cam_portfolio_2025

CAM - Architecture

layers of meaning

camjohn8@gmail.com

intro

cam - architecture

Hello! My name is Cameron, and I am a storyteller based in North Carolina.

As an African American graduate student in architecture, I nurture a greater passion for the mentorship of minorities, art, and the visionary progression of time and space. It is a journey that is driven by the aspiration to advocate for underrepresented groups and to consider the intersection of reason, faith, and design within architecture. Skilled in digital renderings, architectural drafts, and 3D modeling, I can harness my skills and transform abstract ideas into tangible and aesthetically appealing architecture plans and images. My works unify the world of art and architecture, and I have a keen interest in the 0-D to 4-D dimensions.

Engaging in initiatives that promote minority mentorship, I strive to be a mentor who can guide and support those aspiring architects from diverse backgrounds.

I am always exploring new forms of art and ways of doing it to provide an even deeper sprinkle of inspiration and empowerment in a space, affecting change. Thoughtful and reflective, I ponder the philosophical and theoretical underpinnings of my work based on a desire to have a storytellers influence through architecture.

cam - architecture You do not heal ‘from’ trauma.

the locus of encounter or meeting You between and his children. simplyGod come to know yourself

Table of Content

as Life Itself.

ingenuity and enlightenment.

God purported appeared.

And youisturn towardsto thehave wounded place.

And you flush it with attention, which is love.

enhances. promotes.

And maybe the wound will always be with you. uplifts.

Maybe you will always walk with the hurt. productivity.

But now, you hold it. It doesn’t hold you.

You are the container, not the contained.

to freedom

and It doesn’t control you any longer, thesurvive. wound.

Because it is drenched in awareness now.

Drenched in You. The Indestructible Loved byOne. You. The InfinitebyOne. Even celebrated You. purity and innocence.

The Powerful One.

You do not heal ‘from’ trauma.

You find healing ‘in’ the trauma.

“The trauma itself becomes a refreshes.

You find yourself at trauma’s sacred core.

A bush, enmity. portal to God. The One who is alwayssimplify. present. balances.

The One who can bear To the Absolute. even the most intense feeling states.

And survive.

To the Safety of Yourself.

01 philosophy/CV And you will cry out in joy, and you will cry out in sadness, 06 Peak on the Mount and you will cry out in relief, and you will cry out in revelation, 14 Ai Wei Museum ‘Yes I am broken, 22 Wilmington Regional Film Center but I am whole!’ ” 28 urbFARM 34 Ro.W. Nature Center 44 other

A bush, enmity.

Divine truth Divine good The from Indestructible One. the site of divine revelation The Infinite One. The Powerful One. You. “the mountain of God”

from The trauma itself becomesaagift portal to God God. To the Absolute. “precision andofreason.”

To the Safety Yourself.

And you will cry out in joy, and you will cry out in sadness, and you will cry out in relief, and you will cry out in revelation, “Yes I am broken, but I am whole!” ~ Jeff Foster

philosophy

cam - architecture

“Architecture Hello!

My name is about is Cameron, emoting a story. It’s and I am about listening an architect to the based whispers in of the site and North Carolina.them into spaces that evoke transforming emotions.”

Architecture, at its heart, is an eloquent storyteller, a silent bard weaving tales of place, time, and human experience.

It surpasses the simple assembly of materials; it’s an act of deep, almost spiritual listening. The architect, in this role, becomes a sensitive interpreter, carefully attuned to the subtle whispers emanating from the chosen site. The contours of the land, the path of the sun, the echoes of history embedded within the soil – all contribute to a unique and compelling narrative that yearns to be expressed.

The architect’s task is to decipher these whispers, to understand the unspoken language of the site and transform it into a tangible reality. Through a delicate dance of design and intention, they translate abstract concepts into concrete forms, shaping spaces that resonate with emotion and meaning. Each carefully chosen line, each thoughtfully selected material, each precisely sculpted volume becomes a word in the architectural vocabulary, contributing to a larger, more profound narrative. A building, therefore, is not merely a shelter but a multi-layered story, inviting inhabitants to step inside and become active participants in its unfolding drama. It’s an immersive experience, where the built environment evokes feelings of awe, tranquility, or inspiration, turning brick and mortar into a powerful and unforgettable journey for the senses and the soul.

CV

cam - architecture

AutoCAD

Bachelor of Arts, Interior Architecture, Minor in African American Diaspora Studies (May 2022) University of North Carolina at Greensboro (UNCG) + BUILDNER: Vale De Moses Meditation competition (2019) + International Student Collaboration - Anhui Jianzhu University + CCED Project(s) Realized (2021, 2022)

Enscape

D5

Master of Architecture

(Dec. 2025) North Carolina State University (NCSU) + 2022 Shawcroft Competitor + Eduardo Catalano Scholarship + William B. Little Scholarship

Revit

Fellowship at CCED Main Street

ArcGIS

Teachers Assistant at UNCG for First Year Interior Architecture Students

Lumion

Sketchup

Greensboro, NC (2021-2022)

Greensboro, NC (Spring 2021)

InDesign

Freelance CAD Redraw Specialist

Greensboro, NC (Spring 2021-present) Illustrator

Teachers Assistant at NCSU First Year Architecture Students Raleigh, NC (Fall 2023)

Photoshop

Architecture from the Global South Archive

Word

Raleigh, NC (Summer 2023)

NCSU Architecture Undergraduate Portfolio Review Board Member Raleigh, NC (Fall 2024, Fall 2025)

NCSU Architecture Undergraduate Admissions Interviewer Raleigh, NC (Spring 2025, Spring 2026)

2025 AIA North Carolina Design Award Ro.W. Nature Center (October 24, 2025)

2025 ASPIRE Design Graduate Student Honor Award Ro.W. Nature Center (2025)

2026 Metropolis FUTURE 100 Class of 2026

cam - architecture

Peak on Hello!

Mythe name Mount is Cameron, mount hope cemetery and I am an architect based in North Carolina.

Mentor: Thomas Barrie, FAIA, DPACSA Year: FA 2022 Location: Raleigh, North Carolina solo

“...rhythmic sequence...compression, and release.”

This funerary chapel explores the interplay of compression and release, using architectural form to mirror the emotional and spiritual journey of loss, reflection, and transcendence. Inspired by the surrounding residential roof lines, the chapel’s superstructure stretches across multiple programmatic elements, drawing from Morphosis’ approach to dynamic spatial manipulation.

The procession through the space is carefully choreographed: narrowing thresholds heighten a sense of compression, intensifying solitude and introspection, before expanding into moments of release, signifying revelation and collective gathering. This rhythmic sequence—compression, release, compression, final release—parallels the ebb and flow of grief, culminating in the chapel as a place of spiritual elevation.

The chapel’s irregular courtyards, formed by the angular shifts in plan, contrast with the stagnant elevation of the support structures, reinforcing a spatial hierarchy between the sacred and the functional. Just as Bernard Tschumi describes space as being transformed by events, this chapel responds to the funeral’s emotional weight—distorting scale and shifting proportions to emphasize moments of transition.

initial sketch

peak on the mount

cam - architecture

Who is the client?

What was the challenge?

What was the solution?

The client is an abstracted one—both the living and the deceased. The project serves the community in providing a sacred, non-denominational place of mourning, reflection, and remembrance. The particular significance of the site’s position in an African-American cemetery, history brings a collective and cultural aspect to the project, making implicit clients of the descendants of those buried at Mount Hope Cemetery and the surrounding community. In addition, the wide-reaching architectural dialogue regarding funerary buildings and death rituals serves as an intellectual and design-based clientele.

The objective was to design a funerary space that respects customary traditions while responding to evolving death and remembrance perceptions. Historically, funerary space design has been based on a notion of timelessness; yet, contemporary tendencies, in particular, the growing popularity of cremation, challenge the need for large burial sites. The design, therefore, had to capture this shift—away from uncompromising monuments to a more dynamic environment that allows for grief processing in terms of spatial engagement and sensorial stimulation. Further, it was crucial to design a space that allows collective and individual rituals to take place, yet that also elicits emotional and spiritual bonds without inducing sterilization or a sense of estrangement.

The Peak on the Mount addresses such challenges in terms of Compression and Release, offering a conceptual approach to human existence in terms of grief and transcendence. The use of concrete serves a dual purpose, acting both as a protective shield and an aspirational aspect; it is strong enough to be used in a funerary structure yet allows for dramatic structural elements, such as overhangs in the form of cantilevers, that indicate a transcendence beyond earthly confines. The organization of space and design lead visitors to take a physical and emotional path, moving between the compression of carrying loss to the release of acceptance and transcendence. The overhanging of the roof, which extends beyond the confines of the site, underscores a profound yet redemptive engagement with death.

The juxtaposition of solid masses and overlapping planes allows for areas of contemplation, recollection, and congregation, ensuring that the funerary chapel and gardens provide a sanctuary and a place of continued engagement with historical narratives.

peak on the mount

Hello! My name is Cameron, and I am an architect based in North Carolina.

cam - architecture

peak on the mount

cam - architecture

Hello! My name is Cameron, and I am an architect based in North Carolina.

left to right: physical model, section perspective

peak on the mount

Hello! My name is Cameron, and I am an architect based in North Carolina.

cam - architecture

peak on the mount

cam - architecture

Hello! My name is Cameron, and I am an architect based in North Carolina.

left to right: view from interior of chapel, view of entry

peak on the mount

Hello! My name is Cameron, and I am an architect based in North Carolina.

cam - architecture

peak on the mount

cam - architecture

Hello! My name is Cameron, and I am an architect based in North Carolina.

left to right: view from interior of chapel, view from exterior narthex

cam - architecture

Ai Weiwei Hello!

My name Museum is Cameron, raleigh, nc and I am an architect based in North Carolina.

Mentor: Matthew Griffith, FAIA Year: FA 2023 Location: Raleigh, North Carolina solo

Smokey Hollow, once an industrial hub in Raleigh, symbolizes urban evolution. Its revitalization involves re-purposing spaces, fostering a sense of community, and preserving historical elements. Ai Weiwei’s work, deeply rooted in activism, resonates with these themes.

In artworks like “Sunflower Seeds” and “Remembering,” Ai Weiwei explores collective identity and memory. Similarly, Smokey Hollow’s transformation involves a collective effort to redefine its identity while preserving its historical significance. Both narratives showcase the intricate interplay between individual stories, communal histories, and the broader context of societal shifts.

Moreover, Ai Weiwei’s confrontations with authority draw parallels to Smokey Hollow’s challenges in navigating urban development regulations. Ai Weiwei’s activism and Smokey Hollow’s revitalization share a common thread of challenging established norms, whether in the realm of art or urban planning. In essence, the connection lies in the shared exploration of resilience, community identity, and the transformative power inherent in embracing change.

initial sketch

ai weiwei

cam - architecture

“Memory Hello!

My name is the process is Cameron, of understanding history.

Ifand weI am don’t anremember, architect based we don’t in understand.”

North Carolina.

— Ai Weiwei

At first glance, the museum stands as a monolithic presence—an austere brick structure, its surface unbroken except for a single defining feature: a towering chimney-like form. The choice of brick, a material deeply tied to human scale and labor, anchors the building in a tactile familiarity, yet the imposing geometry suggests something withheld, something unseen. The chimney itself is a deliberate play on the words “Smokey Hollow,” referencing not only the name of the displaced community but also the forces that consumed it—industry, erasure, and transformation.

Visitors enter through this chimney-like passage, stepping into a controlled sequence of spaces that dictate movement and perception. As they progress, they are denied full understanding of where they are headed. The path is indirect, winding through a series of dark, enclosed spaces, shaping an experience of displacement and restriction. Views are tightly framed, offering only glimpses of what lies ahead or above, much like the historical residents of Smokey Hollow who navigated forces beyond their control.

At the heart of the museum, on the lowest floor, a viewing garden emerges—an unexpected opening in the architecture’s heavy form. Yet even here, access is controlled; the garden is visible but not fully accessible, much like the community’s history—present, but distanced. The visitor descends into this space, experiencing a shift from oppression to revelation, yet something remains incomplete.

The journey culminates on the top floor, a space veiled in darkness except for two carefully placed windows. One frames the tops of the plants in the interior garden below—offering an obstructed view, a reminder that even in proximity, full clarity is elusive. The other window looks outward toward the city, its perspective dictated by the museum’s rigid geometry. The city is visible, yet the position from which it is seen is predetermined, reinforcing the themes of control and imposed perspective.

Only at the end of this journey does the visitor have the chance to look up into the chimney—the very space they entered through. This delayed revelation mirrors the experience of many communities subjected to displacement and power structures that limit their agency. The chimney, a form historically associated with warmth and home, here becomes a symbol of both containment and resistance. It forces the visitor to reckon with the history of Smokey Hollow, with the people who once lived here, and with the unseen forces that shaped their fate.

ai weiwei

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ai weiwei

cam - architecture

Hello! My name is Cameron, and I am an architect based in North Carolina.

left to right: concept model, construction + enclosure diagram

ai weiwei

Hello! My name is Cameron, and I am an architect based in North Carolina.

cam - architecture

ai weiwei

cam - architecture

Hello! My name is Cameron, and I am an architect based in North Carolina.

left to right: process sketches, views from inside the tower

ai weiwei

Hello! My name is Cameron, and I am an architect based in North Carolina.

cam - architecture

ai weiwei

cam - architecture

Hello! My name is Cameron, and I am an architect based in North Carolina.

left to right: view from inner garden, view from gallery into garden

cam - architecture

Wilmington Hello!

My name Regional is Cameron, and ICenter Film am an architect based in wilmington, nc North Carolina.

Mentor: Donald Kranbuehl, FAIA, LEED AP BD+C + Dennis Stallings, FAIA Year: SP 2024 Location: Wilmington, North Carolina solo

“compressing raw footage into reels mirrors the compression of cotton into bales.”

The Wilmington, NC, cotton exchange is a testament to the city’s history of cotton trade. Being a port city, it was essential for sea and local commerce, facilitating the exchange of goods and information.

Cotton work entails picking and exporting, whereas film work encompasses scriptwriting, casting, and editing.

Both sectors rely on transport networks to distribute products. Sea connections were important to transport raw cotton and finished products around the world. Similarly, the cinema industry needs efficient transportation to distribute content to theaters and export markets.

Wilmington’s old cotton exchange, previously a commerce center, has turned into the film industry’s center for studios and professionals.

Refining cotton is like editing films; both are skills demanding precision. Likewise, the cotton exchange facilitates international trade, while Wilmington’s movie industry markets films internationally.

The compressing of cotton into vertical bales and the rolling of film into reels, we find a convergence of past and present, materiality and narrative, tradition and innovation. In the corridors of the cotton exchange and the studios of Wilmington’s film industry, the echoes of compression resound with the rhythms of history and the unyielding spirit of human creativity, inviting us to consider the interconnectedness of trade, storytelling, and cultural exchange in shaping the fabric of our common existence.

initial sketch

cam - architecture

Who is the client?

What was the challenge?

What was the solution?

Wilmington Regional Film Center brings together filmmakers, teachers, and industry professionals, bridging the city’s past in film to its future. It assists independent filmmakers and student filmmakers, building creativity and collaboration.

Funded by local visionaries such as EUE/Screen Gems Studios, it strengthens Wilmington’s film identity and economy. The center’s state-of-the-art facilities foster innovation and education for filmmakers.

The conflict is in balancing the preservation of history with the needs of contemporary industry, economic viability, and community involvement. As the film industry evolves, the hub must balance high-tech technology with conventional filmmaking techniques, thus providing a facility that appeals both to professionals and to local artists. In addition, funding must be obtained, new digital production patterns accommodated, and infrastructure limitations within Wilmington’s historic context overcome in order to create the hub as a dynamic center for storytelling and innovation.

The Wilmington Regional Film Center represents the double legacy of commerce and story that defines the city, coming together in unity its cotton legacy and its motion picture heritage. Just as Wilmington’s long-time function as the hub of the processing and exporting of cotton—to take the raw material and distill it into neatly wrapped bundles for overseas consumption—the center aims to record and reinterpret the very same process, but through film. Here, unspoken narratives are carefully taped, edited and distilled into reels, ready for projection onto screens and distribution to a worldwide market.

By means of adaptive reuse, the center successfully incorporates cutting-edge production equipment into historic buildings, thus mirroring the city’s built layers of history. In offering versatile space for screenings, workshops, and industry

wilmington regional film center

Hello! My name is Cameron, and I am an architect based in North Carolina.

cam - architecture

wilmington regional film center

cam - architecture

Hello! My name is Cameron, and I am an architect based in North Carolina.

left to right: night rendering, detail wall section, longitudinal section

cam - architecture

urbFARM Hello!

My name is Cameron, CDMX and I am an architect based in North Carolina.

Mentor: Patricia Morgado, Ph.D. Year: 2024 Location: Mexico City, Mexico solo

“unearthing the city’s roots, we bring agriculture back to the center— visible, vital, and connected.”

This urban farm project aims to reintroduce agriculture into the heart of the city, transforming a forgotten cultural practice into a vibrant, visible reality. Drawing inspiration from the ancient chinampas of Xochimilco, it revives the floating gardens’ ingenuity, where cultivation once thrived in the margins between land and water. The design metaphorically “pulls back the ground,” much like the chinampas revealed fertile land from the lake beds, uncovering layers of history and reconnecting the community with its agricultural heritage.

The spatial arrangement echoes the form of an ancient Aztec ball court (tlachtli), symbolizing the dynamic tension between earth and sky, structure and void. This deliberate shaping of space reflects the act of revealing and occupying the liminal zones—much like the spaces between chinampas or within the ball court. By integrating the farm into the city’s central axis or “spine,” the project creates both a physical and symbolic connection to the urban fabric. Carefully crafted spaces ensure visual accessibility, inviting passersby to witness the farming process while subtly controlling physical entry. This seamless blend of openness and restriction fosters a renewed awareness of agriculture’s vital role in urban life, encouraging reflection and interaction.

initial sketch

cam - architecture

Who is the client?

What was the challenge?

What was the solution?

The urbFARM project is for the city of Mexico City and its community residents who sought to reconnect with the city’s agricultural heritage while addressing the need for sustainable ecological practices in an urban environment.

The primary challenge was the loss of historical agricultural practices and green spaces due to extensive urbanization in Mexico City. The rapid growth and increasing density over the years have physically removed people from direct connections to agriculture, resulting in a scarcity of fresh, locally-grown produce within the urban core. During visits to CDMX, it became evident that finding fresh produce was challenging due to the city’s distant supply chains and fragmented agricultural infrastructure. The modern infrastructure near the site, including the new rail link to the Felipe Ángeles International Airport, created additional physical and symbolic barriers that further emphasized the disconnection between urban life and food systems.

The solution involved reintroducing agriculture to the urban center by drawing inspiration from historical chinampas and spatial concepts derived from Aztec culture. The design metaphorically “pulls back the earth” to uncover a productive landscape that reconnects the community with its agricultural roots. The project also integrated educational spaces in collaboration with Biblioteca Vasconcelos, offering opportunities for learning about sustainable farming and the city’s rich agricultural history. By leveraging the proximity to the new rail link, the farm became an accessible destination for both commuters and city residents. Spatial design elements, such as mounds inspired by San Juan Teotihuacán and pathways reminiscent of Aztec ball courts, established a symbolic and physical connection to the city’s central axis, transforming the site into a vibrant educational, ecological, and cultural hub.

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Hello! My name is Cameron, and I am an architect based in North Carolina.

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urbFARM

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left to right: view from entry, diagrams , renderings

urbFARM

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urbFARM

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section

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Ro.W. Nature Center outer banks of north carolina

Mentor: David Hill, FAIA Year: 2025 Location: Manteo, North Carolina duo

Where the forest dissolves into marsh, the land begins to loosen its edge. This condition is treated not as a boundary, but as an invitation. The parti begins with this threshold— architecture that doesn’t dominate, but listens. The creek bends. The tree line filters light. These natural elements guide the intervention.

Rather than impose, the Nature Center is placed lightly— nestled between existing trees, aligned with the trail, and shaped by the rhythms of the site. Mass is subtracted where views open. Walls slide to frame water. Porches extend to meet sky. What remains is not just a building, but a point of release—a stepping-off moment into the wetland.

The tower rises just above the canopy, not as a monument, but a marker. Like the shelters scattered beyond it, it frames stillness and movement—inviting longer observation, deeper listening, and a more immersive arrival into place.

initial sketches

ro.w. nature center

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top to bottom: site plan, site axon

ro.w. nature center

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ro.w. nature center

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left to right: view of approach, view from porch

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MARSHES

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01 Porch 02 Observation Tower 03 Welcome Center + Wetland Exhibits 04 Dock 05 Watercraft Rental + Storage 06 Outdoor Classroom 07 Admin. + Volunteer Center 08 Building Services

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01 Porch 02 Observation Tower 03 Welcome Center + Wetland Exhibits 04 Dock 05 Watercraft Rental + Storage 06 Outdoor Classroom 07 Admin. + Volunteer Center 08 Building Services

ro.w. nature center

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left to right: view from across marsh, view of approach

other

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pastimes

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other

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Hello! My name is Cameron, and I am an architect based in North Carolina.

pass times (sketches + collages)

cam - architecture

Contact Architecture is not just about buildings, but a depository of stories, a bridge between reason and imagination — a means for readying communities. Architecture should exist to be tending, creating spaces of some significance, and of intent.

camjohn8@gmail.com