Julia Morgan: Decorated Architect

Born in San Francisco, CA in 1872 – Died in San Francisco, CA in 1957

Julia Morgan is one of America's most celebrated architects. Among her many achievements, she was one of the first women to earn a degree in Civil Engineering from the University of California, Berkeley (1894), the first woman accepted to and to graduate from the prestigious École des Beaux-Arts in Paris with a degree in architecture (1902), and the first licensed female architect in California (1904). In 2014, she became the first woman awarded the AIA Gold Medal, the highest honor given by the American Institute of Architects. Morgan is best known for designing Hearst Castle, the Asilomar Conference Grounds, and numerous YWCA buildings across the country.

In 1904, shortly after becoming the first licensed female architect in California, Morgan received one of her earliest significant commissions—North Star House.

Though the exact circumstances of how Morgan secured the project remain unclear, her directive was well defined. James D. Hague, the principal owner of the North Star Mine, sought to build an architecturally distinguished home that would serve as both an elegant setting for business and social gatherings and a residence for his superintendent, Arthur De Wint Foote, and his family. Working with a modest budget of $23,000, Morgan designed a home that embodied both grandeur and functionality.

Morgan was revolutionary in her approach to architecture. Unlike most of her contemporaries, she actively involved her clients—both men and women—in the design process. She was also known for integrating her buildings with the natural landscape, using local materials to create a seamless connection between indoor and outdoor spaces. While she was associated with the First Bay Tradition and the Arts and Crafts movement, she was versatile, designing in a range of styles to suit each project’s needs.

Her designs stood out for their understated elegance, eschewing elaborate ornamentation in favor of large windows that framed sweeping views of the surrounding environment. Unlike traditional designs that hid structural elements, Morgan exposed beams and trusses—often crafted from local hardwoods—and encased them in simple yet refined decorative casings. She extended this approach to interior spaces, using wood paneling and wainscoting to enhance the natural aesthetic.

One of Morgan’s greatest architectural strengths was her ability to balance intimacy and scale. Her spatial planning allowed for large gatherings while also providing quiet, private spaces within the same environment. At North Star House, she incorporated inglenooks for intimate conversations within the larger communal areas, ensuring a seamless blend of group and individual experiences.

Morgan’s work was not just about aesthetics—it was a catalyst for change. As historian Karen McNeill observed, “Julia Morgan and her clients literally built their way out of the Victorian notion of separate spheres to create a landscape for modern womanhood.” Many of Morgan’s commissions were for institutions dedicated to women, including YWCA buildings, and she often subsidized architectural fees for clients in need.

Despite her remarkable achievements, Morgan shunned publicity. She never entered competitions, rarely submitted her work for publication, and declined to serve on committees, dismissing such activities as distractions for “talking architects.” Instead, she let her buildings speak for themselves.

As she once said:

“My buildings will be my legacy… they will speak for me long after I am gone.”