University of Southern California Dissertations and Theses

Julia Morgan, architect

(USC Thesis Other)

Julia Morgan, architect

PDF

Download a page range

Download transcript

Copy asset link

Request this asset

Transcript (if available)

Content

Julia Morgan, Architect
By Bianca Richter

A Thesis Presented to the
FACULTY OF THE USC GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(SPECIALIZED JOURNALISM: THE ARTS)
May 2018

Copyright 2018 Bianca Richter

1

Table of Contents

Abstract 2
Acknowledgements 3
Biography 4
Hearst Castle 15
Other Projects 19
- Herald Examiner 20
- Pools and Plunges 22
- Monday Club 24
Literature Legacy 25
- Interview with Author, Celest Davidson Mannis 27
References 29

2

Abstract
Julia Morgan was the most accomplished female architect in the United States. She
completed over 700 projects (more than any other architect—male or female), was the first
woman admitted to the famed Ecole des Beaux Arts for their architecture program, the first
woman licensed in the state of California, and the first woman to win the AIA Gold Medal.
Although society may be aware of her most famous project, Hearst Castle, she is mostly
unknown and this Thesis is my attempt at bringing widespread recognition to this architect.
This project is a website (juliamorganarchitect.com and juliamorgan.biancarichter.com)
which includes text pieces and interactive portions including a timeline and several photo
galleries. This manuscript includes all the text and the references used to create the site.

3

Acknowledgements
Without my thesis committee and the professors I met here at the University of Southern
California, this project wouldn’t exist. Tim Page, your patience and attention are invaluable to
me. With every reading session, my writing has improved and grown. Sasha Anawalt, without
you I may have never recognized my passion for Julia Morgan. Your energy and drive motivate
me to do better and be better. Cliff Pearson, your comments helped remind me of the
architectural focus I had planned for this site. The time and criticism you bestowed were
necessary and much appreciated. Peggy Bustamante, your introduction to coding helped me
realize my interest in web design. Without your course, I would not have been able to build this
website as it is today.
Thank you to the staff at the Kennedy Library at Cal Poly San Luis Obispo for your
assistance with the Julia Morgan collection housed there; the members of the Monday Club in
San Luis Obispo for your time and tour of your beautiful club building; the staff and docents of
Hearst Castle for your guidance and knowledge; and Celeste Davidson Mannis for spending part
of your Saturday afternoon, chatting with me about Miss Julia Morgan.
Last, I must thank my family and friends, especially my mom Maria Perez-Richter,
without you I would not be the person I am today and would not have been able to complete this
thesis and degree. Thank you.

4

Biography
Julia Morgan was the most prolific individual practicing architect in the history of the
United States. During her career of almost half a century, she designed and constructed over 700
projects, about 200 more than her closest runner up, Frank Lloyd Wright. (Wilson, 2012) But
outside of the architectural community, she is still widely unrecognized.
Early on, she developed a reputation for quality construction that generated a constant
stream of commissions. Throughout her lifetime, Morgan accumulated several distinctions as a
pioneering female architect. In 1894, she was the first woman to receive a degree in Civil
Engineering at the University of California, Berkeley. At the age of 26 she was the first woman
admitted into the architecture program at the famed Ecole des Beaux Arts in Paris. She completed
the program in just three years, almost half of the typical five years of study, returned to California
and became the first female licensed architect in that state. Then in 2014, almost 60 years after her
death, she was the first woman awarded the American Institute of Architect's Gold Medal, the
highest honor an individual architect can receive. Julia Morgan chose a career that was just
beginning to allow women and excelled, all without overt vanity or pride. She shunned the media
and preferred her unknown existence that continued after her death, into the 21st century. In Sara
Holmes Boutelle’s biography of Morgan she wrote:
Julia Morgan chose to be anonymous. She steadfastly refused to enter competitions, write
articles, submit photographs to architectural magazines, or serve on committees,
dismissing such activities as fit only for the “talking architects.” In her day the national
architectural magazines were all headquartered in the East and paid little attention to
what was happening on the West Coast. Polk, Maybeck, and the Greene brothers were
other California architects who, like Morgan, did not receive their just due from the
architectural establishment. Her refusal to exploit the unusual methods of making one’s
name known guaranteed her almost complete anonymity outside the circle of her clients
and peers. (Boutelle, 1995)
5

That anonymity has begun to fade these last 30 years and her work is finally being recognized.
Just as Morgan hoped, her buildings speak for themselves.
Morgan was born on January 20, 1872 in a still developing San Francisco. Her father
Charles was an affable man but unlucky in business, often waging the family income on
unprofitable ventures. Her mother Eliza came from a wealthy New York family that provided
Eliza with her own funds which were often needed to support the household. In addition,
Morgan's maternal grandfather paid for several cross-country visits from his grandchildren and
had them christened at his local church in New York. During one of the family trips back east,
Morgan met her cousin Lucy Thornton and through her, Pierre Le Brun, her architect husband.
Le Brun would become a frequent correspondent and this relationship exposed her to the
possibility of a career in architecture. (Boutelle, 1995)
Morgan was raised in an upper-middle-class lifestyle which provided two distinct
advantages. The first was that she and her four siblings—brothers and sisters alike—were
equally encouraged to study and given all opportunities for education. Both Morgan girls were
smart and instead of becoming debutantes, in search of husbands, pursued careers after high
school. Morgan became an architect and her sister Emily, a lawyer. The second advantage was
that the family budget was sufficient to finance her extensive education both at the University in
Berkeley and in Paris at the Ecole des Beaux-Arts.
In 1890, at the age of 18, Morgan enrolled at the University of California at Berkeley.
Unlike most universities, U.C. Berkeley had been admitting women for almost 20 years and in
1890 had roughly 100 female students enrolled. Often the only woman in class, she studied
science and math then graduated with a degree in engineering. At that time, there were no
6

architecture programs available on the west coast, but during her studies in Berkeley, Morgan
took a course in “descriptive geometry” which was taught by architect Bernard Maybeck. As part
of a small group of students, she apprenticed with Maybeck and he encouraged her to consider
the Ecole des Beaux-Arts, his alma mater. The Ecole had never admitted a woman, but Maybeck
believed that the school would soon consider female students. With her mother's financial
support, Morgan moved to Paris, planning to stay for two years then decide on an architecture
school (she also considered the Boston Institute, which would later become MIT). She spent her
time studying French and working at a design studio or "atelier" where all prospective students
participated. In a letter to Aurelia Reinhardt, Morgan wrote:

I was about to come home when, unexpectedly, the French Government decided to admit
women painters and sculptors to the competitive examinations for admittance to the
Beaux Arts. They did not say anything about the Department of Architecture, either way,
it not entering their heads that there might be women applicants. There was no
preparation for such a case and with no word against it; so I was given the benefit of the
doubt and allowed a chance with the other competitors... (Boutelle, 1995)

Morgan took the entrance exam three times. On her first attempt, she ranked 42nd out of
376, but the Ecole only admitted the top 30. In April 1898 she failed again, but her third attempt
in October 1898 was a resounding success, when she placed 13th. The San Francisco Examiner,
a newspaper whose owner would become Morgan's most frequent client, headlined her victory:
CALIFORNIA GIRL WINS HIGH HONOR
Miss Julia Morgan In the Ecole des Beaux Arts
First Woman Who Has Entered the Architecture Department
Is a Graduate of Berkeley
Stood very near the Head of the Long List of Applicants
7

When studying at the Ecole, students entered competitions and the winners earned points
toward their certification. Students could continue at the school until they graduated or turned 30
years old, at which point they were no longer allowed to compete. Morgan was admitted to the
school at the age of 26, giving her just over three years to complete her certificate, a task that
typically took five years. In January of 1902, the same month she turned 30, Morgan submitted
her final competition piece for a palace theater. On February 4th, the judge's decision was
released, she received first mention and the last point needed for her certificate.
Morgan completed just one commission in Paris, a grand salon for Harriet Fearing, an
American expatriate, before returning to the United States. She briefly worked for cousin Le
Brun in New York before settling back in the San Francisco Bay area where she was hired by
John Galen Howard, the supervising architect for the Master Plan at U.C. Berkeley. This would
begin her professional relationship with the Hearst family: Mrs. Phoebe Apperson Hearst, a
philanthropist, feminist and suffragette (wife of George Hearst, who earned the family fortune
through mining) and her son, publishing magnate William Randolph Hearst. Morgan's first
assignment with Howard was drawing details for the Hearst Mining Building, funded by Phoebe
Hearst's donation in honor of her deceased husband. Phoebe was delighted with Morgan's work
and requested that she lead the next Hearst donation, an outdoor amphitheater. Morgan took
control of the project, determined to complete it on schedule while dealing with a complicated
site. The theater was finished just in time for a visit from President Theodore Roosevelt, but
banners were hung to cover the wet concrete. After this success, Morgan gained confidence in
her work and learned that to be recognized for her work she would need to practice
independently. She passed the state licensing exam in 1904 and left to start her own office.
8

One of Morgan's earliest commissions was for a women's university, Mills College. Here
she used her engineering expertise to create a sturdy concrete bell tower, El Campanil, one of the
first fully concrete structures on the west coast. She was familiar with the medium having studied
concrete at both universities, witnessed Francois Hennebique’s concrete exhibition buildings at
the Paris World’s Fair of 1900, and just completed the concrete Greek Theater. For the Campanil
Morgan not only built a strong tower, but left the concrete unadorned, simply tinting it to match
the natural landscape. Morgan continued to use traditionally useful but not pretty details, in this
case unadorned concrete, and highlight it as a design feature. (Donoho, 2013)
Her success with the tower lead to several other commissions from Mills including the
overall campus plan. Working with the existing Main Building and its oval front lawn, Morgan
situated her buildings around this unorthodox shape, angling them with respect to the oval and
the site. This casual strategy was drastically different from the more formal and orthogonal
approach taken at U.C. Berkeley. At Mills Morgan preferred an organic, site driven plan. She
would assess the surroundings and place structures strategically instead of forcing a grid of
perfect right angles and parallel lines.
In 1906, the magnitude 7.9 San Francisco Earthquake and subsequent fires devastated the
Bay area. 3000 people were killed and roughly 80% of the city was destroyed, leaving over
400,000 residents homeless. It is remembered as one of the worst natural disasters in the history
of the United States. The office where Morgan worked was destroyed but all her built projects
survived. After the earthquake, engineers and contractors would visit her bell tower at Mills to
marvel at its endurance. Morgan was thereafter known for her expertise in reinforced concrete
design.
9

One building severely damaged by the quake and fire was the Fairmont Hotel. Many felt
that the building should be torn down, but the owners Herbert and Hartland Law were
determined to avoid demolition and asked Morgan to renovate the Fairmont. Although she was
just two years into her practice, there was no other architect as experienced in concrete. Morgan
agreed to refurbish the building. Just one year after the earthquake the Fairmont Hotel re-opened
its doors with a grand gala and celebrated the rebirth of San Francisco. (Decades later, in 1945
the United Nations charter would be drafted in the hotel's garden room.) This success resulted in
the first full-length feature article about Miss Julia Morgan in the San Francisco Call. The article
was reprinted in The Architect and Engineer, marking the debut Morgan's work in the
architectural press. In his biography of Morgan, Cary James describes the effect on her
reputation. "Her work on the hotel generated a great deal of publicity for Morgan, and it
established once and for all her reputation as an architect of the first order. Out of the ruins of
earthquake-shattered San Francisco, Julia Morgan built for herself a rewarding and highly
praised career." (James, 1988)
Morgan's career was extensive and diverse. She designed homes for many of the
craftsmen she employed; YWCA facilities in California, Utah and Hawaii; dozens of churches;
hundreds of homes and even a mock-Bavarian village for Mr. Hearst at his estate, Wyntoon. Her
designs varied from California Mission style, with stucco walls and red tile roofs, to Arts and
Crafts with plenty of exposed redwood. Occasionally she would combine styles, taking historic
precedent but adapting it to modern needs. In his 2014 article discussing her AIA gold medal,
LA Times architecture critic Christopher Hawthorne describes her style as, “Beaux-Arts &
Crafts, to coin a phrase: the emphasis on symmetry and decorum of the classical European
10

approach combined with the connection to region and landscape fundamental to Bay Region
architecture.” (Hawthorne, 2014)
Every decision was purposeful, calculated and monitored by Morgan. She was a constant
fixture on her construction sites, evaluating the work being done, envisioning the end results,
confirming her designs and adjusting as needed. She valued her workmen, paid good wages and
built relationships with many skilled craftsmen. Laborers and artists would often follow Morgan
from project to project. Even within her office Morgan maintained control. Clients would visit
the office and she gave them a tour, but no one else met with them. She was efficient and
methodical but, according to her staff, also very kind. Often, she gave gifts and small
scholarships to the children of her workers, even after they no longer worked for her. Morgan
facilitated learning in any way she could. She provided a library of historic resources for her
staff, tickets to architectural exhibitions and days off work to explore and sketch.
Morgan was never a revolutionary attempting to create new design ideas and boost her
own ego. Boutelle writes,

Morgan’s great skill in accommodating the tastes of her middle-class clients kept her far
from the cutting edge of architecture. Reluctant to push beyond what her clients wanted,
she had a tendency to put the practical ahead of the spatial. Efficient, pleasing solutions
to design problems took precedence over innovation or drama. (Boutelle, 1995)

She relied on historic motifs and the Beaux Arts design aesthetic to cater to the wants and needs
of the building's future inhabitants. If the client wanted to build the west-coast version of the
White House, as Mr. Hearst’s eldest son, George, did, Morgan complied. She would be sure to
include blooming cherry blossoms and an "oval office" to emulate the original. If the client
wanted a pool, she imagined how the space would be used and include changing rooms and
11

places to sunbathe. If the budget didn't allow for plaster she altered the design and left the walls
and ceilings bare, exposing beams that would enhance the decor while supporting the roof. For
each commission, she worked closely with the owners to determine what the family, corporation,
or community would need—and she would deliver.
Morgan’s longest professional relationship was with the Hearst family. Her first
independent Hearst project was a large conference site for the YWCA, commissioned by Phoebe
Hearst. Originally the YWCA would meet at the Hotel Capitula for an annual conference, but in
1912 it burned down, and Morgan created a tent city in time for the gathering. Phoebe then
donated land to the YWCA and hired Morgan to build Asilomar, a 16-building conference site
complete with lodging, eating, prayer and recreation space. It is now considered one of her most
significant projects and the largest institutional complex in the Arts and Crafts style. It
exemplifies the First Bay Tradition, a style that was a precursor to todays "sustainable" or
"green" design. (Donoho, 2013) Morgan used local resources and left them undisguised. She was
aware of the site and used the natural grade to place structures according to their significance,
with the chapel at the highest point. Many who visited Asilomar were enthusiastic about the
design and wanted a Morgan structure for themselves, which led to multiple YWCA
commissions. Asilomar has since been donated to the state and is the second most profitable state
park. The most profitable California state park was also designed by Morgan for Phoebe's son,
William Randolph Hearst.
Hearst was a publisher who built the largest newspaper chain and media company in the
country, with nearly 30 different newspapers. He was raised in a lavish lifestyle and toured
Europe as a child where, according to a Hearst Castle docent, he asked his mother if they could
12

buy the Louvre Museum. With this early exposure to art and history, it is understandable that he
would go on to acquire a large art collection that included sculptures, paintings and even building
pieces such as ceilings. He hired Morgan to design museum-like residences to showcase this
collection.
Hearst and Morgan worked together for over 25 years. Both were passionate about two
major commissions, San Simeon (now commonly known as Hearst Castle) and Wyntoon, the
Bavarian style complex near Mount Shasta which includes three storybook cottages complete
with painted murals. While they seemed like an odd couple, an ego-driven, media mogul and his
petite, reserved architect, they worked well together and the respect he had for her is clear in the
numerous letters written between them. In a letter dated December 31, 1919 he discussed the
style for the Hearst Castle cottages then wrote,

I would very much like to have your views on what we should do in regard to this group
of buildings, what style of architecture we should select… I am not very sure about my
architecture… but after all, would it not be better to do something a little different than
other people are doing out in California as long as we do not do anything incongruous? I
do not want you to do anything you do not like. (Boutelle, 1994)

Despite the dedication of both client and architect, Hearst's extravagant plans would never be
fully completed. There was a constant issue of funding. Hearst had expensive tastes and as he
aged, he maintained less control over his wealth and the Hearst Corporation. Eventually Hearst
Corp. cut off both projects in 1942.
By mid-century many of Morgan’s friends and clients had passed away, her own health
was diminished, and the architectural style of the time was changing. Without anyone to continue
the practice, Morgan closed her office in 1950 and asked the building superintendent to burn her
records. Her clients already had copies and she believed no one else would want them. During
13

her final years she became a recluse due to failing health and rarely left her San Francisco home
where she died on February 2, 1957, two weeks after her 85th birthday.
Morgan was often dismissed by architecture critics after her death. The International
Style swept through and with it a distaste for ornament. The clear historic references Morgan
made were now scorned and her Beaux-Arts training was unfashionable. It wasn't until the
1980's that historic motifs returned to architectural designs and historians began to reassess her
work. In 1988 Sara Holmes Boutelle published her biography titled Julia Morgan, Architect
sparking renewed interest in Morgan. Since then several books have been written about her—
including Julia Morgan: Architect (Women of Achievement) by Cary James, Julia Morgan:
Architect of Beauty by Mark Wilson, and Julia Morgan, Architect of Dreams by Ginger
Wadsworth. In 2008, she was inducted to the California Hall of Fame and in 2014 awarded the
AIA Gold Medal.
Although she was considered irrelevant in the 30 years after her death, her buildings have
stood for decades and emphasize Morgan’s talent. The architectural world has been slow to shift
and recognize her talent for what it was. No, her innovation was not radical. Instead of creating
entirely new forms she synthesized known styles, creating her own brand of architecture.
(Hawthorne, 2014) She produced so much, so efficiently that it is almost unbelievable that she
could spend time and energy on each project, but she did. She proved that great architecture
could be sensitive and personal to both the people who would use it and the area in which it was
built. She consistently and effectively married heritage, landscape and practicality into a pleasing
and structurally sound form. Today she is praised for her sensitivity to the needs of her clients
14

and her incredible versatility. In a letter of support for the nomination of Julia Morgan for the
AIA Gold Medal, Michael Graves, FAIA and 2001 Gold Medal Winner wrote,
[Morgan] had an exquisite architectural talent, allowing her the freedom to explore
design possibilities. She left her ego behind and designed buildings to fit her clients,
blending design strategy with structural articulation in a way that was expressive and
contextual, leaving us a legacy of treasures that were as revered when she created them as
they are cherished today. (Donoho, 2013)

15

Hearst Castle
The ranch at San Simeon, more commonly known as Hearst Castle, is Julia Morgan's
largest, most expensive and best-known project. Built high on a hill in San Luis Obispo county
(roughly 200 miles North of Los Angeles), the complex highlights the ocean views that the
owner, William Randolph Hearst so admired. La Cuesta Encantada (Enchanted Hill) as Hearst
formally named it, consists of five structures with a total of 58 bedrooms, each with its own
bathroom. Construction began in 1919 and would continue for the next 28 years. It was never
considered finished. (Hearst Castle, 2017) Hearst and Morgan would continuously add to the
plans; the latest planned addition was a great ballroom that would connect both wings of the
home. Today, the grounds are a California State Park that offers tours throughout the year.
Hearst worked with Morgan on three smaller projects, including the Los Angeles Herald
Examiner, before hiring her to design this newest endeavor. Hearst was now in his mid-50's and
no longer wanted to camp on the 250,000 acres he owned near San Simeon. Initially, he
requested a small bungalow. Quickly the design shifted from a modest structure to an entire
compound, with a main house and three guest cottages. Hearst’s inconsistency and
“changeableness of mind” as Morgan phrased it, would characterize every aspect of the project,
from design style to fireplace location. For example, in one of the cottages Hearst disliked the
placement of a fireplace and ordered it be moved. But, after it was rebuilt he regretted the change
and had the fireplace returned to its original location. Hearst was aware of his own shortcoming
and wrote in a letter to Morgan dated March 18, 1920: “All little houses stunning. Please
complete before I can think up any more changes.” Morgan made no great complaint regarding
16

Hearst’s inconsistency and tackled every change. (Boutelle, 1995) Hearst Castle was a great
challenge that both owner and architect loved.
The overall design is a Spanish Renaissance style that harmonizes the four main
buildings. The great house, Casa Grande, is based on a cathedral Hearst admired in Spain. The
rest of the site acts as a tiny village with the “church” at the center. Morgan was strategic with
the overall site plan, placing her structures around an oval shape, one that she had used before
and would use again. The placement gave a more casual feel in the central garden and
emphasized an even hierarchy between the three cottages. This site plan also allowed Morgan to
frame unobstructed views. The cottages were even named for their view: Casa del Mar looks
Southwest to take in the coastline; Casa del Sol faces due west for sunset views; and Casa del
Monte faces the Santa Lucia Mountain Range to the North.
Morgan also organized the heights of the buildings and used the mountainside to her
advantage. The Casa Grande stands tall at the peak of the hill, and from the central garden the
cottages seem compact in comparison. But these cottages are not small at all. To create that
illusion, the cottages were built down the hill, appearing one story tall from the garden side but
are actually two stories tall. The hill, despite providing an elegant solution for maximum views,
created its own difficulties in construction and design. Before crews could even break ground,
they needed to build a road to move materials up the hill. At the top of the hill space was limited
and Morgan had to be inventive to accommodate her client’s requests.
One of her most ambitious tasks was creating the Neptune Pool, a 104-foot-long plunge
that is ornamented with statues and pieces of ancient roman temples. Morgan designed a support
system that uses concrete beams anchored to a concrete retaining wall. This method provides
17

enough support for the 345,000 gallons of water the pool holds and is flexible, allowing the pool
to sway during earthquakes instead of cracking. (Donoho, 2013) This method has endured for the
80 years it’s been in use.
Today, in its mostly finished state, Hearst Castle is both real and fake. While all of it
seems ancient, only parts of it are. Hearst was an avid art collector and after World War I
Europeans sold almost anything to wealthy Americans. He purchased paintings, tapestries,
sarcophagi, ancient church ceilings and wooden choir seats, then tasked Morgan with integrating
them into the design.
Morgan's Beaux Arts training and European travels gave her plenty of inspiration and the
tools necessary to accommodate everything Hearst sent her. Nothing feels out of place. New and
old features blend seamlessly, but because of this it is hard to distinguish what was placed and
what she designed. Overall the interiors feel old, dark and ornate, appropriate for her wealthy,
art-loving client. The one space that doesn't try to seem old is the indoor Roman pool, a
shimmering sea of blue tile with clear water that glistens in the scant sunlight. Morgan designed
it as an imperfectly perfect place, instructing the tile workers to lightly press the tiles, resulting in
a look of irregularity. (Boutelle, 1995) The effect is full of movement with gold sparkling
strategically throughout. It is a shining example of Morgan's talent with swimming pools. The
Roman pool is the perfect end for any of the tours at Hearst Castle, and luckily it is the bus
departure point, allowing every visitor the chance to walk through.
There are several tours offered at Hearst Castle including one that discusses the design
and architect, a general tour of the main rooms and seasonal evening tours. They are led by
knowledgeable docents who are unscripted, allowing the tour to change based on the group's
18

interests or the guide's favorites. The house is large and to maintain the timing of the 90-minute
tours they do not explore every room. The "Designing the Dream" tour avoids the main assembly
and dining room, making it ideal for a second visit. The evening tour is the only way to
experience the house at night and features volunteers clad in period clothing. This attempts to
simulate an evening with William Randolph Hearst in the 1930s.
Hearst Castle is a clear representation of Morgan's "client first" approach. Aesthetically it
stands out among all of Morgan’s work. The complex retains some classic Morgan features (the
use of concrete for earthquake and fire safety for example), but is equally Hearst’s vision as
much as her own. Together they made the ultimate country home that is grand and leaning
toward gaudy, but with Morgan’s keen eye, it is kept just within the bounds. Morgan’s
biographer Sara Holmes Boutelle ender her chapter on Hearst Castle with this:
In 1923 Bruce Porter, a poet, critic, and one of San Francisco’s leading landscape
gardeners, was asked to evaluate what had been accomplished so far at San Simeon. His
twelve-page report to Mr. Hearst ends:
“I was asked to put a fresh eye upon it and make a report of my impression…. That
impression remains stupendous. The place is so perfect as it is—that nothing at all needs
be done. What is done should be done boldly—and for bold effect, but with caution and
discrimination dictated by a kind of reverence…. Just the right placing, the isolation, the
was the thing ‘fits’ makes one ready to declare that this is the one unique romantic
architectural even in America…. I found that in vision that shining group simply
dominates the whole coast from San Francisco to San Diego.”
Hearst commented on the report, “I agree with practically everything.” (Boutelle, 1995)

19

Other Projects
Morgan was efficient in her work, sometimes completing up to 15 projects a year. By
comparison her fellow Bay Area architect Bernard Maybeck completed two commissions
annually. (Wilson, 2012) Not only did she generate numerous projects but they all have their
own distinct characteristics. She took great care to create buildings that would best serve her
client’s needs and wants, crafting unique structures for each commission. Below are some
examples showing the breadth of her work.

20

The Herald Examiner, Los Angeles
Although Hearst Castle is her best-known project, it was not the first large commission
Julia Morgan designed for William Randolph Hearst. The Herald Examiner building in
Downtown Los Angeles was their first major collaboration. Ten years after founding the
publication, the sixth of his media empire, Hearst hired Morgan. By this time, Morgan had
already completed numerous project for his mother Phoebe Hearst and two small commissions
for Mr. Hearst.
The Herald Examiner is a Mission Revival building, influenced by the California
Pavilion at the 1893 Columbian Exposition in Chicago, designed by A. Page Brown, a prominent
San Francisco architect. The building occupies an entire city block and a Mission-style arcade,
with large arches, spans the entire façade. Along the second story, the wide windows are
decorated with wrought-iron grills and covered by large overhanging eaves. The roof is all red
tile except for four small domes covered in a blue and yellow geometric pattern. Inside the
grand lobby Morgan pulls together Spanish, Italian and Moorish details creating a room full of
marble sculpture, gold walls and hand painted tile floors. Upon its completion Hearst was
pleased with the outcome.
Miss Morgan, the architect, commendably accomplished the task of constructing a
building that is thoroughly practicable, for all newspaper demands and which, I am glad
to note, combines with its efficient qualities those pleasing traits reminiscent of an
architecture which is identified with the beautiful and romantic history of Los Angeles
and of California. I think she has accomplished the result happily and effectively from all
points of view.

21

In the late 1960s labor strikes affected the newspaper and after a demonstration in front
of the building the arches were enclosed in concrete to protect the building. The strike ended in
1977 but the damage was done to both the newspaper and downtown, which was no longer a
bustling hub. In 1989, the Los Angeles Examiner closed and the building emptied, remaining
vacant except as a filming location complete with a faux police station inside.
In 2015 developer Georgetown Co. purchased stake in the building and partnered with
Hearst Corp. on a $40-million renovation project. The lobby and façade will be preserved and
restored while the interior will be updated for use as multiple offices and restaurants. The street-
level arches will be reopened changing the building from a hulking mass to a pedestrian friendly
promenade. (Vincent, 2015)
Construction began in 2017, the building already has a tenant committed to opening a
bistro and is set to open in 2019. This project will contribute to the overall revival of Downtown
Los Angeles and once completed will highlight Julia Morgan’s brilliance. While the neighboring
buildings could be part of any major city, the Herald is clearly meant for Los Angeles with its
direct references to the Mission style. This is what makes a Morgan commission so special. She
combined an efficient plan and organization with references to the city and state’s history. This
produced a glamorous, productive and sturdy space that could only belong in Los Angeles.

22

Pools and Plunges
Morgan's aquatic designs are some of her most beautiful with their colorful tile and intricate
designs. For someone who probably never entered a pool, Morgan knew how to make them
sparkle.
Berkeley City Club
Built as part of the new Berkeley City Women's club the pool is the highlight of the building. It
is filled with colorful tiles and has an entire wall of windows that floods the room with daylight.
Today the Club is also a hotel where members and guests can use the pool.
Annenberg Beach House
This estate was originally built for William Randolph Hearst's mistress, Marion Davies. The pool
features marble around the deck, patterned tile and an unusual concrete bridge over the middle
(which has been removed). It is now a public beach facility, open to the public from May to
September.
Hearst Memorial Gymnasium
This gymnasium was a combined effort between Morgan and Bernard Maybeck. The women's
gym was a donation from William Randolph Hearst in memory of his mother who was a frequent
supporter of the University. The pools here are significantly simpler that the rest of Morgan's, but
still faced with marble. The gym features three separate pools one of which is still in use at U.C.
Berkeley.

23

Roman Pool at Hearst Caste
The indoor Roman Pool at Hearst Castle is Morgan's most luxurious pool. It is tiled from floor to
ceiling with blue glass and gold tiles. The pool features a capital T shape with two levels of
depth. At the intersection of these pools there is a diving platform. On his or her last day of work,
Hearst Castle docents jump off this platform into the pool below. The pool is occasionally
offered as an auction prize during Hearst Castle fundraisers.
Neptune Pool at Hearst Castle
This pool is a 104-foot-long feat of engineering. Morgan used a system that included concrete
beams connected to a concrete retaining wall to allow the pool to sway during an earthquake.
The pool is decorated with antique statues and parts of ancient Roman temples. Annually the
California Parks department hosts an appreciation party for all park employees to swim in this
historic pool.
Pasadena YWCA
This pool has been vacant for the past two decades. The Pasadena YWCA has been deteriorating
and a recent hotel proposal was denied by the Pasadena City Council. It will now be another 6
months before new submissions can be considered for this historic property. The pool is housed
in a double height space with skylights and Morgan's classic exposed beams.

24

The Monday Club, San Luis Obispo
The Monday Club exists thanks to Morgan's weekend visits to San Simeon. The club members
purchased a plot of land but could not afford to pay an architect's commission. They asked Miss
Julia Morgan, who stayed in San Luis Obispo when working on Hearst Castle, if she would help
them. Morgan agreed to design the Monday Club, if in exchange the members would host her in
their homes. She was tired of hotels and restaurant food. (Monday Club)
From the outside, the Monday Club is Mission style with a red tile roof and cast-iron details. But
inside it is an Arts and Crafts garden, with exposed beams and murals of the local loquat trees. It
is the quintessential Morgan building, not adhering to just one style but merging them into one.
Today, at almost 90-years-old, the building is still owned and used by the Monday Club of San
Luis Obispo.

25

Literature Legacy
After Julia Morgan's death, a variety of books have been published about her life and work
including a full biography, a children's book and a historical fiction novel.

Julia Morgan Built a Castle by Celeste Davidson Mannis
Julia Morgan Built a Castle is a detailed introduction to Julia Morgan and the field of
architecture. It is short and focused, but fits Morgan’s full life story and her longest project,
Hearst Castle. The writing is clear and easy to understand without simplifying the architectural
vocabulary. While the tone is overenthusiastic, it is entertaining and matches the colorful
artwork. This book is the ideal companion for a trip to visit Hearst castle or as inspiration for any
child (or parent) with an ambitious dream.

Julia Morgan Architect of Dreams by Ginger Wadsworth
Julia Morgan Architect of Dreams is a quick read that builds a well-rounded picture of Morgan’s
life and accomplishments. It is small in page count and dimensions, giving it a more
approachable feel with a decent number of photos. Wadsworth’s writing is also agreeable and
pleasant to read. It leans toward a casual conversation, almost like a novel, even including a
childhood anecdote of Morgan’s that no other book on this list offers. The story may not be
entirely truthful, but it personalizes Morgan creating a protagonist that keeps us invested for the
rest of the book.
26

Julia Morgan Architect of Beauty by Mark Anthony Wilson
Julia Morgan Architect of Beauty is the best Julia Morgan coffee table book. It has a nice size
and almost square shape that is visually appealing. The cover and pages are glossy and in full
color with photos taking up three quarters of the content. But it is also desirable for more than
just a passing interest. The book delivers a thorough examination of Morgan and her work with
full descriptions of her designs and what makes them special from an architectural perspective.
Wilson also dispels several myths throughout the book, especially about William Randolph
Hearst and his “ranch.” The only downfall is the lack of any 2-page photo spreads to display
fully open.
Julia Morgan, Architect by Sara Holmes Boutelle
Julia Morgan, Architect delivers an overview of everything about Julia Morgan and her work,
filled with text and large color photos. Almost encyclopedic in its structure, after a beginning-of-
life biography Boutelle focuses on type of project such as churches, schools, or women’s spaces
when discussing Morgan’s career. This book is the first full biography and the most in depth,
taking years of dedicated research by Boutelle to complete. The author doesn’t overwhelm us
with details of the architecture but in one instance doesn’t say enough. Boutelle merely describes
Morgan’s work on the Fairmont Hotel without mentioning it’s significant contribution to her
reputation. Overall the book is more focused on Morgan as a person and her story, rather than the
architecture she designed. It includes quotes from letters and interviews of both Morgan and her
acquaintances, giving life to Miss Julia Morgan.
27

Interview with Celeste Davidson Mannis: Author of Julia Morgan Built a Castle

Julia Morgan Built a Castle is a welcoming introduction to the architect and the field of
architecture. It personalizes this historic figure and cleverly depicts Morgan's passionate nature
and determination. It is informative but advanced in its descriptions of Hearst Castle. Nothing is
overly simplified and this book is bound to spark interest in not only children, but the parents
reading it as well.
How did you first hear about Julia Morgan?
I was at home one Sunday afternoon and I was looking at this fashion pull out magazine
and there was this gorgeous spread of women in these beautiful evening gowns and the
backdrop looked like a castle. I looked down at the bottom of the page and it said this
was shot at Hearst Castle which was built by Julia Morgan. A woman built Hearst Castle!
I was stunned. I started to look into her and her story was so phenomenal and she was
such an iconoclast, that it was impossible not to tell her story. And really the story told
itself.
Because you had already written a children's book, was the transition (from interest to writing a
new book) simple?
I had just done a book about Elizabeth I and that was different a challenge. With this one,
there was a lot of material that was recent, there were places that I could visit. I went on a
sort of magical mystery tour for about a year and a half. I visited dozens of sites that she
had completed and I became involved with the archives at Cal Poly [San Luis Obispo].
Actually, being able to see an envelope where she had drawn notes about a project and
seeing her hand was incredibly exciting. Having so much available, it was very easy to
do.
I felt that I owed it to her to do a lot of deep research. And there was some very good
work that had been done previously. Typically, with a children's book you're not
necessarily looking at original documents but, because they were there, I had to do it. It
was phenomenal. I didn't find it hard at all, I found it a joy.
You mention in the book that you really liked the chapel at Asilomar, can you describe what you
like about that project?
28

I suggest strongly you go to the Asilomar. I think that was probably her favorite project.
It was Arts and Crafts style, strongly influenced by Bernard Maybeck. And for her,
probably the opportunity of a lifetime because it was originally created for the YWCA.
[A place] for girls to nurture their potential.
There are a lot of exposed beams, making it very warm. There's this massive window that
looks out on the sand dunes and the ocean. And just everything spoke to me. Here you
have a warm safe place in which to grow and in which to try out all life's possibilities.
There are even rooms at the sides of the chapel where they could have breakout sessions.
So here I see the different possibilities that they could play with, kind of surrounding this
temple, or place of reflection, while also looking towards the future. It couldn't have been
a better metaphor. I think that's why I love [the chapel]. It's just an incredible setting.
I was telling my mom about this project and she did her own research. The first question she
asked me was, "Do you think she was a lesbian?"
Maybe. But so what! I don't know. That's a really good question and I've often wondered
about that. I think she was just herself. I don't know what that entailed for her sexually. I
know she went out with a lot of men. She had very close relationships with a couple of
men in France, but she was also like any other woman. And she might well have been, it
would have been something she would have kept well hidden in that age, but who knows!
She's very well known for her swimming pools, plunges. And to me that's always felt like
that was her expression of her womanliness in a very much a man's world. That she might
not have been able to express in another way. But they're very sensual and very inviting.
And I just feel that that was her softer side, even though ironically the pool that she built
at Hearst Castle was so beautifully engineered that it withstood earthquakes.
Celeste Davidson Mannis is an author, educator and co-founder of an online storytelling platform
for the elderly called Join Our Story.

29

References

Hearst Castle. Accessed January 20, 2018. http://hearstcastle.org/.

The Monday Club SLO. Accessed January 20, 2018. http://themondayclubslo.org/.

Boutelle, Sara Holmes. Julia Morgan, Architect. New York, NY: Abbeville Press, 1995.

Donoho, Julia, AIA, Esq., and Karen McNeill, Ph.D. Gold Medal 2014 Julia Morgan. June 29,
2013. Julia Morgan, AIA Nomination for the 2014 AIA Gold Medal, Washington, DC.

Drueding, Meghan. "Ahead of Her Time: California Icon Julia Morgan." National Trust for Historic
Preservation. September 01, 2015. Accessed January 20, 2018.
https://savingplaces.org/stories/ahead-of-her-time-julia-morgan.

Hawthorne, Christopher. "Gold Medal: Julia Morgan." Architectmagazine.com. June 23, 2014.
Accessed January 05, 2018. http://www.architectmagazine.com/awards/aia-honor-awards/gold-
medal-julia-morgan_o.

James, Cary. Julia Morgan, Architect. Women of Achievement. New York, NY: Chelsea House
Publishers, 1990.

Khouri, Andrew. "Vacant Herald Examiner building in downtown L.A. to be converted to mixed
use." Los Angeles Times. September 01, 2015. Accessed January 20, 2018.
http://www.latimes.com/business/realestate/la-fi-herald-examiner-development-20150901-
story.html.

Linn, Sarah. "Julia Morgan: The Woman Behind the Hearst Castle." KCET. August 08, 2016.
Accessed January 20, 2018. https://www.kcet.org/shows/artbound/julia-morgan-the-woman-
behind-the-hearst-castle.

Mannis, Celeste Davidson. Interview by author. October 21, 2017.

Mannis, Celeste Davidson. Julia Morgan Built a Castle. New York, NY: Viking, 2006.

"The Herald Examiner | An architectural legacy." The Herald Examiner | An architectural legacy.
Accessed January 20, 2018. http://heraldexaminerbuilding.com/.

30

Vincent, Roger. "République owners opening restaurant in downtown L.A.'s historic Herald
Examiner building." Los Angeles Times. December 07, 2017. Accessed January 20, 2018.
http://www.latimes.com/business/la-fi-herald-examiner-20171207-story.html.

Wadsworth, Ginger. Julia Morgan, Architect of Dreams. Minneapolis, MN: Lerner, 1990.

Wilson, Mark A., Monica Lee, and Joel Puliatti. Julia Morgan: Architect of Beauty. Layton, UT:
Gibbs Smith, 2012.

Abstract (if available)

Abstract Julia Morgan was the most accomplished female architect in the United States. She completed over 700 projects (more than any other architect—male or female), was the first woman admitted to the famed Ecole des Beaux Arts for their architecture program, the first woman licensed in the state of California, and the first woman to win the AIA Gold Medal. Although society may be aware of her most famous project, Hearst Castle, she is mostly unknown and this Thesis is my attempt at bringing widespread recognition to this architect. ❧ This project is a website (juliamorganarchitect.com and juliamorgan.biancarichter.com) which includes text pieces and interactive portions including a timeline and several photo galleries. This manuscript includes all the text and the references used to create the site.

Linked assets

University of Southern California Dissertations and Theses

Conceptually similar

PDF

Rediscovering the radical work of Kathleen Collins

PDF

The art of Ampersand: applying the creative process to podcasting and audio journalism

PDF

Chewyourarts.com: an arts engagement experiment

PDF

Versus the fans

PDF

Screenwriting in the digital age: for the first time, new technology and distribution methods give feature film writers power to make a living outside Hollywood studios

PDF

Art of the possible: a reappraisal of the Eugenia Butler Gallery

PDF

Off the record: reimagining unrecorded histories

PDF

Changing the dialogue: How digital creators are reshaping film criticism

PDF

Georges Delerue in Hollywood: the film composer's legacy, as seen through his final chapter

PDF

Social media as a tool for increasing access to art

PDF

Finding a voice: essays and columns from the Cuban American experience

PDF

What happened to critical criticism? Art criticism expressing a negative opinion seems to be a dying breed, but this is how we save it from extinction – for we must

PDF

Music between the lines: how duality informs the artistic process and future of classical music

PDF

The drive home: a podcasting journey

PDF

From Googie to great: uncovering truth and beauty in John Lautner's architecture

PDF

Becoming Dalit cinema

PDF

At home in Los Angeles

PDF

Allison Wolfe: the personal is political

PDF

The road to Hopscotch: an exploration of identity with Los Angeles' mobile opera

PDF

The art of embarrassment and the embarrassment of art

Asset Metadata

Creator Richter, Bianca Stephanie (author)

Core Title Julia Morgan, architect

School Annenberg School for Communication

Degree Master of Arts

Degree Program Specialized Journalism (The Arts)

Publication Date 01/31/2018

Defense Date 01/31/2018

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag AIA Gold,Architecture,Beaux Arts,California architecture,female architects,First Bay Tradition,Hearst Castle,Julia Morgan,OAI-PMH Harvest,San Simeon

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Page, Tim (committee chair), Anawalt, Sasha (committee member), Pearson, Clifford (committee member)

Creator Email bianca.s.richter@gmail.com,bsrichte@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c40-467103

Unique identifier UC11267468

Identifier etd-RichterBia-5984.pdf (filename),usctheses-c40-467103 (legacy record id)

Legacy Identifier etd-RichterBia-5984.pdf

Dmrecord 467103

Document Type Thesis

Rights Richter, Bianca Stephanie

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA