Hazel Wood Waterman
| Hazel Wood Waterman | |
|---|---|
Portrait of Hazel Wood Waterman in 1921.
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| Born |
Hazel Wood May 5, 1865 Tuskegee, Alabama, U.S.A. |
| Died | July 22, 1948 (aged 83) Berkeley, California, U.S.A. |
| Nationality | American |
| Alma mater | University of California, Berkeley |
| Occupation | Architect |
| Spouse(s) | Waldo Sprague Waterman |
| Children | Robert, Helen, Waldo |
| Practice | Hebbard and Gill; Hazel Wood Waterman |
Hazel Wood Waterman (1865–1948) was an early 20th century American architect working in an Arts and Crafts—inspired style in southern California. She undertook the first major renovation of Estudillo House, which is one of the oldest surviving examples of Spanish architecture in California.
Hazel Wood was born on May 5, 1865, in Tuskegee, Alabama. In the early 1880s, her father, the Reverend Jesse Wood, moved his family to Oroville, California. In 1882–3, while studying art at the University of California, Berkeley, Hazel met her future husband, Waldo Sprague Waterman, whose father was former California governor Robert Waterman.
Hazel and Waldo married in 1889, after which they moved to Cuyamaca, where Waldo was a mine supervisor. In 1891, they moved to San Diego, where Waldo got a job with a railroad. The couple had three children: Robert Wood, Helen Gardner, and Waldo Dean. They joined the local College Graduate Club, through which they made the acquaintance of several people who would later be of great importance to Hazel in her career, notably the architects Irving Gill and William S. Hebbard, landscape designer Kate Sessions, and local businessman Julius Wangenheim.
In 1900, Hazel and Waldo hired Gill to build them a house, and the resulting "Granite Cottage" was a Tudor-inspired building combining a granite lower story with a half-timbered upper story. Hazel helped to plan the room designs right down to details such as window frames. Gill was impressed with Hazel's ideas and thought she had a "natural talent" for architecture. Certainly she enjoyed the experience enough that she wrote an article about it in 1902 for House Beautiful magazine. It is clear from her description that she was strongly drawn to the American Craftsman aesthetic of natural materials and unornamented forms deployed to harmonize with the surrounding landscape. Like other women architects of the day, she paid special attention to labor-saving features.
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