Ezra Ardolino

Ezra Ardolino is a designer, artist, and the founder of Timbur. His work spans architecture, fabrication, and sculpture and is rooted in technological systems of making. Code, machines, and materials are the tenets of his practice. He started experimenting with CNC tools in the early 1990s, earned a Master of Architecture degree, and spent a decade as a Professor of Architecture at both Cornell University and Pratt Institute. That combination of technical obsession, visual thinking, and research-based exploration continues to define his approach today.

Timbur was built from the ground up to make that kind of work possible. What started as a CNC shop grew into a 20,000 square foot studio with industrial robots, a full finishing department, and the ability to prototype at scale. That infrastructure supports client work, but it also serves as the foundation for a personal design practice rooted in experimentation.

Much of Ardolino’s recent work is made using Futurewood, a material process developed in-house. Data is translated into geometry. Geometry becomes form. Pieces are carved, assembled, and finished entirely in the studio. The output includes lighting, furniture, and limited-edition sculptural objects.

His studio practice is represented by Wexler Gallery.

Limina

A sculptural lightform composed of alabaster spheres joined by parametrically generated Futurewood connectors. First exhibited at Wexler Gallery, Limina explores modularity, luminosity, and material contrast through a language of precise repetition and quiet variation. It drifts between object and environment, functioning as both form and field. It serves as a platform for ongoing formal and spatial exploration.

N90N

A series of three sculptural Futurewood works finished in transparent Kandy color. 5P1R4L (bench), 7R1PL3 (coffee table), and D0U8L3 (side table), each originating as digital studies, are robotically machined and hand finished in resin. The series explores how Futurewood can translate virtual geometry into saturated, expressive material objects.

bark

A series of pine logs stripped of their natural bark and re-covered with manipulated, high-resolution scans of bark from the same species. Robotic machining re-imposes this augmented reality onto the log, creating a digitally recursive version of itself. The Scale and Map subsets explore manipulation through scale and spatial orientation.