists, and specialist fabricators can co‑create functional art that respects material heritage while meeting modern ergonomic standards.

Beyond aesthetics, the venture opens a new commercial avenue for sculptors transitioning into product design. Worthington’s decision to market the benches as purchasable furniture signals a nascent market for high‑end, sculptural fixtures in luxury hospitality, retail, and corporate sectors. The upcoming showcase at the Marmomac International Stone Fair will expose the concept to a global audience of architects, interior designers, and specifiers, potentially catalysing wider adoption of stone‑based functional art. As firms seek to embed authenticity and narrative into their spaces, the convergence of sculpture and furniture design is poised to become a lucrative niche.