Girton Hall was originally designed as a meeting place for female students on UC Berkeley’s campus. Morgan’s design used wide redwood clapboard and low pitched roof with deep eaves, calling on the First Bay Area Tradition architectural style she was known for at the time.

Originally named after Cambridge’s first women’s residential college, the building was later moved and became a campus child care center. It was moved once more in 2014 to the Botanical Gardens (after being chopped into four pieces and reassembled) and renamed Julia Morgan Hall, now housing exhibitions and special events.

The building is listed in the National Register of Historic Places and a Berkeley city landmark.

Designed with her mentor and colleague Bernard Maybeck, Morgan’s design for the Hearst Gym for Women on UC Berkeley’s campus echoes classical sensibilities.

William Randolph Hearst funded the building as a memorial to his mother Phoebe Apperson Hearst, whom Morgan knew well and worked with to design Asilomar in Pacific Grove.

One of Morgan’s first residential commissions was for Berkeley professor William Colby. The shingle exterior and plateglass windows showcase her early use of the First Bay Region Tradition style. In the 1980s it was converted into a house for Dominican nuns, but now it’s a frat house, and they added a big concrete patio to replace the front garden.

The building is a city of Berkeley Landmark.

Now the Julia Morgan Theater, the church building was desanctified and sold when the congregation moved to a new building in 1974. The interior features exposed redwood paneling and beams with smoked glass clerestory windows, making it feel more like a home than a church.

It is listed in the National Register of Historic Places and is a Berkeley city landmark.

Morgan adapted an eclectic style, according to her clients’ wishes on each building. In the house built for Seldon and Elizabeth Williams, there are influences of Gothic, Moorish, and Mediterranean techniques.

Seldon Williams died only two years after construction finished, and Elizabeth became a recluse, rarely leaving the house over the next 40 years. UC Berkeley bought the mansion in 1971 and used it as a residence and place to entertain for a handful of the system's vice presidents. It has since returned to private ownership.

The Sausalito Woman's Club is a small Craftsman Style woodframe building featuring a Morgan auditorium full of soaring ceilings and wood paneling. The club itself was founded in Sausalito’s early days when it was a provincial rough-and-tumble town full of saloons and gambling dens. Ten female locals aimed to clean things up, so they hired Morgan, who designed a clubhouse reminiscent of her residential work.

The building was the first historic city landmark in Sausalito and is listed on​ the National Register of Historic Places.

Formerly the California Crematorium, Morgan expanded and renovated the building in 1926. Her Moorish-Gothic design created a labyrinth of courtyards and fountains, complete with European antiquities and expertly crafted mosaics and stained glass. Frank Lloyd Wright-protege architect Aaron Green created six Aztec-inspired additions in 1959.

The building is an Oakland city landmark.

Morgan designed several tuberculosis hospitals for women throughout California, and pediatric nursing homes for children with terminal illnesses. The biggest commission of these was the King's Daughters of California Home for Incurables in Oakland.

The original buildings covered an entire city block and consisted of five brick masonry buildings surrounding a landscaped courtyard. An Art Nouveau style entrance arch was donated by Morgan’s mother Edith in memory of her younger brother who died in 1913. The hospital remained open until the early 1980s, when it was sold to Kaiser Health who use the main building as a psychiatry facility and demolished the rest for parking.

The site is a Oakland city landmark and listed in the National Register of Historic Places.

The Ladies Protection and Relief Society of San Francisco established The Heritage as high-quality housing and nursing care for senior citizens in 1924, and today it still functions as such. Constructed from reinforced concrete and faced with brick, this building was carefully designed by Morgan to withstand an earthquake since it was sited on landfill from the 1915 Panama-Pacific Exposition.

Now home to the Chinese Historical Society of America Museum, Morgan’s design employed many traditionally Chinese motifs: the courtyard with a koi pond and cloud lift detail, three towers, tiles glazed with Chinese patterns, and a dragon painted on the floor of the corridor between the courtyard and the gymnasium.

The building is a registered San Francisco city landmark.

The Cameron House has its origins in the Occidental Mission Home at the same location, which was opened in 1873 by the Presbyterian Church to rescue Chinese girls and women from prostitution, sweatshops, and domestic service. Donaldina Cameron took over as superintendent of the Home in 1900. And when the original building burned in the Great Quake, Morgan was hired to rebuild.

Many of the bricks were salvaged and reused from the original building. The building is a registered San Francisco city landmark.

Originally designed by the Reid Brothers, the Fairmont Hotel suffered major damage in the 1906 earthquake and fire. Morgan was hired for restoration and repair work, thanks to her civil engineering degree and her concrete work at Mills College, which survived the quake without a scratch.

While her design fingerprint at this Nob Hill hotel may not be as readily visible, the commission was the most important of her career since forming her own firm and highlights her engineering prowess.

The Hearst building was constructed in 1911 by Kirby, Petit, and Green in a Spanish-Revival style to house the printing department of Hearst’s San Francisco Examiner (and replacing a 1898 Hearst building destroyed by the earthquake and fire).

In 1938 Hearst brought in Morgan to completely remodel the exterior entry, ground floor lobby, and parapet roof. She spiced it up with bronze medallions, a giant “H” crest above the door, ornate terra cotta and metal grill work, and a gilded lobby.

Originally the Japantown YWCA, Morgan designed the building pro bono. Started in 1912 by first generation Japanese women to provide social services to women and girls, the women were prevented from acquiring property by the 1913 Alien Land Laws. The San Francisco YWCA purchased the property for them in trust with additional funds from the Japanese community.

Morgan was commissioned in 1932 to design the present building. It included a dorm, meeting rooms, and an auditorium with an authentic Noh theater stage to perform classical Japanese dramas—the only one in the western United States. In 2002 Nihonmachi Little Friends purchased the property and today it functions as Japanese bilingual childcare.

The building is a San Francisco City Landmark.

Licensed in 1904, one of Morgan’s first independent commissions was for a bell tower at Mills College, reportedly the first freestanding bell tower on a United States college campus.

Built of exposed reinforced concrete, El Campanil survived the 1906 earthquake without a lick of damage. Morgan’s second commission on campus, the Margaret Carnegie Library of 1905-06, uses Mission-style details. The original reading room on the second floor, with high beamed Arts and Crafts style ceiling, remains intact.

The Ethel Moore Memorial Center, today’s Student Union, was the third commission and also features a swoon-worthy entry level social hall.

Mills College is listed in the National Register of Historic Places.

Commissioned by a Jewish women's group, this building provided housing for single working women and recreational facilities. While the Palladian archway and symmetrical facade showcase Morgan’s Beaux-Arts training, the iron balcony on the building’s loggia incorporates the Star of David as part of its design.

The building was purchased by San Francisco Zen Center in 1969, but they did not make any major alterations.

Morgan was hired to design a neighborhood house for a Russian sect of the Presbyterian Church known as the Molokani. Many had fled Czarist oppression in Russia and settled in Potrero Hill, so the neighborhood house served as place for them to learn English and practical skills, as well as host social and religious celebrations and ceremonies.

Morgan designed the building to look and feel like a house, offering a safe and comforting space. Despite changing neighborhood demographics the building continues to offer community programs, group space, and a venue for weddings.

The building is a registered San Francisco city landmark.