Sunday, 1 March 2015

Preview of Interview for "Geeked for Golf"



I was asked to "Describe your process for a design project."
I begin with a philosophical question, what experience do I want them to have? There are so many options on style, set-up, approach, etc. You also have to address what everyone’s expectations are and how you can reconcile their needs with your own philosophy in a way that works for both of you. For example when we built Laval, we had to plan for a Canadian Open and membership play. We solved that riddle with our design approach, based very much on the Sandbelt Courses of Melbourne and how fun they were for day to day play and how tough they could be made with a firm, tight turf and edge pin locations.
When it comes to routing, my personal methodology is to walk the property looking for vistas to borrow (or avoid), features that will make great ground for golf and natural places to end a hole. I collect as many as I can without worrying about the routing. I also like to accumulate options to naturally move uphill, since these are often the keys to an imaginative and walkable routing where no transitional holes are required. Finally, I believe a great set of threes is a paramount, so I identify the most dramatic locations possible and try to incorporate them into the eventual routing.
The next step requires persistence and patience. You find a few alternatives to walk through and you go test each one. You’re looking for a continuous journey through the landscape without interruptions. It should be a terrific walk long before it becomes holes. So you discard sections that lack, add other locations that peak your interest and walk and walk. You go through this process until you finally can walk eighteen holes and have it unfold like a story.

One of the great secrets to a routing and developing rhythm is the understanding that a break between dramatic locations will make the setting that follows far more impressive by comparison. It’s like a rollercoaster where you don’t want a continuous run of thrills. You need the spaces in between to lower the heart rate and let you prepare for the next thrill. It’s not just about finding and designing holes, it’s all about how you want them to feel and part of that is how you develop the rhythm of the course.

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