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Women were faced with oppression and unable to get the jobs and opportunities they wanted or that men had. This started the suffrage movement to let woman go to college and get degrees and also the rights to their body and whether or not they choose to marry or even bare children.

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The Dakota War of 1862, also known as the Sioux Uprising, was a conflict between the Dakota Sioux people and the United States government in Minnesota. Tensions had escalated due to broken treaties, starvation, and unmet promises from the U.S., leading to an armed uprising by the Dakota in August 1862, which resulted in the deaths of over 600 settlers and soldiers. The war ended with the defeat of the Dakota, the execution of 38 Sioux leaders, and the forced displacement of many Dakota people to reservations in the western United States.

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Julia Morgan not only created a new form of architecture and designing spaces but also paved the way for women in the industry as well. She worked mainly on buildings and homes in the Bay Area and redesigning and reinventing using styles like Arts and Crafts, which used basic elements to allow for the structure to shine on its own, and Bay Tradition, which used mostly unadorned natural materials. Morgan not only wanted to design spaces that aesthetically were pleasing and fitted to the surrounding space but also spaces that were functional for the people who used them. She was able to prove to the world that women can do anything a man can accomplish even in a very male-dominated industry and career.

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Pioneering Women of American Architecture

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Birthplace

San Francisco, Calif.

Education

University of California, Berkeley, Bachelor of Science in Civil Engineering, 1890-94

L'École Nationale Supérieure des Beaux-Arts, Certificat d'Études, 1898-1902

Major Projects

Mills College, Oakland, Calif., 1904-25

Fairmont Hotel, San Francisco, 1906-07

St. John's Presbyterian Church, Berkeley, Calif., 1908-16

Asilomar Conference Grounds for the Young Women's Christian Association (YWCA), Pacific Grove, Calif., 1913-28

Hearst Castle, San Simeon, Calif., 1919-47

Ming Quong Home for Chinese Girls (now Julia Morgan School for Girls), Oakland, 1924-25

Phoebe Hearst Memorial Gymnasium, University of California, Berkeley, 1925-26

Honolulu YWCA, 1925-26

Berkeley Women's City Club, Berkeley, 1929-30

Chinatown YWCA, San Francisco, 1932

Awards and Honors

Three medals and 26 recognitions of mention, L'École Nationale Supérieure des Beaux-Arts, 1899-1902

Honorary Doctor of Laws, University of California, Berkeley, 1929

Certificate of Recognition, Women's Board of the Golden Gate International Exhibition, Most Distinguished California Woman in the Field of Architecture, 1940

California Hall of Fame, 2008

American Institute of Architects Gold Medal, 2014

Firms

Bernard Maybeck, Berkeley, 1894-96

Marcel Perouse de Monclos, Paris, 1896-98

François-Benjamin Chaussemiche, Paris, 1898-1902

John Galen Howard, Campus Architect, University of California, Berkeley, 1902-04

Julia Morgan, Architect, Principal, San Francisco, 1904-07

Morgan and Hoover, Architects, Senior Partner, San Francisco, 1907-10

Julia Morgan, Architect, Principal, San Francisco, 1910-50

Professional Organizations

Association of Collegiate Alumnae (now American Association of University Women), 1894

American Institute of Architects, 1921-57

Berkeley Women's City Club (now Berkeley City Club)

Home Club, Oakland

Twentieth Century Club of San Francisco

YWCA

Location of Last Office

Merchants Exchange Building, 465 California Street, San Francisco

Further Information

By Julia Donoho and Alexandra Lange with Karen McNeill

Julia Morgan (1872-1957) was a woman of many firsts: one of the first female engineering majors at the University of California, Berkeley, the first woman to pass the entrance exam in architecture for the École Nationale Supérieure des Beaux-Arts (and the school's first female graduate), and the first licensed woman architect in California. Over the course of her 46-year career, Morgan designed over seven hundred buildings, primarily in California, and is best known for her work on Hearst Castle, publisher William Randolph Hearst's spectacular estate in San Simeon, California, now a National Historic Landmark. In 2014, Morgan was posthumously awarded the American Institute of Architects' Gold Medal in recognition of her pathbreaking career and dynamic buildings, the first woman to be awarded the medal in its 107-year history.

Early life and education

Julia and Emma both attended the University of California, Berkeley. Emma Morgan ultimately graduated from law school in San Francisco, married a fellow lawyer, and maintained a lifelong membership in the California Bar. Julia Morgan enrolled in the civil engineering program (there was no architecture school at Berkeley at that time). After her first year she lived in the Kappa Alpha Theta sorority house with fellow female students, employing a cook-housekeeper. Throughout Morgan's career, women's organizations proved to be an important source of clients and moral support.

After Morgan received her bachelor of science degree from Berkeley in 1894, she joined Bernard Maybeck's atelier, serving as a draftsperson. Maybeck is best known for his design of the Berkeley First Church of Christ, Scientist (1910), a defining building of the first Bay Area style of architecture, embracing nature, craftsmanship, and local materials like redwood. Maybeck encouraged Morgan, as he had many of his male students, to study at the École des Beaux-Arts in Paris, then regarded by many Americans as the preeminent architecture school in the world. She took the suggestion.

Upon her arrival in Paris, Morgan met Katharine C. Budd and Fay Kellogg, two American women also pursuing an interest in architecture. Budd and Kellogg had found a sympathetic mentor in Marcel Perouse de Monclos, and he accepted Morgan in his atelier when Kellogg returned to the United States. He was the only architect in Paris at the time who opened his doors to women and was himself married to an American woman. Kellogg had unsuccessfully lobbied the École to allow her to apply for admission, but her efforts helped pave the way for Morgan to study there. Many years later, in 1918, the National Board of the YWCA would hire the three women to design Hostess Houses on military bases, dividing the country into three regions with Morgan designing in the west, Kellogg in the south, and Budd in the north.

In 1897, the French government changed the rules to allow women to compete for admission to the École des Beaux-Arts in painting and sculpture. "They did not say anything about the Department of Architecture, either way," Morgan later recalled in a letter, "it not entering their heads that there might be women applicants." After gathering the necessary letters and documents, finally, she was allowed to proceed, making her way through the rigorous process of apprenticeship and design competitions required for admission. After three failed attempts and a change in ateliers-Grand Prix de Rome winner François-Benjamin Chaussemiche eventually took Morgan under his wing-she passed the entrance exam in October 1898 and became the first woman to enroll at the École des Beaux-Arts in architecture that November.

Students at the École were judged through anonymous competitions, and during her studies Morgan fared very well, receiving three medals and twenty-six mentions, as well as the second-place medal for the prestigious Godeboeuf Competition. As a woman, Morgan lacked the mentorship of male upperclassman, and instead relied on the support of some of the mothers of American male students at the École, who even helped her render her projects. In February 1902, weeks after her thirtieth birthday, she qualified for the Certificat d'Études, the first woman to receive the degree.

Morgan's stay in Europe lasted six years from 1896 to 1902, a period of fervent change in art and architecture in Paris, and one that challenged the academicism and historical styles of the École itself. Morgan was there for the Paris Expo of 1900, the opening of the Paris metro, and the rise of numerous iron- and-glass buildings throughout the city. She traveled widely throughout Europe, filling her sketchbooks with drawings and watercolors of the buildings and landscapes she saw. At the École she learned the traditional modes of architectural representation; on her own, she discovered how to draw freehand and capture quickly her impressions of a building.

Career

In 1902, Morgan returned to Oakland with her degree and worked for two years with the Berkeley campus architect, John Galen Howard, before applying for state licensure in 1904 and establishing her own architecture practice. Contemporary observers were struck by Morgan's professional style; one described her surprise at finding "a small, slender young woman, with something so Quakerish about her that I felt all preconceived notions come tumbling out of my head" in charge of the reconstruction of the Fairmont Hotel. Morgan avoided the flamboyant, artistic dress of her mentor Maybeck, instead creating her own version of the male architect's uniform, with a skirt rather than trousers. Elinor Richey offers this description of Morgan's practical dress at this time: "Eschewing a regular purse, which would encumber her hands, she utilized suit pockets to carry necessaries."

Accordingly, many of Morgan's early residential commissions came from fellow members of Kappa Alpha Theta. Morgan also developed a decades-long relationship with the Young Women's Christian Association (YWCA), and went on to design at least thirty buildings for the YWCA in at least seventeen locations, mostly in California, but also in Hawaii, Washington, and Utah.

After just a year in practice, Morgan was hired by Mills College, a women's college in Oakland, to design a bell tower to provide a focal point on the central grass oval of the growing campus. Morgan utilized both her engineering and architectural training to create the groundbreaking structure. El Campanil, a 72-foot-high reinforced concrete tower in the red-tile roof Mission style, was the first free-standing structure of its kind in the United States and the first multi-story reinforced concrete tower west of the Mississippi. Designed in 1903, it was built at the same time as Auguste and Gustave Perret's pioneering apartment building at 25 bis Rue Franklin in Paris; both structures used new patented reinforced-concrete systems. Despite her building's innovative design and pioneering use of concrete, Morgan encountered professional sexism in the Bay Area: the contractor persuaded the project sponsor to give Morgan second billing for El Campanil at the dedication of the structure. Nonetheless, the tower's demonstrated seismic strength led to changes in California's building code, and the structure has endured for well over one hundred years.

On April 18, 1906, disaster struck. The Great San Francisco Earthquake and subsequent fires destroyed more than 80 percent of the city's building stock, including Morgan's first office at 456 Montgomery Street. Morgan benefitted from the city's need for architects and, most urgently, for architects familiar with quake-resistant reinforced concrete construction. El Campanil, which survived unscathed, attested to Morgan's ability to meet the need. The owners of the luxurious downtown Fairmont Hotel, which had been days from opening, came calling. Morgan delivered to them a rebuilt Fairmont within in a year while competing with the whole city for workmen and materials.

The hotel's acclaimed reopening fueled the success of Morgan's practice. She moved her offices to the Merchant's Exchange Building in San Francisco's financial district, and remained there until her retirement at age 79. She received a wide range of commissions. Along with churches, residential clubs, libraries, commercial buildings, schools, and warehouses, Morgan designed hundreds of houses, many in the Berkeley and Oakland hills, ranging in style from shingled redwood to Venetian Gothic, Tudor to Arts and Crafts, and Mission Revival to Neoclassical. In her residential work, Morgan emphasized comfort, with rooms shaped for specific activities and family life. "She could do any style, castles for Hearst up at Mount Shasta, Italianate, stucco, little cottages and Craftsman buildings," Lynn Forney McMurray, the daughter of Morgan's longtime secretary, Lillian Forney, and her goddaughter, told the New York Times. "Her houses were built from the inside out; she thought about how the people were to live. That was what was important to her."

A decade later, in 1913, Hearst worked with the Pacific Improvement Company, the real estate arm of the Southern Pacific Railroad, to secure with generous terms thirty acres of land on the Monterey Peninsula for the National Board of the YWCA. She persuaded the board to hire Morgan to create the first conference center in the country for the YWCA, and donated the funds for the first building, now known as Phoebe Hearst Social Hall. Over the next fifteen years, Morgan designed sixteen buildings for what came to be named Asilomar, or "refuge by the sea." Her rustic Arts and Crafts style became synonymous with northern California architecture, featuring exposed wood trusses, redwood walls and stone fireplaces. In keeping with the informality of the style, Morgan retained the natural undulations of the landscape, grading only enough to level building sites. She specified California native plants, and unified the site with winding pathways.

Phoebe Hearst also introduced Morgan to the man who became her most significant client: Phoebe's son, newspaper publisher William Randolph Hearst. Morgan's first built commission for Hearst was the block-long Spanish Mission Revival Hearst Examiner Building (1913-15) in Los Angeles. In 1919, following his mother's death, Hearst inherited the full Hearst estate and decided to build on the hilltop of the ranch at San Simeon. At first, his idea was a relatively modest bungalow, but soon a castle emerged, its scenographic, pan-European architecture studded with fragments of Spanish and Italian buildings Hearst purchased and shipped to California. During the first year working on Hearst Castle, Morgan negotiated her commission from 6 percent for architectural services to 8.5 percent to cover the costs of "running the job." She was providing what today would be called "design-build" services and was responsible for managing workmen, artisans, material suppliers, and warehouses of artifacts. Over the next twenty-plus years, Morgan continued to work for Hearst, traveling most weekends by train and taxi from San Francisco to San Simeon, and working on various other Hearst estates such as Jolon and Wyntoon.

Morgan was known especially for her pool designs, reflecting her interest in promoting a healthy lifestyle. Besides her pool at Pleasanton, she designed swimming pools at Mills College, YWCA facilities, the Berkeley campus, and Hearst Castle. The arched aquatic area at the Berkeley Women's City Club (1930) remains the most publicly accessible and demonstrates her expertise designing barrel-vaulted structures in reinforced concrete. The two swimming pool complexes, the Neptune (1924-36) and the indoor Roman Pool (1927-34), at San Simeon are her most elaborate designs. The Roman Pool, set under the castle's two tennis courts, features a rich sequence of partially-underground spaces lit by skylights, alabaster lamps, and reflections of the blue-and-gold glass tiled walls on the water. Surrounded by marble copies of Greek and Roman statues, it evokes ancient Roman baths. However, it also employs less-visible modern features, made possible by Morgan's knowledge of engineering: an oil-burning heating system and operable window assemblies, which allowed natural air to ventilate the space and dissipate the corrosive chemicals, minimizing their effects on building materials. This was a feature she would go on to use in other indoor pools as well.

Morgan's practice slowed down during the Great Depression and nearly came to a halt during World War II. She retired in 1951, in declining health, and died at home in San Francisco on February 2, 1957. She was survived by her sister, a niece, a nephew, and his daughter. A few months after her death, when LIFE magazine published "A Unique Tour of San Simeon," the story failed to mention Morgan. San Francisco Chronicle architecture critic Allan Temko wrote to the magazine to object: "This great Californian, who designed not only San Simeon, but more than 700 other buildings during her long career . . . deserves as high a place as Mary Cassatt in American painting, or Edith Wharton in American letters." Despite this admonition, for decades Morgan fell out of history and was little known beyond the areas where her buildings stood.

As architecture critic Christopher Hawthorne (who grew up in a Morgan house in the Berkeley hills) wrote in 2014, the profession "has tended to lionize only those architects who break new formal ground or dramatically cut stylistic ties from their predecessors." Morgan's Beaux-Arts training led her to make structurally rational, functional buildings in a range of historical styles, and to design everything from bungalows to castles. But she remained uninterested throughout her career in modern architecture, whether as style or dogma. Besides privileging formal invention, the American architecture establishment has also retained a bias toward architecture east of the Mississippi, and often has withheld recognition and opportunity from its women practitioners. Further, it must be noted that Morgan did not cultivate her legacy during her career: she did not write about her work and refused most requests for interviews.

Morgan's posthumous reputation foundered because of all these issues. Yet indisputably her work embraced modern materials and a broader commitment to modernity; it reflected and fostered the growing diversity of women's roles outside the home before World War II.

The rediscovery of Morgan's work began in 1988, with the publication of Sara Boutelle's biography, its author inspired by a tour of San Simeon she took in the 1970s. The biography covered the complete span of Morgan's work, and traced her hundreds of clients and commissions beyond Hearst. As the New York Times obituary for Boutelle stated, "Until Ms. Boutelle published Julia Morgan, Architect (1988), little was known about Morgan (1872-1957) beyond the fact that she had designed William Randolph Hearst's spectacular California castle, San Simeon."

The strength of Morgan's achievement was finally confirmed when in 2014 she achieved another first: she became the first woman to be awarded the American Institute of Architects' Gold Medal, the professional organization's highest honor, more than fifty years after her death. Beverly Willis declared at the 2014 Gold Medal ceremony, "We women, who graduated in the '50s, '60s, '70s and '80s, were denied a phenomenal role model, of an incredible designer and successful practitioner."

Writings about Morgan

Boutelle, Sara Holmes. Julia Morgan, Architect. New York: Abbeville Press, 1988, rev. ed. 1995.

Favro, Diane. "Sincere and Good: The Architectural Practice of Julia Morgan," The Journal of Architectural and Planning Research 9 (Summer 1992): 112-28.

Gill, Sarah. Julia Morgan's Berkeley City Club: The Story of a Building. Berkeley, Calif.: Sarah Gill, 2016.

Kastner, Victoria. Hearst Castle: The Biography of a Country House. New York: Harry N. Abrams, 2000.

---. "Morgan and Associates: Julia Morgan's Office Practice as Design Metaphor." In 20 on 20/20 Vision: Perspectives on Diversity and Design, edited by Linda Kiisk, 44-51. Boston, Mass: Boston Society of Architects, 2003.

Longstreth, Richard W. Julia Morgan, Architect. Berkeley, Calif.: Berkeley Architectural Heritage Association, 1977.

---. "Julia Morgan: Some Introductory Notes." Perspecta 15 (1975): 74-86.

McNeill, Karen. "Building the California Women's Movement: Architecture, Space and Gender in the Life and Work of Julia Morgan." Ph.D. dissertation, University of California, Berkeley, 2006.

---. "Gender, Race, and Class in the Work of Julia Morgan," Forum Journal 32, no. 2 (December 2018): 26-36.

---. "Julia Morgan: Gender, Architecture and Professional Style." Pacific Historical Review 76 (May 2007): 229-67.

---. "'Women Who Build': Julia Morgan and Women's Institutions." California History 89 (Summer 2012): 41-74.

Quaccia, Russell L. Julia Morgan, Architect, and the Creation of the Asilomar Conference Grounds. Carmel, Calif.: Qpublishing, 2005.

Riess, Suzanne B., ed. The Julia Morgan Architectural History Project: oral history transcript, vols. 1 and 2, Regional Oral History Office, the Bancroft Library, University of California, Berkeley, 1976; and related material, 1974-76.

Steilberg, Walter T. "Some Examples of the Work of Julia Morgan." Architect & Engineer of California 55, no. 2 (November 1918): 39-107.

Wilson, Mark A. Julia Morgan: Architect of Beauty. Layton, Utah: Gibbs Smith, 2007.

Videos about Morgan

Bagwell, Richard. Julia Morgan's Paris, 2013.

Celebrating Julia Morgan, FAIA.

McNeill, Karen. Architect Julia Morgan: Insights into her Genius and Legacy. University of California Extension, 2013.

Wilson, Mark. Julia Morgan: Architect of Beauty. ICAA Northern California Chapter, 2012.

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Julia Morgan - Pioneering Women of American Architecture

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San Francisco, Calif. University of California, Berkeley, Bachelor of Science in Civil Engineering, 1890-94 L'École Nationale Supérieure des Beaux-Arts, Certificat d'Études, 1898-1902 Mills College, Oakland, Calif., 1904-25 Fairmont Hotel, San Francisco, 1906-07 St.

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The Harlem Renaissance was led in the 1920s as the first African-American led movement of the international modern art. Black artists were able to develop new modes of self expression and was important for the African-American community for a new and better life.

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Printerval.com - T-Shirts Starting at $14 Featuring Your Favorite TV Shows, Movies, Comics, and More

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Find the perfect handmade gift, vintage & on-trend clothes, unique decor home & living and more on Printerval.com

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The Great Depression was the worst economic downturn in history. It was instigated by a financial crisis but also an agricultural crisis which was due to over planting in the Midwest where fields then became infertile.

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Protest Songs of Enslaved People (1930-1940s)

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Protest Songs of Enslaved People (1930-1940s)

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African American protest songs have played a crucial role in expressing the struggles and aspirations of the Black community throughout history. These songs often address themes of racism, social injustice, and the fight for civil rights.

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"Strange Fruit" by Billie Holiday (1939)

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"Strange Fruit" by Billie Holiday (1939)

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"Strange Fruit," originally recorded by Billie Holiday in 1939, is a haunting protest song that addresses the brutal realities of racism and lynching in America. The lyrics poignantly describe the bodies of African Americans hanging from trees, using vivid and stark imagery to evoke the horror and injustice of racial violence. The song serves as a powerful commentary on the deep-seated issues of racism and the pain of the African American experience, making it a significant piece of both musical and social history.

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"Strange Fruit" by Billie Holiday (1939)

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The start of the modern environmentalism movement after World War II emerged as a response to rapid industrialization, urbanization, and the environmental degradation that accompanied post-war economic growth.

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The civil rights movement was a pivotal social movement in the United States primarily aimed at ending racial segregation and discrimination against African Americans. The movement sought to secure equal rights under the law and to challenge systemic racism.

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Advertising targeted to women has tended to emphasize a woman’s role as caretaker of a husband or family, or as an unmarried person seeking to land a man and were forced into a model of economic dependence on men.

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The Second Wave of Feminism focused on a broader range of issues beyond the legal and political rights championed by the First Wave, which largely centered on suffrage. This wave sought to address social, cultural, and economic inequalities faced by women, emphasizing issues such as workplace discrimination, reproductive rights, sexual liberation, and gender roles.

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The Black Panther Party was a revolutionary socialist organization founded in Oakland, California. Initially established to address systemic racism and police brutality against African Americans, the party quickly evolved into a broader movement advocating for social justice, economic equality, and self-determination. The party is best known for its militant stance on armed self-defense and community programs aimed at improving the lives of Black individuals and families.

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The feminist art movement began to take shape as part of the broader Second Wave of Feminism, which sought to challenge and redefine the roles of women in society, including in the art world. Artists began to address issues related to gender, identity, and representation, critiquing the male-dominated art establishment and highlighting the experiences and perspectives of women.

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Tupac Shakur was a highly influential American rapper, actor, and activist known for his powerful lyrics that addressed issues such as racial inequality, police brutality, and social justice. Born in 1971, he rose to prominence in the 1990s with albums like All Eyez on Me and Me Against the World, blending street life narratives with political commentary. Despite his success, Tupac's life was marked by legal troubles, controversies, and a rivalry with East Coast rap artists, culminating in his tragic murder in 1996, which remains unsolved.

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Artivism is the fusion of art and activism, where creative expression is used as a tool for social, political, or environmental change. Through various mediums such as visual art, performance, music, and digital platforms, artivists aim to raise awareness, challenge injustice, and provoke thought or action in society. The movement seeks to engage and empower audiences, blending aesthetic appeal with a strong message of resistance or advocacy.

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The Sensation exhibition (1999) showcased provocative contemporary art by British artists associated with the Young British Artists (YBA) movement. The exhibition drew widespread controversy, particularly for works like Hirst's The Physical Impossibility of Death in the Mind of Someone Living (a shark in formaldehyde) and Emin's Everyone I Have Ever Slept With 1963–1995 (a tent embroidered with names). The backlash, which included protests from political and religious groups, sparked a national debate about the boundaries of artistic freedom, public funding for the arts, and the role of shock value in contemporary culture.

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On September 11, 2001, terrorists from the extremist group al-Qaeda hijacked four commercial airplanes, crashing two into the Twin Towers of the World Trade Center in New York City and one into the Pentagon in Washington, D.C. The fourth plane, United Airlines Flight 93, crashed in Pennsylvania after passengers attempted to overcome the hijackers. The attacks killed nearly 3,000 people and led to significant changes in U.S. domestic and foreign policy, including the War on Terror and the creation of the Department of Homeland Security.

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Recolecciones is an art project by artist Mel Chin, focusing on the impact of environmental degradation and the intersection of cultural memory and ecological restoration. It involves Chin's personal exploration of his childhood home in the Gulf Coast, which was affected by Hurricane Katrina, and incorporates salvaged materials, such as soil and debris, to create an installation that reflects on loss, recovery, and environmental activism. The project intertwines the personal and political, encouraging viewers to reflect on the connection between human actions and environmental consequences.

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Harjo, Joy. Poet Warrior: A Memoir (2021)

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Harjo, Joy. Poet Warrior: A Memoir (2021)

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Poet Warrior: A Memoir by Joy Harjo is a deeply personal narrative that intertwines the poet’s life story with reflections on her Native American heritage, spirituality, and artistic journey. Harjo, the first Native American Poet Laureate of the United States, explores themes of resilience, cultural identity, and the healing power of poetry, all while recounting her struggles with personal trauma, love, and loss. Through vivid storytelling and lyrical prose, she offers insight into the challenges faced by Indigenous peoples and the transformative role of art in reclaiming voice and power.