Estate Living Digital Publication Issue 4 April 2015 | Page 20

The Architecture
of a Great Course
It’s in rarity that humans find value. We
are all drawn to that which is rare: precious
minerals, beautiful people, success in
careers and exhilarating moments are all,
by definition, rare in their own context.

WHATS PUTTING

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In the context of ‘traditional’ architecture,
when looking at the Sydney Opera House
or Casa Mila, it is quite clear these aren’t
ordinary buildings. These are works of
art; they are inspired and they inspire
others, they are functional and beautiful,
they’ve pushed the boundaries of what
was believed to be possible and they’ve
resisted the ravages of fashion and time.
What has separated their architects from
all the tens of thousands of architects
seeking to leave their legacy on the world?

Great design is both a science and an
art, and it asks of the designer to take
into account many complex factors
and constraints that range from site
(topography; soils; features such as large
trees or ruins) and budget (combined
with ‘site’, probably the most important
constraints), through to style (links or
parkland) and design philosophy down
to practical matters of water reticulations
and effective drainage, weather patterns
(prevailing winds and history of rainfall),
ecologically sensitive areas, and aesthetic
considerations to create a beautiful
environment that looks as if it was always
meant to be there (most often from sites
that are virtual wastelands).

One of the great golf course architects
In case you wondered, I’m going to leave of all time wrote: “The chief object of
that question hanging – every individual’s every golf course architect worth his salt
answer is valid and my opinion is just is to imitate the beauties of nature (and
another opinion. The point I’m making is presumably also the hazards) so closely as
to make his work indistinguishable from
that great design is rare.
nature itself.” (MacKenzie, 1920)
This is equally true for golf course design,
and, as a company that has worked
through dozens of projects with brilliant
‘signature’ designers such as Jack Nicklaus
from initial concept to completion and
beyond, Golf Data has learnt a great deal
about why great design is so rare.

With all these challenges (to name but a
few), the course designer has to design a
great test of golf, and this is where it starts
to get even more complicated! Golfers
range from Rory Mcilroy, a sublime artist
with the golf ball, through to beginners