99% Invisible - 464- Finding Julia Morgan

Episode Date: November 3, 2021

Born in 1872, American architect and engineer Julia Morgan designed hundreds of buildings over her prolific career, famous for her work on incredible structures like the Hearst Castle in San Simeon, California.She was also the first woman to be admitted to the architecture program at l'École nationale supérieure des Beaux-Arts in Paris and the first woman architect licensed in California. But it wasn't until 2014 that she became the the first woman to receive American Institute of Architects’ highest award, the AIA Gold Medal, posthumously.In the New Angle: Voice podcast, "Hear from historians, family, colleagues, and the women themselves, how it was to be an architect coming up in the early 20th century. Imagine sitting with these pioneering women, who opened up the magic of the built environment professions to all who had the gifts, grit and persistence to endure."

This is 99% Infisible. I'm Roman Mars. For someone who has devoted a good portion of his life telling stories about architecture and design, I haven't given a ton of air time to the stories of individual architects. I tend to gravitate towards the big ideas and the small stories of design

and not the achievements of great people. However, some individuals are so remarkable and undeniable, they demand biographical treatment, Frank Lloyd Wright, Paul Revere Williams, Esamu Nguci, and the subject of this episode, Julia Morgan. As a Northern Californian, I am very familiar with Julia Morgan, but many people are not and a new podcast called New Angle Voice from the Beverly Willis Architecture Foundation is here to remedy that by telling the stories of women architects that have been egregiously omitted and overlooked, starting with Julia Morgan. Here to tell us her story is the host of New Angle Voice, Cynthia Crackauer.

The first woman to study architecture at the Aac Col de Baux Art in the 1890s, the first licensed architect in California, with over 700 building designs to her credit. Julia Morgan should need no introduction, but in reality, it is only in the past few decades that her career has received the recognition and celebration it deserves. For years, she was overlooked. Even at her's castle, her most famous work she was overshadowed. With the 20-some years of dedication to building the landmark, often reduced to, oh, some woman designed this place when anyone on tours asked about

the architect. Little was known about her until a few committed historians and architects set out to change that, starting in the 1970s. In this episode, finding Julia Morgan, we hear the story of this pioneering groundbreaking architect, and the equally captivating stories behind those who worked tirelessly to bring her legacy into the light it deserves. I actually architecture at Princeton and I never heard her name until I came out to Berkeley and my brother says, come see the earth's mining building. My brother and sister-in-law forced me to go to her castle.

You have to go to her castle. I thought, oh, this is going to be horrible pastiche, mishmash of stuff thrown together. When I got down there, I was completely delighted. The first time I heard her name was when I went on a tour of the castle. That was in 1976. Even though I had grown up around her buildings, what they said when we were on the tour, they said a woman built her castle but we don't know anything about her. It was astonishing.

That was just too tantalizing a problem. It was at that point that I left my freshman composition students after the end of the quarter and started to work at Hearst Castle. I never dreamed that the story of her life would be as inspiring as it is, and I've studied her for 30 years. I'm Victoria Castner. I was for many decades the official historian at Hearst Castle. I've written three books on the history of Hearst Castle and I'm coming out with the first

personal biography of Julia Morgan. It's titled, Julia Morgan an intimate biography of the Trailblazing Architect. In 2018, an editor at the New York Times emailed asking me if I wanted to write an obituary of Julia Morgan, whom he referred to as the Hurst Castle Architect. I wrote back immediately and said I would love to. I'd actually checked on some other female architects to see if the Times had covered their deaths, but it never occurred to me to check on Morgan. I'm Alexandra Lang, I'm a design critic, and I wrote the overlooked obituary for Julia Morgan in the New York Times.

The Overlook series was initiated by the paper because they realized that their obituary section, like much of published American history, skewed very white and very male. There were a lot of people overlooked the first time through with Julia Morgan serving as an amazing example of that. There's a big burden placed on Julia Morgan to be absolutely everything, because she was the first in so many things. I'm Karen McNeil. I'm a historian and long-time scholar of Julia Morgan. Julia Morgan graduated with a degree in civil engineering in 1894 from UC Berkeley. And that was the closest she could come to any sort of architectural training in California. Around the time she graduated from Berkeley, she met Bernard Maybeck.

He was a charismatic character. He'd studied at the A. Colébozar. He wore capes and was vegetarian, very bohemian character. He taught the first architecture courses at Berkeley beginning in the fall of 1894, just after Morgan graduated. And he invited her to join a group of young men to seminars at his home. And basically all of them went off to Paris to study at the Ecote Bozar, which at the time was the most important architectural school in the world. Bernard Maybeck encouraged her to go to Paris,

and she arrived there in June of 1896. This was weeks after the faculty had decided, yes, women, you may attend classes at the A-Cole. That decision came about because a group of women unionized. It was the union of women painters and sculptors, and they fought a seven-year battle against the A-Cole just for the right to take courses. So Morgan landed in Paris right when the doors opened. She got to know these women, and they very much supported her. They kept organizing, they kept pressuring the faculty to allow women to take entrance

examinations. And finally, the faculty said, okay, ladies, you can take the entrance examinations. Her first opportunity was in July, only five weeks after the examinations had been opened to women. She was actually a figure of fascination. Just as she was taking the exams, and it was already in the papers, this young American woman wanted to pursue architecture, or how bizarre was that.

Long story short, she failed, but she took that in stride. Everybody failed at least once. These entrance examinations, especially for architecture, were extraordinarily difficult. In October of 1898, she took the examinations for a fourth time. She was 13,000, almost 400 applicants. So now she's 27 years old, and she had until the age of 30 to accomplish whatever she was going to accomplish. On a rainy day, she would sit inside a church and sketch.

On the weekends, she would travel, pay attention to form. The relationship of buildings, the relationship of light and space and color, and she just got better and better. I'm Julia Donahoe, I'm an architect and an attorney and general contractor, and I served on the National Board of the American Institute of Architects. I was in a position to nominate architects for the Gold Medal in Architecture, and that's how I got involved with Julie Morgan. Morgan met Phoebe Hurst in Paris when Phoebe was visiting Paris to meet all these architects who were competing to design the new campus for the University of California.

the University of California. Phoebe took a shine to Morgan and when she came back to California, Phoebe was ready to employ Morgan and she hired her to remodel her estate out in Plezanson, which is east of San Francisco, and that project went on for years. They must have gotten on like a house on fire. I mean they just had this enduring working relationship. We were looking at now as the bell tower which was built in 1904 and then around the oval from that is the Margaret Carnegie Library built in 1906. So to the left of the door it says designed by architect Julia Morgan dedicated by Susan T. Mills April 14th 1904 and then on the other side it says, designed by architect Julia Morgan, dedicated by Susan T. Mills, April 14, 1904. And then on the other side, it says, El Campanille is the first concrete reinforced structure built west of the Mississippi. Having a clock on a tower seems pretty mundane now, but back then, that was kind of a big deal. It was kind of like the iPhone of its day. Very futuristic forward looking thing

that we would have a bell tower with a clock. I'm Karen Feney. I'm the current director of facilities in the campus architect. And we are about to take a tour of Joy Morgan's five remaining buildings on campus. Morgan had suffered through a lot of professional abuse during the construction of the campaniel. She was in this battle of wills and egos with the builder, a guy named Bernard Ransom.

His father was the leading patent inventor, reinforced concrete guru in the United States. And so then Bernard Ransom saw himself as sort of the heir apparent. He did not like working for this young woman who wanted to call herself an architect. He had gotten top billing at the ceremonies at the unveiling of the Campanille. There's this whole drama behind it. The 1906 earthquake and fires decimated San Francisco, as well as damaged significant portions of surrounding areas. One structure that did not fall and was not damaged in any way was the Campanille at Mills College. When the Campanille survived the earthquake without a scratch, it wasn't ransom who was

remembered. It was Morgan. So Julian Morgan's daring, reinforced concreteanille, at Mills College survived. Reinforce concrete had been something a source of debate. It was mostly associated with industrial infrastructure really at the time, but Morgan saw the potential for beauty in it because of its infinite elasticity. Steel does well in tension and the concrete does well in compression. And so the two together make a really strong bond and concrete gets

stronger as it ages. It's still performed remarkably well and then they would pour the concrete in what they call the lip. When she designed the Campanille, she was really breaking some boundaries, so many architects who had been hesitant in using reinforced concrete for pretty buildings, they went to Mills College, it became like this laboratory to understand how reinforced concrete could be used. That then really catapulted Julian Morgan's reputation. This is not just a novelty act. Julian Morgan is a serious architect and engineer

who designs not just pretty buildings, but buildings that will last for generations and an architect who experiments with the most modern construction technologies to achieve these buildings. She lost her career and shortly after she lost her career, the earthquake happened. The city first fell down and then burned up. 400,000 people were homeless. Something like 30,000 buildings were destroyed.

The fire took off through the whole city. They said it was like Pompeii. Jolody Morgan was determined to bring it back. There was lots of good work for architects afterwards. In Julia, redesigned, re-engineered. The Fremont Hotel had been a brand new building and been open for a month or something before the earthquake. The whole world was in ruins, and she was the only one who knew

anything about reinforced concrete. They tried to bring some east coast architects who might know reinforcing but the guy who was supposed to come got killed in a duel. So then they saw the mills college tower sitting there and they were like wow you know that's reinforced concrete and it didn't fall down. She told all of San Francisco, we can rebuild the city. She rebuilt the Fairmont in one year and they had the biggest party. A lot of times I compare her to Frank Lloyd Wright. Frank Lloyd Wright didn't understand reinforced concrete. If you go to falling water, everything looks like it's made out of clay because it's sagging. Concrete is not supposed to sag. Julia Morgan's concrete does not sag.

Frank Lloyd Wright's concrete sags, because he didn't really understand the engineering, but not hers. Hers is very strong and true to this day. A lot of her buildings are still standing because she really was an engineer she knew what she was doing. When W. R. Perst approached her after he received his inheritance,

which was in the spring of 1919. She knew him well and she knew the kind of client he was. She knew that he was gonna be involved in absolutely every decision and want to know about every little detail because he loved it. And so when he explained to her that he was tired of camping in tents and thought he was getting a little old for that and he was thinking of building a little something.

We're just exactly what he said, because it was overheard by one of her employees who was working late and told that story. He said, Mr. Hurst had a high voice so it carried. It was the end of the day and Mr. Hurst said, well, I was browsing through Los Angeles bookstores as I'm prone to do and I found these bungalow books and I saw one that I liked and he turned the page.

It was labeled JAPO Swiss Bungalow. Walter Stauberg said he laughed at that and so did she. Walter Stauberg, he was an engineer and he was very involved in the early engineering, particularly at Sonsimi. So he would look up at and say, well, there's the JAPO Swiss Bungalow, it was going to be a modest six months, a single cottage, the over and no time. six months, a single cottage, the over and no time. And then Walter also said, but within a month we were going on the grand scale, and that's the scale at which W.R. Hurst operated. He met her down at the train station in San Luis Vistpo.

Steve Zegar was a young man who had a tin lizzy and her said hired him. They were just the two of them, Dawn, tin lizzy had to drive what today is an hour almost and back then was certainly two or more. They drove through the Metropolis of Simeon, which back then when 1919 was two hotels and a couple of stores and I was pretty much it. They got to the end of the road where there's a Victorian ranch house and that was where the road stopped. Julia looked over and sitting at the end at the start of a dusty trail were two settled horses.

She was 47. She was wearing, I'm sure, what she always wore. She had a very practical wardrobe for her work and it really was based on something. It was based on the French walking suit. It was an eminently practical thing, but not for horseback riding. And, and anyway, she looked at him, and she said, I, I don't know how to ride. And furthermore, I don't intend to learn. And, and W.R. had been going up that hill since he was two in 1865, his father bought that land. So what they did, Zegard saw these cowboys riding by and he called them over, first got

on the horse, and Julia stayed in the taxi, in the back seat, and Zegard gunned the engine and drove it up the hill, 1600 foot elevation where rocks, beautiful, enormous rugged size, you know, burst out of the landscape, it's steep and it's far. The cowboys rode alongside. They roped the bumper and pulled the taxi over the really difficult spots if there was slippery grass or if he was having a hard time getting around there.

And that was her first trip to San Simian. J.M. wasn't just the architect, she was also the interior designer and the landscape architect and essentially the contractor for the entire job and made an astonishing 568 train trips from San Francisco down to San Simeon. Our schedule is completely exhausting. She would get on the train on Friday, take the train down to San Luis Obispo. She'd be notorious for working on the train.

She asked for an upper birth because she was, as you know, diminutive. She was about five foot two, I think, with the assistance of a hat. Maybe even five three with the assistance of a hat. That hat was important. She could sit upright and draw while the train was heading south. Eight hours one way and a two to two and a half hour drive from the train station in San Luis Obispo to San Simian. She would get a cab and she had a regular driver who would take her to San Simian, which to this day is still like a 45-minute drive from San Luis Obispo. The roads were smaller, the cars, the wheels, the tires were much smaller then.

She wrote to her, it was one continuous skid. She said, if you want to break every bone in your worst enemy's body, treat them to the trip. After a bad rain. She would get there very late. She would spend the weekend at San Simeon. Workout, whatever issues needed to be worked out on site there. She'd spend the whole day Sunday and meet with her. WR generally came down one or two times a month. On Sunday night, you should do the whole thing in reverse. One of her draftsmen, he said,

I went along with her and we got back to San Francisco on Monday morning and I was exhausted and she walked right into the office and went to work. And that's how she did it. Herst Castle, it was a very romantic place. It was the sight of a great love story between her and his companion, Mary and Davies. It was a love story about his childhood and his parents and California, and they shared that.

And she was kind of the on-site color commentator. It might be two in the morning in New York and he's trying to get an addition out because that's when he worked. Is it newspaper man? He could send a telegram. Dear Miss Morgan, I've just bought some columns. Let's talk about where to put them at the ranch. And she could write to him about the beautiful sunsets or the alligator pairs, which is what they call avocado spec then, and how the sunset was blue beyond imagining. So, one of her employees said, she was the only person who never took advantage of him, who never wanted anything from him.

And he, of course, was completely and utterly respectful of her and supportive of her authority. This was a collaboration between two remarkable people. They had a long association, and in many ways I would even say a romantic one. It's long as it is clear that I'm talking about a platonic romance. You know, the romance of two, as Walter Stalberg, who was one of her top employees, said two long-distance dreamers. He watched them in the Refectory, which is, since in his dining room, 72 feet long and 28 feet high, and 27 feet wide.

He said, the rest of us could have been a million miles away. He was talking, and she was talking, and they were drawing, and he said, and you could almost see this bark. Travel from one to the other, they're foreheads. Because these two very different people just clicked. It was remarkable the closeness that they had. Julie Morgan's career was as dependent upon the California Women's movement as the

California women's movement benefited from Julie Morgan. By the time Morgan came back to the United States, by the time she got back from Paris, California women were really gearing up into all sorts of organized activities. And her generation was leading the way. She was 30, her friends were in their 30s, they had time, money, and education to organize around all different things, suffrage, women in higher education, urban development, and beautification, juvenile delinquency. And so you end up with Julia Morgan designing a landscape for those women, this built evidence of a social history

and a gender history from the early 20th century. She had a lot of friends who were involved with the Young Women's Christian Association or the YWCA. YWCA's were essential and she literally built more than it doesn't. It was one of the most important organizations nationwide to create social educational, recreational and residential facilities, targeted towards young single women who were moving to the city for the first time to work. She mentored via her women's clubs and YWCA's, which were central to young women leaving their family farms and coming into cities to allow them to work but not have to live in

an unsafe, reborning house full of traveling salesmen or be in unsafe conditions. There was this moral control, social control element to the YWCA combined with the growth of women's opportunities outside of the home to earn money and independence, at least before marriage. San Luis Obispo, San Luis Obispo, the best city that I know. I'm Vicki Carroll, and I'm the president of the Monday Club and the Monday Club House Conservancy in San Luis Obispo. I'm Jennifer Alderman.

I am the treasurer of the Monday Club and the Monday Club House Conservancy and also a past president. It is a joy and organ design building built by the women who own the Monday Club. She would do whatever was best for the club and whatever the club could afford. And the club could afford a lot more because she often took no profit whatsoever and donated her services. And that's what she did at the Monday Club in San Luis Pespo. The president at the time lived next door to Mr. Zegar who was the taxi driver who would pick Miss Morgan up

in San Luis Obispo and take her to the castle. So our president at the time asked Mr. Zegar if he would speak with Julia about perhaps designing a clubhouse for us. And she agreed to do that and had communications with the club members and settled on a fee of $800. And then she decided that if the members of the Monday club

would house her when she came into town, because if you think back to those times in late 20s, it wasn't really proper for a woman to stay in a hotel by herself. So our Monday Club members, Houseness Morgan, before she went to the castle the next day. She'd arrive on the train, so she'd have to spend the night, and she waved the $800 fee.

Our membership at one time was over 300, so we have photos of this room packed of gills. This social space was used a lot because there really wasn't an opportunity for people to go out and socialize other than in bars or, you know, San Luis Vispos was still relatively small. So they would hold concerts here, plays from the photos that looks like they had a lot of fun. from the photos that it looks like they had a lot of fun. This historic building designed by renowned architect Julien Morgan, first opened his doors to the Chinese Young Women's Christa Association YWCA in 1932. My name is Justin Hoover, I'm the executive director of the Chinese Historical Society of America

in Tears of Scope. We were founded in 1963 as a society dedicated to telling the stories of the Chinese in America. During the 30s, we were still in the exclusionary period. So in 1882 was the exclusion act. And what that meant was the Chinese weren't allowed in the United States unless they were doing certain vocations and professions. During that period, you get this goal for the Chinese in America to fit in. And to do that, the Chinese adapted a kind of hybrid model of life, whether you get these Chinatowns that look Chinese-y,

and I'm going to use that word, you know, because it's got a cliche of Chinese, that maybe hearkens back to the homeland or to architectural details that are commonly understood and recognized as Chinese, maybe divorcing them from the significance of the original facade or edifice or structure on which they were used. The use of architectural detail in that way, today we see that as a sense of orientalism, but the time is a way for people of the Chinese culture to share their culture with Westerners in America, and in that way find a place where they could hybrid share their culture with Westerners in America and in that way find a place where they could hybridize their culture and be accepted and not fear persecution. The Chinese in America were scared at the time and they still are in many ways today. They're still facing violence against

Chinese and Asians. The space originally was a YWCA. In the 30s when it was built there were not a lot of places where women in San Francisco, especially Chinese women, could feel comfortable. And so the space was designed as a residency and a physical location for community and gathering. People could learn English, they could dance, they could have exercise, they could have community. How to imagine it would be a bustling place. Be a place that's safe for women. I think there would be a lot of fun at being here. I like to hope that you'd hear a lot of noises of people laughing and having a good time.

She closed down her office when she was losing clients and slipping into ill health, and then she just lived largely alone in her apartment in Oakland. There are few people who are still alive that knew her personally and said she just lived this quiet life and then kind of slipped out of it. She retired in 1951, but then she didn't die until 1957. I think a combination of the Great Depression and the war, which really set back the architecture industry for a significant amount of time, Then the stylistic changes post-war, there comes a point in the leading edge of American architecture where everyone wants it to be about modern forms,

casting off the old, stripping out the ornament, and that was not something that Julia Morgan ever really did. And then her own ill health meant that she spent the last two decades of her life slipping from the center of architecture. When she died, you know, it was written up in the San Francisco Examiner, like she was known in her city, but it wasn't like her work was in the air, wasn't like people were writing about it as if it was exciting, the new interest had shifted elsewhere. There was this whole feminist architecture history moment in the 70s and early 80s that I think Morgan benefited from, then like many things when kind

of out of fashion for a while, and I think it's coming back now. So it's interesting to look at Morgan as the beneficiary of this early uprising of women's power that then goes underground, particularly in the postwar era, and then rises again in the 70s. And so the times in which people are interested in Morgan also go along with the times in which there's a new interest in women and power and expanding the canon in architecture history. There's a really famous exhibition that was held at the Brooklyn Museum during this time and I think that was the first time people said, oh wait a second, where are the women architects? Yes, we're trying to increase the number of women in architecture now, but it's really helpful to know

that there are founding mothers. Let's go find them. Let's go look for their history. We're around here on KNBR68. Now, I really want to talk with Sarah Boutel. I mean, I want to talk with her so bad that if we can't make a connection here, I'm just going to send a limo for you.

Hello, Sarah. I'm right here. Oh, good. I'm so glad. Sarah, Boutel, has written a book as we just mentioned, if you just turn on the radio. Julia Morgan, architect. It's a beautiful, beautiful, there was not very much material. And of course, Sarah Holmes, Boutel, really was indefaticable. You know, she worked 14 years on her biography, Julia Morgan Architect. She was a one woman marching band. She'd been, and she was in her middle 60s. So she had kind of Julia Morgan rate energy.

How did your fascination with Julia Morgan began, Sarah? It began as it does with many people. When I went to the first castle, I had no idea that it was so beautiful and then I discovered it was by a woman's architect and I went everywhere trying to find a book about her, some material about her. And since there wasn't any, finally it struck me that I had to parrot it out on my own, finding the buildings and finding the information about Julia Morgan. I've been on the job for 14 years, it's like a long time to do any one thing.

But it was great from the whole time because it was partly like detective work. She went around, she knocked on doors to find clients. She got in touch with the family. She went to organizations. She did a tremendous amount of work. She devoted her life to it, $30,000 of her own money, tremendous amount of effort on her behalf,

and it's created the way for other people to latch on like I did. Her work was very successful while she was working, but then at the period just a little bit before her death, the modernist or international style took over and her work along with out of many other California architects was in the shade so that it wasn't only her efforts to remain private but people's lack of interest in California architecture that is made her unknown. The fight for getting Julia Morgan the recognition she deserves.

After this. Here again is Finding Julia Morgan from New Angle Voice. Would you believe that is recently is 1978 when we were discussing the Equal Rights Amendment that the President of the AIA declared to the press that he would never hire a woman architect? the press that he would never hire a woman architect. On behalf of these women practitioners, I express our collective and respectful anger. I had met Beverly Willis in 2009 at the first women's leadership summit in Chicago. She had given a presentation and said, why can't the AI give a gold medal to a woman? I remember thinking, well that's silly, you know, you don't just give a gold medal to a

person. They earn a gold medal. It's a process, I'm sure. Then a couple years in 2012, I'm sitting and watching, and there's three men there, and I'm like, oh, this is how you do it. This is the room where they vote on the gold medal, I'm sitting and watching, and there's three men there. And I'm like, oh, this is how you do it. This is the room where they vote on the gold medal. I'm like, well, who gets to nominate you to be one of those three people? It's not like a lottery thing. You say, dear God, give me a gold medal.

Give me a gold medal. And God says, if you want to win the lottery, you have to buy a ticket. So I sat there and said, well, how do you buy a ticket to be one of those three people? You have to make a portfolio. And you have to submit the portfolio and the portfolio has to demonstrate a body of work that's of significant stature to be worthy of the gold medal. So how do you do that?

You look at the guy who's winning this year and say, how can I find a woman who has a portfolio like that? I started scouring all the's winning this year and say, how can I find a woman who has a portfolio like that? I started scouring all the books. I sat there and I read. I was like, I can nominate someone and I was like, who could I nominate? I spent two weeks going through this process of calling on my friends and saying, who could we nominate? I would say, what about this person?

And they'd say, too young. They'll get it someday. You know, or what about this person? No, not enough work, or whatever. So then I just sat down with some books of women architects, and I started going through them. The only one that had a portfolio that was significant enough was Julia Morgan.

I said, well, I'll just call up Haleighn, combed Striling, who's president, and her first week in office, I called her up and said, can I bring Julia Morgan forward for the AI gold medal? She wrote back and said, well, that would be fabulous. And I never knew anything about her until this. And I told my daughter for the next six months, she could sit at the kitchen table and do her homework While I would sit at the dining table and do my homework, and that was what we would be doing.

We spent everything from January until June when I got this portfolio done. I went to work, but I came home at night and that's all I did was Julie Morgan. I just brought her up in every conversation. Oh, we're talking about disaster. Oh, did you know that Julia Morgan saved the city of San Francisco from a total disaster by knowing about reinforce concrete? Oh, did you see the watercol is so-and-so did? Did you know that Julia Morgan was an excellent water colorist? She learned that at the cold of Bazar's because none of the guys would work with her answer.

She went off into the landscape and drew things like Monet. When I finally left the board, I remember Bruce Sucanix said to me, when are you going to stop talking about Julia Morgan? I said, I will stop talking about Julia Morgan. I tried to bring her in every conversation. I will stop talking about her when you talk about her more than I do. You know, so I try to bring her into every conversation

in that sort of way to really just open the mental thinking. And I really worked the room. And I understood that I need to have really nice letters from really important people. We wrote to Maria Schriver and asked her to write a letter and she agreed. Senator Feinstein, she lives across the street from a Julia Morgan building. At a time when there were few women in the professional world, when we weren't even allowed to vote, Julia was a real trailblazer.

I went to see Mike Braves. He said, oh yes, sir, I'll help you. I got Frank Gary as well, because Maria Shriver turns out she has this very strong relationship with him and she can calm him up and say, Frank, why don't you help with this? She paved the path, not just for women architects, but for all women.

She faced many challenges in the male dominated architecture industry. She is a living proof that no matter the obstacles, no matter the status quo, you can achieve greatness. The portfolio goes to this jury. I was waiting at home and saying, well, maybe she'll get it, but we'll probably have to do it a couple times, but we'll see what happens. And then I got this beautiful letter that says you have been selected for the short list. So then I was like, what do we have to do?

We have to do another presentation in front of the board. I ended up asking Jeannie Gang to do the presentation. I said, this will be training for you to get your gold medal. And she wrote back and says, I'm going to take this really seriously and I want to do a good job. The room had started following like dominoes. People were saying this for this, this for this guy, supportive statements for all these other ones. And gradually it became more and more for Julia Morgan.

The votes were cast on secret paper ballots and then they were taken into a back room and counted and then we are all sitting there. First they told us who won and then they brought the guests back in. So, Jeannie Gang is sitting there and I can't restrain myself so I walked over to her and I just, I didn't tell her what had happened but I just gave her this huge, how I'm going to have this huge smile on my face and tears were coming down my face. I was so excited about her getting the FAAIA. I think I was more excited about that. It's a very, very quiet ceremony. They have to get everyone across the stage,

to get their medal and get their handshakes and stuff. So they say, please hold all the applause till the very end. And then they came to Julia Morgan and the whole room erupted in the standing ovation. That's when I really, truly cried, because I was just like, well, this really means something. It's not just that we finally have a woman whose name is going to be carved and granite,

that we're finally shattering the glass ceiling and getting recognition for all types of people. The whole room recognized it. It was just a beautiful moment. We are very proud to posthumously award the AI Gold Medal to Julia Morgan, FAAI, the early 20th century architect whose copious output of quality work secured her position as the first great female American architect. All the little quotes that we have of her they've all been ingrained in my brain now. I've learned for myself to now pursue things in a more dogged way the way she does. Just pursue excellence in everything that I do.

The form that she filled out for the AIA membership in 1946, the form said the architect will list what he has done. And she circled the he and wrote a giant exclamation point over it. She's really been a guidepost for me that she could have an engineer way of thinking and also be an exceptional Bozar at Sarketakt and live in a modern age and use glass and steel and light and form and really embrace all the things that were changing around her and the social changes that were happening for women and families and how we interact in the world. She must have been so tough to make it through her attempts to get into the Eccluboz Arts, to make it through the Ecclidobozarts to launch her own business in California

when so few women own their own businesses. So I just see that toughness carrying through and I don't think she could have been as successful as she was if she wasn't really, really focused on doing the work. Special thanks in this episode to Alexandra Lang, Julia Donahoe, Karen McNeil, Victoria Casner, the Women of the Bunday Club of San Luis Obispo, Karen Fini at Mills College,

and Justin Hoover at the Chinese Historical Society of America. The archival audio of Sarah Holmes-Buntel is from her Julia Morgan collection at Cal Poly University, San Luis Obispo, Special Collections and Archives. To learn more about the life and work of Julia Morgan, you can visit our website, vwaf.org,

where you will find a rich collection of archival material from her career and read extended interviews with additional Julien Morgan scholars not heard in this episode. New Angle Voice is brought to you by the Beverly Willis Architecture Foundation and produced by Brandy Hell. Our editorial advisor is Alexandra Lang and research is provided by Ashlyn McNamara. I'm your host, Cynthia Crackauer. I'm so excited about this podcast. Few things have made me as delighted as listening to the first episode of new angle voice. Go subscribe right now.

99% of visible is Delaney Hall, Kurt Colstead, Swan Rihall, Emmett Fitzgerald, Vivian Leigh, Joe Rosenberg, Chris Barube, Christopher Johnson, Boshamadon, Sophia Klatsker, and me Roman Mars. We are a part of the Stitcher & Serious XM Podcast family, now headquartered six blocks north in the Pandora building, in beautiful, uptown, Oakland, California. You can find the show and join discussions about the show on Facebook. You can tweet at me at Roman Mars and the show at 99PI org. Or on Instagram and Reddit too. You can find links to other Stitcher shows I love as well as every past episode of 99PI

at 99PI.org. Duh-uh to Stitch. Duh-uh to Stitch. Duh-uh to Stitch. Duh-uh to Stitcher. Serious exam. Don't out the stitch, don't out the stitch, don't out the stitch, don't out the churrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr