Geeked on Golf


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A WEE CHANGE AT CANAL SHORES

Part 26 of the Journey Along the Shores series takes a look at the creation of the Wee Burn

When Cypress Point opened, it received universal praise. One would assume that a categorically positive reaction would please the architect. Instead, Dr. Alister MacKenzie famously expressed concern—in his experience, any golf course that didn’t turn off at least a few players wasn’t well designed. As we continue to tinker with Canal Shores, we understand the Good Doctor’s conditioned expectations. Each change we make to improve the course yields mostly praise, but also the predictable batch of complaints. The creation of the Wee Burn short of the 17th green is no exception, providing an interesting look into player perceptions and reactions to change.

The Problem

We are often asked why we don’t address issues of standing water by installing drainage that flows into the canal. The short answer is that we are not permitted to do so by our landlord. That prohibition makes sense in the context of the purpose of the land. Canal Shores exists fundamentally to provide a green space buffer for stormwater management from the surrounding neighborhoods. The course is there to hold water, not pour it into the canal. Unfortunately, that function is not well balanced with playability for golfers, and it will take a well-conceived renovation to reconfigure the course to achieve both objectives. Until that time, we are forced to do triage.

Standing water across the front of the 17th green

The 17th hole is one of many problematic spots on the course with regard to water retention, particularly across the front of the green. Spring rains caused the entire approach to flood. It would stay wet and muddy long after the rest of the course had dried out, and any subsequent rainfall would put us right back to square one. Plugged or disappeared balls were common, and growing healthy turf was impossible. The area was essentially unplayable for most of the season.

The Wee Burn

After lengthy consideration, we decided to stop trying to fight Mother Nature, and instead provide a better place to store this water. A wee burn wanted to exist, if we would do the digging. The idea was to dig down front-right of the green where the water was collecting so that a greater volume could be held in a smaller footprint. The removed soil was used to raise and slope the front left to help it remain dry by surface draining into the burn.

Click on any gallery image below to enlarge with captions

Our friends Matt, Mark and Matt from NewClub put on their artisans hats and came out to do the digging and shaping. We didn’t want the feature to look like a boring ditch, but rather a burn that might be found on a course in the British Isles. Aesthetics were enhanced with wetland plants and stone chunks donated by a neighbor. We were excited about how the burn looked upon completion, but the real test would have to wait for the next rain. Sure enough, the rains came and the burn worked as intended, holding water while allowing the front-left approach to the green to dry out quickly. Players’ balls will no longer plug and their shoes will remain mud-free.

Player Perceptions

Although we were happy with how the burn looked and functioned, some players were not enthused. Change creates complaints, presumably because it makes us uncomfortable. Those complaints open a window into the quirky manner in which our minds work. When asked why a player doesn’t like a feature, they will produce an answer even if it is poorly founded. For example, in the case of the burn, we heard that it makes the hole harder. The burn is not marked as a hazard—it is essentially a depression in the fairway where casual water collects. If there is water in it, players are entitled to a free drop. Looking at the before and after photos above, it is readily apparent that we took a large problem and made it smaller, thereby rendering the hole more playable. That’s not harder, it’s easier (and more interesting).

If we are honest with ourselves, we can all admit to having reactionary moments like this when faced with change, which is why we don’t sweat the feedback. Dr. MacKenzie accepted that it was part of the deal, and he knew much more about golf architecture than we ever will. When the complaints come, we comfort ourselves by imagining that he would have approved of our Wee Burn, as well as our ongoing efforts to push Canal Shores forward.

Copyright 2019 – Jason Way, GeekedOnGolf


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BOLD, BEAUTIFUL BAYONNE

A LinksGems course tour and appreciation of the Eric Bergstol designed Bayonne Golf Club by Jon Cavalier

Bayonne Golf Club is, to put it mildly, one of the more unique golf clubs in the United States. Built entirely from scratch by Eric Bergstol, the course represents the antithesis of the “minimalist” trend in golf course architecture, and yet, somehow, appears more “natural” than many other courses built in the last 20 years.  The result is, in a word, spectacular.

The course winds its way through man-made dunes, some nearly 100 feet high, constructed from muck and filler dredged from New York Harbor. Look to the north from the course’s high points and you’ll know you’re within the shadow of one of the world’s largest metropolises. But down in the dunes, you’d be forgiven for losing yourself for a moment and imagining you’re walking the fairways at Pacific Dunes or Ballybunion.

Meanwhile, above this dreamscape looms a gorgeous clubhouse reminiscent of a New England lighthouse and one of the largest American flags you’ll ever see. It is fair to assume that the melding of these three elements—the distant cityscape, the rolling dunes, the majestic clubhouse and flag—would be at best disjointed and at worst an overblown disaster. In the case of Bayonne, however, such an assumption would be completely wrong.

Bayonne is a club that, perhaps due to its youth or the fact that it has yet to host a significant event, flies under the radar of many people outside its immediate geographic area. In fact, when brought up as one of my favorite New York-area courses, no course generates more quizzical looks than Bayonne. One purpose of this tour is to shine much deserved light on this modern architectural gem.

With the possible exception of Shadow Creek, no course more clearly illustrates what a golf course can be with a blank canvas, ample funds, and a dedicated and motivated developer. From this standpoint, Bayonne warrants our study. I hope you enjoy the tour.

The Clubhouse and Flag

Together, Bayonne’s clubhouse and accompanying flag play a larger role in the club’s identity and have a greater impact on the feel of the golf course than at perhaps any other modern club. Situated on the highest point of the property, the flag and the clubhouse are the first things the player sees when approaching Bayonne by car, and they are the most identifiable aspects of the property when approaching by air or sea. 

The clubhouse itself is spectacular. Built to suit the club’s location on the water, the lighthouse-inspired building manages to impress without seeming ostentatious and feels welcoming rather than forbidding (no small feat with a building such as this). 

The lighthouse contains an incredible bar and grill room with spectacular 360 degree views. A terrace provides a wonderful place for a post-round lunch. The interior of the building is entirely hardwood and gives the appearance of a rustic retreat.

The top of the lighthouse affords the club’s members and guests some of the best views in New Jersey.

Bayonne’s flag is perhaps even more impressive than its clubhouse. Flying at the top of a 150 foot pole, the 40×70 foot flag is the second largest American flag flying on the East Coast.

The flag is so large that the flagpole is 22 inches thick at its base and is set 15-feet into a concrete block to anchor it against the tremendous forces on the pole that are generated by the wind catching the flag. In a nod to tradition, the flagpole is topped with a 24-inch, 70 pound gold plated copper ball.

The massive flag is easily visible from tall buildings in Manhattan, including the new World Trade Center, and is a memorable and distinguishing element of the club’s presence.

Getting There

The drive into Bayonne is…interesting. To say that the club’s immediate surroundings give no clue as to the beauty within is an understatement. From the south, the club is minutes off the Bayonne Bridge from Staten Island. From the north, it is accessed via the Newark Bay Bridge or the Manhattan tunnels. Regardless of the direction of travel, the golfer passes industrial sites, harbor terminals and empty lots before hitting the entrance.

Though an overused description, entering the gates at Bayonne is quite literally like entering a different world. Industry gives way to a driveway bordered by tall dunes, with Bayonne’s massive flag and clubhouse emerging on the horizon. The experience is truly one of crossing a threshold.

For those who prefer a different method of travel, Bayonne has its own ferry to shuttle members and their guests to and from Manhattan, as well as a helicopter landing pad. These fine amenities are located at the far end of the property, adjacent to the 16th green and 17th tee.

Practice Facilities and Driving Range

Bayonne provides players with a typical practice green, set mere paces from the clubhouse and the first tee. The practice green affords the player a view over much of the golf course and city skyline, heightening the pre-round sense of anticipation.

The range at Bayonne is yet another unique aspect of the club. Pressed for space, the club’s range is the harbor itself. Golfers tee off from a narrow strip of manmade land out into a section of water roped off with floating line.

The range balls used at Bayonne perform like regular golf balls, but they float. The prevailing currents and tides typically push the balls into a corner of the range, where they are scooped up with a net by a club staffer in a small boat. The views from this range are impressive, as the Verrazano Narrows Bridge looms large to the south.

The Golf Course

As noted above, the course at Bayonne sits on an entirely manufactured landscapes with dunes rising to nearly 100 feet. The result is a winding, thrilling ride up, down and across some of the largest dunes in the East. The course is maintained in impeccable condition and provides its members with true links style golf—firm fairways, fast greens and ever-present wind—and despite the size of the dunes, the course remains quite an enjoyable walk.

The course stretches to a Championship yardage of 7,120. Typically, members play from a respectable 6,712 yards (the yardage used for this tour) or 6,303 yards. Each of the holes at Bayonne is named—a practice I wholeheartedly endorse—and can, on several occasions, give the golfer an idea of how a hole is meant to be played.

The routing at Bayonne is superb, beginning in a northwesterly direction and meandering out to a corner of the property, turning back and forth on itself before returning to the clubhouse at the turn. The back nine begins by playing to the southern edge of the property before returning to the clubhouse after the 13th, 15th and 18th holes. No two consecutive holes play in the same direction.

HOLE #1 – “Dell” – 343 yards – par 4

The first tee at Bayonne is so close to the pro shop, the player almost feels as if he is teeing off from inside the building. A gorgeous tee shot it is.

From the elevated tee, the first plays down through a canyon of dunes to a generous fairway. The Bayonne Bridge is visible in the background.

This undulating fairway, standard at Bayonne, is sure to provide an array of interesting and challenging lies to the golfer. Notably, the green sits hidden to the left and is only visible from the far end of this fairway…

…and only then is the magnificent punchbowl green revealed.

The greens at Bayonne are quick, firm, undulating and extremely challenging. Their brilliant design allows for numerous interesting hole locations on each putting surface.

From the green, only the dunes, the clubhouse and the flag are visible. The first at Bayonne would be a signature hole on most golf courses. Here, it’s merely an appetizer. 

HOLE #2 – “Wee Burn” – 386 yards – par 4

Like its namesake in Connecticut, Bayonne’s “Wee Burn” does indeed have such a feature running through it. But first, golfers must find this rolling and partially hidden fairway with their tee shot, which given the stunning background, is easier said than done.

From the fairway, the approach to the second green is a short iron or wedge over the burn, here a wide tidal depression from which there is no recovery.

The green itself is small, and there is little room for error—there is simply no good miss on this tough but fair two-shotter.

HOLE #3 – “Redan” – 170 yards – par 3

An exceptional rendition of this classic template, the third at Bayonne plays like a traditional redan and has all the traditional elements, save for the drop-off and bunkering behind the green (though missing long here might be more of a penalty).

The beautifully sculpted green will direct balls to the left-hand pin locations, though here, care must be taken to ensure a kick to the proper tier.  The pin position on the high back shelf is the most difficult to access.

The back half of the redan green, as seen from the walk to the fourth tee. Gorgeous.

HOLE #4 – “Church Spire” – 534 yards – par 5

The first three-shot hole at Bayonne is named for the spire of the church visible from the tee. The hole demands a tee shot to a generous fairway that runs out into a large bunker.

The bunker, reminiscent of Hell’s Half Acre, will catch overly-aggressive drives and/or meek second shots, depending on the day’s wind.

The fourth green, like the second at Myopia Hunt Club, sits below fairway height and is thus invisible for all but the final few yards of the hole.

The green can be reached in two by longer hitters electing to use the right side of the fairway, which leads down into the approach, but the fronting hazard makes for a difficult recovery.

The putting surface on the fourth is one of your author’s favorites at Bayonne.

HOLE #5 – “Butterfly’s Feet” – 140 yards – par 4

Playing back in the direction of the clubhouse, the one-shot fifth is slightly uphill to a blind green fronted by a large, deep pot bunker.

As the name of the hole implies, a high, soft iron is the preferred shot to this well-protected green.

The green itself, while not small, is divided by a ridge crossing from 3 to 6, while another ridge protruded into the green from the 12 o’clock position. Precision is a must on this hole.

HOLE #6 – “Bay’s End” – 331 yards – par 4

An exceptional short par-4, the sixth runs out to the far northwestern end of the property. As all great short two-shot holes do, the sixth at Bayonne offers a choice: lay up to a preferred distance and approach the green over the waste area on the right…

…or go for the green via the fairway to the left, using the terrain to circumvent the hazard.

A brilliantly designed hole that one would never tire of playing.

HOLE #7 – “Beach Rose” – 415 yards – par 4

Changing directions once more, the seventh transports the golfer back to the higher ground amongst the dunes. Playing to an angled, rising fairway, the it demands a long, straight tee shot if the green is to be reached in two, especially when playing into the wind.

Once again, a rumpled, canted fairway provides an added degree of challenge and interest on this long two shot hole.

Entirely open in the front, this green is built to encourage and accept running shots which, due to the length of the hole and the wind, will be the preferred choice for many players. However… 

…accuracy is still in high demand, as the encroaching finger of rough must be carried or avoided.  A challenging hole.

HOLE #8 – “Salt Marsh” – 565 yards – par 5

The longest hole on the course, and the most difficult of the three par-5s, the eighth begins on an elevated tee and plays back toward Manhattan. Most of the hole, including the green, is not visible from this tee.

The eighth offers the brave player an opportunity to attack the green in two, but such a shot requires negotiation of a salt marsh and is all carry. The typical player will lay up down the right side of the marsh.

Even from the safer right side, the approach is no bargain—the marsh must still be carried from this angle, and the green is well protected on all sides.

The green is heavily contoured and, once past the halfway point, slopes substantially from front right to back left.

The slope of the green makes front right pin placements very challenging…

…and putting to a back left pin position can easily result in a chip for one’s next shot. This is an exceptional green.

HOLE #9 – “Plateau” – 390 yards – par 4

Bayonne’s ninth asks for a tee shot to an angled fairway and allows the golfer to pick his line. Generally, the preferred line is just left of the bunker shown below. Any ball left short will end up in deep grass on the side hill, making for a nearly impossible recovery. Bayonne’s clubhouse and flag loom large above this hole.

The approach to the ninth must carry a break in the fairway and negotiate a false front before reaching a green set in a bowl. The contours on the ninth green are some of the wildest on the property. Putting from back right to a front left pin on this green is an adventure, and then some.

HOLE #10 – “Highlands” – 440 yards – par 4

The back nine begins with a tough par four. The length of this difficult two-shot hole is mitigated by the fact that it plays substantially downhill, but the hard dogleg right nonetheless requires accurate placement of the tee shot.

The tenth fairway can assist shorter players who are able to use its contours to negotiate the dogleg.

Once again, the green is entirely open in front to encourage a ground attack, and the undulating putting surface provides one final challenge on perhaps the most difficult hole on the course.

HOLE #11 – “The Nook” – 210 yards – par 3

An outstanding one-shot hole, the eleventh requires a wood or a long iron to a green surrounded by large dunes. In the background, only the very top of One World Trade Center pokes into view.

Partially obscured from view by dunes, the eleventh green is roomier than it appears from the tee and provides an apron to allow balls to be run or bounced onto the green.

HOLE #12 – “7 Sisters, 6 Brothers” – 417 yards – par 4

This stunning par-4 runs downhill away from the clubhouse directly toward New York harbor. The tee shot must carry scrub and waste area before finding the wide fairway below. The Verrazano Narrows Bridge is visible behind.

Once in the fairway, the approach must carry the ridge of a crossing dune pocked with the bunkers that give this hole its name.

The horizon green makes judging distance difficult, and the surroundings make focusing on the task at hand a challenge.

A beautiful spot for golf.

HOLE #13 – “Old Glory” – 544 yards – par 5

Your author’s favorite three shot hole at Bayonne, the thirteenth, playing back up through the dunes toward the clubhouse, appears ripped from Turnberry or Lahinch.

The movement in this wide fairway and the bordering dunes make attacking this beautiful hole in two an enticing proposition, but it plays longer than it appears.

As is the case with nearly every long hole at Bayonne, the green is open across the front. But this double-plateau is no pushover—being on the wrong tier of the putting surface can easily lead to a three putt…or worse.

This view from behind the green illustrates the severity of the slope in the green and the fairway, and gives a sense of the elevation change in this excellent par-5.

HOLE #14 – “High Tide” – 202 yards – par 3

This long downhill par-3 backdropped by the harbor and the New York skyline plays to an elevated green that falls substantially on all sides.

Once again, simply hitting the green does not guarantee a par, as the many ripples and hollows can frustrate even the best lag putter.

HOLE #15 – “Sheep’s Bed” – 293 yards – par 4

The fifteenth begins the outstanding closing stretch at Bayonne. A wonderful short, uphill par-4, it plays over a large ridge in the fairway which hides most of the landing area from view, adding tension to this otherwise straightforward tee shot.

The fairway narrows considerably the more aggressive the tee shot, and a large waste area right provides a formidable hazard for wayward drives.

The putting surface is protected by a massive false front that will repel tee shots up to 50 yards back down the fairway.

The elevated green and the false front make judging even a wedge shot into this hole a challenge.

The fourteenth green, though relatively tame by Bayonne standards, can nevertheless create challenges—any putts from above the hole on this green are terrifying.

A flat out gorgeous hole, and a superb short par-4.

HOLE #16 – “Heaven’s Gate” – 453 yards – par 4

The back to back 15th and 16th holes are equally spectacular but diametrically opposite. The sixteenth plays downhill toward the harbor to a wide fairway. The view from the tee is one of the best on the course.

A dogleg left, the sixteenth plays to a green tucked into a far corner of the property and bordered on all sides by dunes and bunkers.

Like the 17th at National Golf Links, tee shots out to the right play shorter into this hole but are left blind by the dunes…

…while the farther left one plays, the better the view of the green.

Open in front to receive shots on the ground, the sixteenth green is slightly elevated and substantially contoured.

The view from the sixteenth green is almost as good as the view from the tee. A stunning hole.

HOLE #17 – “Water’s Edge” – 450 yards – par 4

The aptly named seventeeth is a long, cape style par-4 that hugs the shoreline of the harbor. The player has the option to play farther to the left to shorten the hole…

…but the penalty for misjudging one’s ability is high.

Playing safely out to the right side of the fairway allows for a full view of the open green.

Once again, the green abuts the water so tightly as to make judging distance difficult and to inject an element of perceived challenge into even the most standard approaches.

Use of the ground to approach the green is again an option.

Water’s Edge indeed. Beautiful.

HOLE #18 – “Lighthouse” – 429 yards – par 4

Perhaps the prettiest tee shot on the course, the final hole of the day requires a drive over a large dune obscuring the left half of the fairway. Befitting the name of this hole, the ideal line is directly at the lighthouse. Standing on this tee, it is hard to believe Manhattan is over your right shoulder.

The final approach at Bayonne is to a green ringed by a stone wall and set at the base of the gorgeous clubhouse.

From this fairway, nothing is visible beyond the green besides the clubhouse and the flag.

As nothing else would suffice, the eighteenth green confronts the golfer with one last putting challenge. Walking off, the view back down the final fairway instills players with a deep sense of accomplishment.

To be frank, I was quite surprised with the impact that Bayonne had on me after my first visit. Like most architecture geeks, I tend to prefer my golf courses old and traditional. But I found myself continually flashing back on my round at Bayonne. The course is truly unique in modern golf, and certainly on the East Coast, and is unquestionably an achievement in engineering and design for which Eric Bergstol is to be commended. But more than that, and unlike some of its neighbors, Bayonne is a course that focuses on providing its members with enjoyable golf. In that regard, Mr. Bergstol truly does deserve our acclaim, and our thanks. After all, isn’t that what golf is all about?

Copyright 2019 – Jason Way, GeekedOnGolf


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LANGUAGE MATTERS

Getting back on track with use of the term ‘minimalism’, among others in golf course architecture

It is a common tendency to label and categorize the things and experiences in our lives. That is part of the way that we understand and make sense of the world around us, and it is useful to a point. When applied to works of art, an argument can be made that our impulse to categorize can be a hindering distraction. If a song kicks ass, does it matter if it is labeled hard rock or heavy metal? Of course not. Art is one of those realms in which we are best served by turning off the labeling function so that we can fully experience the work, giving it every opportunity to move us deeply. In reality, that’s easier said than done.

The negative impact of our internal machination is exacerbated when the labels are ill-defined or misunderstood. That is the point at which we currently find ourselves with the label “minimalist” in golf course architecture. The term has been overused and misused to such a great degree that it has lost meaning. If the only value that labeling has is to aid our understanding, then a meaningless label is worse than no label at all.

Perhaps you say, “Lighten up geek, it’s just golf.” Fair point, but I also believe that the parsing of language as it relates to architecture is a worthwhile pursuit. Words are the basis of understanding, which leads to appreciation, and ultimately more enjoyment on the course.

The 11th at Shinnecock Hills – Photo Credit: Jon Cavalier

Before returning to the language, allow me to give you two good reasons to dig deeply into golf architecture: First, studying the craft of talented artists is inherently interesting. I recognize that some golfers might not find architecture resonant at that level. They just want to play. Increasingly though, I hear from players who, after an initial exposure to GCA, find themselves happily headed down the rabbit hole. The second reason that I choose to study the subject is that it’s my mission to spend my scarce play time on courses that are interesting and fun. Knowing a little bit about how architects approach creating the playing fields helps me be more discerning in the courses I choose to play, as well as adding value to my experience of each course.

In that spirit, I propose a repurposing of the minimalist label into a framework that will hopefully foster understanding, appreciation, and joy. Minimal is one end of the spectrum of intervention, with maximal at the opposite end. Intervention refers to the degree to which the architect alters the land to create the course. To some extent, the land dictates how much intervention is required to make a great course. That is why labelling an architect “minimalist” is off base, especially where the best architects are concerned. Those designers are dynamic, responding to the land. Their courses may be minimalist or maximalist, or somewhere in between. It all depends on the site.

This dynamism is the essence of the current era of design that has been mislabelled the “minimalist movement”. Leading architects have certainly shifted away from defaulting to ego-driven maximal intervention to a more thoughtful, response relationship with the land. That shift does not mean, however, that they do not do what is necessary to ensure that their courses function and play properly.

The 9th at Sweetens Cove

Another helpful spectrum to understand is that of style. It has natural at one end and artificial at the other. Again, there are degrees on this spectrum, but a guiding principle is contained in the question, “How does a course fit into its surrounding environment?” The more the architect takes cues from the local landscape, the more natural the course. To add a layer of depth and detail to the style consideration, one can observe both the overall look of a course, as well as its features. Bunkers and green complexes are of particular importance in determining style. Does the architect seek to integrate features into the landscape, or purposely design and build them to stand out through contrast?

Using the intervention and style spectra, we can begin to compare and contrast courses in a manner that increases understanding. Two examples:

Shinnecock Hills and National Golf Links of America are neighbors on Long Island, and although they are both packed with strategic brilliance, that is where the similarities end. In building Shinnecock, William Flynn laid the course on the land, which stands in contrast to the work of Macdonald and Raynor who were known for their willingness to move earth. From tee to green, the building of NGLA’s holes and features involved a much higher degree of intervention than the course next door. It should also come as no surprise that an architect known as “the nature faker” built features that are much more reflective of the natural landscape than the artistically bold, artificial greens and hazards of The National.

The 6th at National Golf Links – Photo Credit: Jon Cavalier

Minimalist references are often made to Sweetens Cove, which has always been a head-scratcher to me. The design team of Rob Collins and Tad King took a poor draining course, blew it up and fixed the drainage issue by reshaping every inch of it to drain to a central lake, which they created. The course was sand-capped and shaped into a wondrous variety of wild contours and features that captivate players. That process of intervention is the definition of maximal. As a comparison, the work of Keith Rhebb and Riley Johns at Winter Park 9 had a much lighter touch. They did not have the major infrastructural issues to fix and instead focused on rebuilding and gently infusing interest into the new course. Both transformations were profound, but one was maximal and the other was minimal. On the style front, these nine holers are also divergent. WP9 takes understated cues from its surroundings while Sweetens Cove is packed with artistic flourishes that give it a unique visual identity. Creative bunkering with wood sleepers, expansive sandy wastes, large stones and the outstanding greens are all fantastic, but they are also artificial.

The 5th at Winter Park – Photo Credit: Keith Rhebb

It is a good fodder for geeky discussion to compare other pairs like Sand Hills and Ballyneal, or Lawsonia and Whistling Straits. How was each course made? How does each course look? Taking into consideration these comparisons of intervention and style together, it’s possible to dive even deeper. I rated the course pairs above on a 1-10 scale for both intervention (0 = absolute minimal, 10 = absolute maximal) and style (0 = completely natural, 10 = entirely artificial) to create a scatterplot. As a visually oriented person, it is interesting to me to see how the courses compare and group into “categories” when I force myself to rate them.

Two important notes about this categorization. First, it has nothing to do with identifying what’s best or “right”. Golf course architecture is art, and therefore deeply intertwined with personal preference. It is pointless to tell anyone what they should love. Second, these categories have nothing to do with the quality. Across all golf courses, wherever they may land on the chart, there exists a wide range of quality. The quality of engineering and construction can be objectively judged by how well the course functions over time. Does it drain? Does it stand up to traffic? The quality of the design becomes a bit more subjective, but one simple criteria is inclusiveness. Can players of different skill levels play and enjoy the course? Beyond that, the water gets much murkier with regard to design quality.

Circling back to the purpose of this exercise, the aim of studying any artform is to deepen understanding, building a foundation for appreciation. Golfers are afforded a unique opportunity to directly experience the art of golf course architecture. By taking a deeper understanding onto the course, players are assured of greater enjoyment. Further, refined personal preferences allow us to more effectively pick courses we will love. That is why it’s worthwhile to explore and share our findings. At the end of the day, more people having more fun playing the game is the goal.

Copyright 2019 – Jason Way, GeekedOnGolf


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THE PAST MEETS THE FUTURE AT MOSHOLU

How a new generation is contributing to the revival of public golf in its American birthplace

If Ed Brockner had been alive in 1888, he would have been in the Apple Tree Gang. In the spring of that year, Scotsman John Reid and two of his friends played the first recorded round of golf in a pasture near Reid’s house in Yonkers, NY. The group would take on the ATG moniker when they relocated to a larger playing field that included a tree where they hung their coats. Spend any time with Brockner, and you will feel the depth of his passion for the game and its original pure form. It is not hard to imagine him hanging his coat to complete Reid’s foursome.

Early golfers at play in Yonkers

Brockner attended Yale University where he played on the golf team and then served as a volunteer assistant after graduation. He knew that he wanted to work in the golf business but didn’t yet have a clear path to take. The Golf Course at Yale is a Seth Raynor design that is of historic and architectural significance, attracting a steady stream of designers and aficionados to play and study it. One of those visitors was Gil Hanse, who gave a talk attended by Brockner. Intrigued by architecture and construction, he landed a spot on Hanse’s crew working on projects including the creation of Boston Golf Club. Through that work, he would find his way to a site not far from where the Apple Tree Gang roamed the fields, and an opportunity to help reinvigorate public golf in the place where it was born.

A Game for the Masses

By 1892, John Reid and his pals had moved on from pasture golf to form the private Saint Andrew’s Golf Club, which would become one of the five founding members of the USGA. In Yonkers and the Bronx, they left behind a rapidly growing contingent of players who were organizing into their own groups and jockeying for the scarce open green space to play their infectious new sport. One such lot was the Mosholu Golf Club (aka the Riverdale Group) led by T. McClure Peters, who lobbied the NYC Parks Commission to use part of Van Cortlandt Park to lay out their own course. The Commission agreed that the land could be used for golf, but mandated that it be open to all, resulting in the creation of the first public golf course in America.

Clearing stones to create the golf course at Van Cortlandt Park

Van Cortlandt Park Golf Course began as a nine-holer and was originally laid out by the players. The first eight holes were each under 200 yards—the ninth measured 700+ yards. Van Cortlandt’s routing epitomized golf before enculturated standards. The popularity of the game and lack of structure at the course produced growing pains that the city turned to Tom Bendelow to solve. Known as the “Johnny Appleseed of American Golf” for his cross-country tour to lay out courses sponsored by the Spalding Sporting Goods Company, Bendelow also managed Van Cortlandt and oversaw its expansion to eighteen holes. The volume of public play continued to increase, ultimately necessitating the building of a second course on adjacent land, aptly named Mosholu Golf Course.

Mosholu Reborn

Over the ensuing decades, the city’s Bronx courses had their ups and downs, to say the least. The decision to renovate Mosholu in 2004 was a solid step toward building a brighter future for the game in New York. It seems fitting that a golf renaissance man like Ed Brockner would arrive at that moment in the birthplace of public golf to assist with its rebirth, both reimagining Mosholu and fostering the area’s nascent First Tee chapter.

During his time and travels at Yale and then with Hanse Design, Brockner had seen much of the greatest golf architecture in the country. He had also become convinced of two simple principles that he would apply to Mosholu’s renovation. First, high-quality, interesting design does not have to cost more than the bland, boring alternative. Second, the best way to get beginners excited about the game is to expose them to it on a playing field that is filled with a wide variety of great features and challenges to navigate. Players might not care about the origins or design intent of a redan or biarritz, but they appreciate cool and fun when they see it—especially kids.

Mosholu’s nine holes deliver, at an affordable price, on both of Brockner’s principles. The course is practical to maintain, but packed with interest on rolling land in the midst of a bustling urban setting. A full tee sheet and smiles on players’ faces are proof that refusing to settle for the mundane pays off. Municipalities around the country, take note.

The Bronx biarritz at Mosholu

Building More Than Courses

Since those early days, the First Tee of Metropolitan New York has expanded to five facilities, including the successfully renovated Weequahic in New Jersey. As the organization’s Executive Director, Brockner continues to search the metro area for more opportunities to expand the organization’s reach. “I am a builder,” he said, “and I love the development part of the job.” When it comes to golf courses and architecture, he can geek out with the best of them. It is quite evident, however, that involvement with the First Tee kids touches his heart as powerfully as design stimulates his mind.

For fifteen years, the program has been producing success stories. One of those stories belongs to Olivia Sexton, a bright young student who described her experience in a speech she delivered eloquently at an organization event:

“Whenever I tell anyone that I play golf, I get raised eyebrows. I don’t look like the typical golfer – I am from the Bronx, I’m a girl and I’m black. If it weren’t for the First Tee, I would have never discovered my love for a game that is elusive to people of my socio-economic background…The First Tee has also taught me life skills that will stick with me forever. The program has nine core values that are taught to us and I use these in every aspect of my life. They include honesty, integrity, sportsmanship, and confidence which help me as I grow, handle relationships, problem-solving and whatever else comes my way…More recently, the First Tee has been able to help me prepare for the future. As I am entering my junior year of high school, I have to start preparing for college, and they have been able to help a tremendous amount. Through both donations and offers, we have been able to visit some of the Ivy League Schools including Yale and Princeton…Because of the First Tee, I have a very planned out future. After high school, I plan on going to college (maybe play golf), majoring in Biology or Chemistry, then going to medical school, and eventually becoming an orthopedic surgeon. Once I have my career intact, I also plan on giving back to the First Tee by donating to help with more outreach opportunities, so kids with my socio-economic background can be exposed to such a wonderful sport.”

At his office at Mosholu Golf Course in the Bronx, Ed Brockner may be a world away from New Haven or the exclusive fairways of places like Boston Golf Club, but he has clearly found his place. He is building facilities that play an inspirational role in the current community golf revival that is unfolding across this country. But more importantly, he is using the game of golf as a foundation on which to build the lives of young people like Olivia Sexton. Growing the game is great. Changing lives through it—it doesn’t get any better.

Copyright 2019 – Jason Way, GeekedOnGolf


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THE MIDWEST MACKENZIE – CRYSTAL DOWNS

An in-depth look at the collaboration of Dr. Alister MacKenzie and Perry Maxwell at Crystal Downs C.C.

Crystal Downs is not Dr. Alister MacKenzie’s only Midwest design, but it is certainly his most highly regarded work in the region. The greatness of the course can be linked to the interest and variety inherent in the land, and MacKenzie’s visionary ability to embrace what a site offered. He was fortunate to have as his collaborator Perry Maxwell who expertly translated ideas into reality on the ground, adding his own touches and creative flourishes as he went. For nearly a century, Crystal Downs has been challenging, delighting and inspiring its members, including architects Tom Doak and Mike DeVries. More recently and in spite of its remote location, pilgrims have eagerly followed in the footsteps of a young Ben Crenshaw, making the journey to little Frankfort, Michigan to get a taste of MacKenzie and Maxwell’s genius.

A Connection of Like Minds

It was a pilgrimage of sorts that led to the initial connection between Perry Maxwell and Dr. Alister MacKenzie. In his biography The Midwest Associate, author Christopher Clouser chronicles the journey that Maxwell took to his ancestral home in Scotland to explore his family roots. Additionally, he aimed to study the finest links in the home of golf, much as C.B. Macdonald had done before him. Naturally, he made his way to St. Andrews and it was there that he first met MacKenzie, a man who struck Maxwell as a kindred spirit. They had each entered golf course design as a second career. They both drew inspiration from the great courses they saw, most notably The Old Course. They shared a common belief that the best courses were not forcibly made—they were found on suitable land by making use of and accentuating natural features to present players with a series of strategic questions to answer. Upon Maxwell’s departure for the States, they agreed that a design partnership would be desirable were MacKenzie to ever make his way to America.

Although the collaboration of MacKenzie and Maxwell was not as prolific as that which The Good Doctor had with Robert Hunter in California, or Russell and Morcom in Australia, the pair did work together on several courses during the late ‘20s and early ‘30s. The mutual affinity felt in St. Andrews grew during their time working together, as evidenced by the letter that MacKenzie penned after visiting their first course collaboration, Melrose Country Club outside of Philadelphia. It read in part:

“My Dear Maxwell, When I originally asked you to come into partnership with me, I did so because I thought your work more closely harmonized with nature than any other American Golf Course Architect. The design and construction of the Melrose Golf Course has confirmed my previous impression. I feel that I cannot leave America without expressing my admiration for the excellence of your work…Few if any golfers will realize that Melrose has been constructed by the hand of man and not nature. This is the greatest tribute that can be paid to the work of a golf course architect.”

Crystal Downs Collaboration

Through Robert Hunter, the founders of Crystal Downs were able to convince MacKenzie and Maxwell to take a detour north on their cross-country trip east. Being unfamiliar with the Northern Michigan duneland topography, the architects did not bring high expectations for the project. What they did bring was a proven approach to creating compelling greens and beautiful bunkering, and a desire to find interesting land on which to practice their craft. Upon arriving at Crystal Downs, the men were immediately impressed. The site seemed to manifestation of the sentiment from MacKenzie’s writing found in The Spirit of St. Andrews:

“…there are few things more monotonous than playing every shot from a dead flat fairway. The unobservant player never seems to fully realize that one of the chief charms of the best seaside links is the undulating fairways such as those near the clubhouse at Deal, Sandwich, and, most of all, at the The Old Course at St. Andrews, where the ground is a continual roll from the first tee to the last green and where one never has the same shot to play twice over. On these fairways one hardly ever has a level stance or lie. It is this that makes the variety of the seaside course, and variety in golf is everything.”

The duo set to work laying out the course, and designing the greens and features. MacKenzie spent ten intensive days finalizing his vision and Maxwell worked diligently over the following three years to bring it to life. Stories of the course’s creation have become mythologized: MacKenzie getting intoxicated and only routing eight holes on the front nine; Maxwell having a lady friend in town; which of the two came up with the idea for a particular green site or feature. The veracity of these tales might be questionable, but this much is certain—the final product is a masterpiece of wildly varied strategic design and the collaboration clearly had a synergistic effect.

Although he is firmly in the camp of those who consider Crystal Downs to be an Alister MacKenzie design, Mike DeVries does not minimize Maxwell’s contributions. In the foreward to The Midwest Associate, he wrote:

“Maxwell’s respect for a landscape’s inherent qualities and use of those features in it is one of the great aspects of the golf course at Crystal Downs…he made the course better due to his recognition of the intricacies of the land.”

DeVries has spent decades at The Downs. He grew up playing the course with his grandfather, worked on the grounds crew, and now as a member, continues to study it for inspiration in his own design work. When asked what makes Crystal Downs so special, his answer was a chuckle and a question. “How much time do you have?” He continued, “The rhythm and flow are as good as any course in existence. It has a cadence, like a piece of music or drama.”

Drilling into the dramatic theme, DeVries went on to describe the different acts, each of which brings the player to a climactic high point. Act 1 begins at the clubhouse with a walk down the stairs to the jaw-dropping reveal from the 1st tee. Act 2 takes place across the hillside and valley of the front nine, peaking at the 8th green. Act 3 takes the player away from the clubhouse along the dune ridge that separates Lake Michigan from Crystal Lake, ending with the long view north from the 14th green. Act 4 is the return journey home with one final thrill at the 17th green. The closing hole is an understated epilogue, giving the player an opportunity to reflect and absorb the entirety of the drama, as well as the holes and shots within it.

DeVries’s romantic language speaks to his love of Crystal Downs, but also to his recognition that it is a true work of art born out of the trust that the artists felt for one another. “Every day I am at The Downs,” concludes DeVries, “I learn something new about architecture.”

The Course Today

The spirit of collaboration continues in the preservation and presentation of Crystal Downs. Tom Doak plays the dual role of happy member and consulting architect, working with long-time Superintendent Michael Morris and his team to present the course such that the greatness of the design and features shine through. The turf is fast and firm, the fescue gorgeous and the tree management darn near perfect. If MacKenzie and Maxwell came back today, they would approve.

DeVries, Doak and Morris are proof of the gravitational pull of Crystal Downs, which has had the same effect on Head Professional Fred Muller for forty years. Muller wrote the course guide and sums up The Downs:

“Crystal Downs is a thinking person’s golf course, where long is good but not necessary…where the position you leave your ball is critical, and where the wind always blows. Crystal Downs is the coming together of golf’s greatest architect, Dr. Alister MacKenzie, at the zenith of his career (after designing Cypress Point and just before Augusta National), with a marvelous piece of property.”

The outward half is intimately routed over the rolling duneland below the clubhouse. An argument could be made that it is among the best nines in all of golf.

The inward half shifts gears, taking players on an out-and-back adventure through a wooded area along a dune ridge. The difference in the two nines further adds to the wondrous variety of The Downs.

That tour that follows features the photography of Jon Cavalier (@LinksGems) as well as a few of my own, complemented by Mr. Muller’s hole descriptions (in quotes). One more time, collaboration revealing just how special Crystal Downs is.

Click on any gallery image below to enlarge with captions

The opener is no gentle handshake, from the undulating fairway through the severely sloped green, it tells players everything about the holes to come. “Although downhill, this hole plays every bit as long as its 449 yards suggest. It is usually into the wind, and like many holes at Crystal Downs the tee shot lands into a rising fairway. Sneak up on a wildly undulating green with a shot that lands short and pitches on. A miss to the left is a bogie, a miss to the right is a disaster.”

The next three holes are subtly brilliant, working off the side of the hill and requiring both well conceived and executed shots. “Avoid the bunkers left and right of the fairway on the 2nd and you’ll face a medium iron or fairway wood to the green. Although generally downwind, the green is 25 feet above the tee. Take enough club.  Golfers have putted off every green at Crystal Downs, and the front pin here is one where it happens often. Downhill and into a swirling wind, the 3rd is a most difficult hole for club selection. Remember how much the wind was helping on #2, and that’s how much the wind is hurting here. The green sits on an angle to the tee, one more club to the left side than the right. Fade the drive on the 4th or risk running through the fairway into the left hand rough. The long second shot will run up into the green only from the right front, however, pitching from the left front of the green is no disaster.”

This set of three four-pars are incredibly creative and could be played on a continuous loop without ever getting remotely boring. Birdie is a real possibility on each, as is double. “The 5th is one of MacKenzie’s great holes and most complicated, and is rated by Golf Magazine as one of the best par fours in the world. Hit the tee shot over the left edge of the giant oak, leaving a hanging lie 7 or 8 iron to a green that slopes dramatically from left to right. Or ‘bite off’ some more of the ridge on your tee shot to leave a pitch. Don’t bite off too much. Always pitch to the left portion of the green or risk rolling into the right hand green side bunkers. The 6th hole is MacKenzie’s idea of a ‘forced carry’. If you make the crest of the hill, the short iron to the largest green on the course is fairly easy. If you fall short on the drive, a blind long iron or wood awaits. The famous ‘Scabs’ are the bunkers to the right off the tee. Don’t even think about that route. On the 7th, a 210 yard tee shot leaves a short iron to a most unusual green—a kidney shaped ‘MacKenzie green’ in a punch bowl. A 230 yard drive leaves a short pitch to the green, but it’s a blind shot. It’s your choice, but be sure to get your second shot on the proper lobe of the kidney.”

This outstanding par-5 is lay-of-the-land architecture and its finest. No need for fairway bunkers when nature has provided such heaving contours. “Crystal Downs’ first three-shot hole is rated as one of the world’s best par fives. Drive down the middle on the 8th, fairway wood up the right side and a medium iron into the green. No problem…except you will encounter all kinds of uneven lies. You are at the mercy of the fates. The 150 yard mark is one of the longest in golf, and the green’s not very big either with lots of undulation.”

The next three holes make the turn at the clubhouse hill, and then take the player out to the long dune ridge. Each requires precise judging of distance to avoid punishment. “The green on the 9th is over 30 feet above the tee, which slopes from back up to the front (yes, it’s an uphill tee). Do not attack this hole. Hit a low shot and bounce the ball onto the front center of the green. Be careful with your putter. A careless shot could send you back for a wedge. The perfect tee ball on the 10th from an elevated tee is something inside the 150 yard mark in the right fairway. This leaves a middle iron shot over a pot bunker and straight up the slope of the green. Hit an extra club to carry the bunker yet avoid going long and left. You’ve heard those wonderful words of wisdom ‘stay below the hole’. Do that on the 11th.  The green is some 20 feet above the tee so it plays long. With that in mind choose a club that will get you to the front level of this three level green. Putt or chip uphill to the pin. Now, change philosophy and get the ball to the hole or you’ll be stepping aside as the ball rolls back past you, and maybe off the green.”

This pair of par-4s illustrates how MacKenzie and Maxwell were comfortable demanding shot-making from players. Fades and draws are optimal to navigate the bends, side-slopes and greens. “The magnificent beech tree straight ahead is on the left side of the fairway on the 12th. Your tee shot must be to the right of the tree. The green slopes from front to back, and unless you hit a large drive leaving a short iron, you should hit a low running hook shot that will bounce up and onto the green. A pitch back to the green from behind is no problem. The 13th is the most difficult par at Crystal Downs. Hit a hard fade off the tee that will run with the contour of the fairway. The shot into the green is determined by the pin placement. The green is very small, with a tiny front portion, dropping off to a larger rear portion of the green. Choose a club for your second shot that reaches just short of the green and then pitch it at the pin if it is in front. Try to hit the ball deep into the green for the rear pin. The greenside bunkers are easy to roll into and difficult to recover from.”

The peace and beauty of being at this point on the property tend to distract from the task at hand—hitting a good shot with a short club to collect a safe par, rather than carding an other. In the vein of other great Golden Age short threes, the 14th adds an important component to the examination of a player’s game. “This beautiful little gem is a straightforward 139 yard shot. The green on the 14th slopes less from back to front than it looks. Enjoy the view of Sleeping Bear from the back of the green and stay out of the sand.”

The next two holes, a short four and long five, turn and head back toward the clubhouse. In keeping with the theme of variety, they present very different challenges. “We call the 15th ‘Little Poison’. The fairway is narrow, the green is tiny and elevated, and the wind is usually in your face. The key to this short par-4 is a long drive. It takes 225 yards to crest a hill that will leave a short pitch. Not cresting the hill can leave an uphill blind shot. This green repels shots, so hit for the center of the green. Hit your tee shot hard on the 16th. Hit it hard again. And if the wind is blowing, hit it hard again. This green slopes from back to front; don’t putt it too hard.”

The 17th is the wildest and most polarizing hole on the course and the 18th one of the most benign. The two combine to give players one last set of thrills before making the walk back up the hill to the clubhouse. “The 17th is three hundred and one of the most frightening yards in golf. A 200 yard tee shot leaves a 9 iron or wedge. A 180 yard tee shot leaves an unplayable lie. A 215 yard tee shot leaves a blind, uphill, difficult pitch to the green. Now, if the wind is helping, you could drive the green. The greenside bunkers mean bogey or worse, and you don’t want to putt off the front of this green, because it won’t stop rolling for 50 yards. Drive your tee ball straight on the 18th. Don’t cut the corner, it won’t work. Your target is the 150 yard mark. The beautifully bunkered green is well above the tee shot landing area. On your second shot, hit enough club and keep the shot to the right. Anything to the left will kick into the bunker.”

Crystal Downs cannot be muscled or overpowered. It not only encourages creative shot making, the course demands it. Players who like to have their minds engaged and who are willing to experiment will be hard pressed to find a more stimulating golf course in America. The Downs has its secrets, and those secrets must be teased out. That is what places it in such high favor, and what makes it a joy to revisit repeatedly. The like minds of MacKenzie and Maxwell, working with exceptional land, created a midwest masterpiece.

Copyright 2019 – Jason Way, GeekedOnGolf


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THE WRAP-AROUND AT CANAL SHORES

Part 25 of the Journey Along the Shores series recaps our off-season projects

Much like the modern PGA Tour, the work season at Canal Shores never ends. Long after players have hung up their clubs in Chicagoland, our staff and volunteers keep plugging away on course improvements, deterred only by blizzards, bitter cold or torrential rains. Progress continues all the way through to spring cleanup. Over the past six months, much was accomplished and more projects were added to the never-ending list. Let’s take a spin around the course to see what the crew has been up to.

The theme of recent work has been eradicating neglect. What that means is we are finding places on the course—exposed mud, standing water, overgrowth, fallen trees—and doing whatever it takes to tune them up such that the course is more enjoyable for visitors and so that it visually reflects the level of care that we feel.

Brush Clearing

Clearing of invasives on the greenside bank of the 9th was a major focus. Overgrowth of buckthorn and honey locusts resulted in both playability and safety issues. Another large section of the bank was cleared so that the green and fairway are now visible from the tee. On the 8th, several dead ash trees that were overgrown with invasive vines fell, creating a terrible tangle. The right side was cleared of that mess and buckthorn, opening up a wider and more appealing corridor for play. Buckthorn had also heavily encroached along the left side of the 11th. It was peeled back to make the par-3 more forgiving, as well as to reveal views of the canal. The bank left of the 13th green was cleared, exposing its rugged shape, along with a backdrop view of the Lincoln Street bridge. And finally, two large dead ash trees fell in a heap short of the horseshoe bunker on the 17th. That area was cleared up to the back of the 18th tee and new rough grown in from seed.

Click on any gallery image below to enlarge with captions

Improvement Projects

Volunteer groups including the Northwestern Men’s Golf Team, the Northwestern Athletic Department, Friends of the Chicago River and Clean-up Evanston came out again this spring to tackle a series of projects. We built a mulch bridge between the 9th and 10th holes to help walkers and carts get through the wet area between wetlands. Fences were cleaned of debris on the 1st, 7th, 13th and 18th holes. Invasives were cleaned out of the tall grass area in front of the 3rd tee.

For the fourth straight year, students from North Shore Country Day School came out to do their senior service project. We shifted gears from golf this year and our volunteers Andrew and Will created a nature loop behind the 11th green. The long-term vision is to build an elevated platform at the far point of their path for bird watching over the canal.

Spring Tune-up

Beyond the clearing and project work, we have gotten into an annual routine to prep the course for peak season play. Paths are freshly mulched. Bunker edges on all eighteen of our bunkers are restored and new sand added. Rough grass on mounds and bunker faces is chopped and thinned, a task which can be a real challenge in wet springs when the grass gets lush. Fairway and puttable area lines on the greens are slowly but surely reestablished and repairs to putting surfaces addressed. The weather hasn’t been remotely cooperative this year, but the course will be in prime shape by the beginning of July thanks to the hustle of Tony and Matt’s team.

Takeaways from the Wrap-Around

Every year, as we progress through the wrap-around season in our efforts to revitalize Canal Shores, I learn lessons and appreciate the opportunity to be involved more. Layers of neglect that are stripped away continue to reveal interesting features and beautiful views. The property is teeming with wildlife that keep me company during moments of solitude. I am struck by how big a difference a group of workers of any size can make. It is nice to have an army of volunteers, but a small, motivated squad is equally impactful. Levels of support and appreciation for our work continue to increase, and every person who stops to say hello or thanks makes a difference—it’s humbling and motivating to be a part of this community.

We aren’t finished yet. Plenty more clearing to do, and projects have been added to the list. Stay tuned for updates on summer and fall improvements, and we hope to see you out along the shores real soon.

For the entire Journey Along the Shores, click here.

Copyright 2019 – Jason Way, GeekedOnGolf


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TILLY’S TALE AT SOMERSET HILLS

An in-depth look at the A.W. Tillinghast designed Somerset Hills Country Club

Somerset Hills embodies a rare opportunity for golf architecture aficionados and players alike. For the design enthusiast, it is a course to be studied closely as an integral step in the progression of one of America’s greatest architects, A.W. Tillinghast. This pivotal work remains frozen in time, largely free of alterations that befell his later courses, especially those that host championships. For the avid player, whether duffer or stick, Somerset Hills is a course to be enjoyed for its beauty and wildly varied set of challenges. A single play only begins to unlock the riddles that Tillinghast put in the ground in Bernardsville, N.J., employing equal parts respect for the land, creative flair, and knowledge of design history.

An Afternoon Walk

Step back in time and imagine that you have been invited to spend an afternoon touring the newly opened course at Somerset Hills in 1918. You get your first intriguing glimpse as you travel along Mine Mount Road, making the turn into the unassuming club entrance. Arriving at the clubhouse, you are surprised to find that your guide for the day will be none other than A.W. Tillinghast himself. A well-heeled and well-traveled Philadelphian, Tilly explored the British Isles, including spending time in St. Andrews with Old Tom Morris, undoubtedly absorbing the oral history of the game that was taking hold of his imagination and heart. Before designing courses, Tillinghast was an accomplished player and writer at a time when the golf craze in the U.S. was peaking. You quickly realize that your walkabout will be complemented by stories born of a particular breadth and depth of experience.

Somerset’s Redan 2nd – Credit: Simon Haines

A good storyteller does not immediately begin yelling at you, maintaining that intensity from start to finish. There are ebbs and flows that build toward a climax, all delivered with creative color. It is clear to you that A.W. Tillinghast is a master storyteller as he strolls along telling tales of his sources of inspiration, his design ideas and how they manifested on the site he was given at Somerset Hills. Of course, a great design begins with taking a player on an exploration of the land. You notice the way his holes meander, change direction, and bend, coherently combining to create moments of quiet intimacy contrasted with expansive views. He pauses on many greens to direct your focus backward as a reminder that what lies behind often foreshadows what is to come.

Like Macdonald before him, Tillinghast was entranced by North Berwick’s redan and created his version at the 2nd. Other “ideal hole” elements can be found throughout the course on the 13th, 14th and 16th. He points out the classic quirk of rugged mounds and bunkers cut into humps that were built by man, as well as the contours and creeks provided by nature for hazards. The greens are of such character and quality that you want to stop and spend extended time at each, but your guide will not allow for interruptions to the natural flow. As your tour and the story unfolds, the theme of variety becomes apparent throughout, maintaining the level of engagement even in moments of rest. With the afternoon light fading and Tilly’s cigarette smoke wafting by on the breeze, you find yourself mildly intoxicated by the combination of the journey completed and the stories told. Departing the property with a final glance back, it occurs to you that A.W. Tillinghast shared the story of golf architecture up to 1918, and his course at Somerset Hills embodies that history.

The 10th green, with 17th and 18th behind – Photo Credit: Jon Cavalier

An Inflection Point

Somerset Hills was not Tillinghast’s first design, but it would come to be known as his first great one. He drew upon the standout courses and holes he had seen in the U.K., as well as home grown offerings like Myopia Hunt Club, Garden City, National Golf Links, Pine Valley and Merion. His experience afforded him a treasure trove of strategic and visual elements into which he dipped liberally, always adding his own creative flair. Somerset was not just important as an homage to the first twenty years of American design though. It was a jumping off point for an incredible run of courses—Quaker Ridge, San Francisco G.C., Philadelphia Cricket Club and Baltusrol, among others—each expressing Tilly’s grasp of the principles of strategic architecture and his commitment to variety, while always staying true to the unique sense of place of each site. His portfolio stands as a testament to his versatility, as well as an inspiration to the architects who followed in his footsteps.

Taking the time to look backward from each green at Somerset Hills provides insight into how the holes on all of his courses remain brilliantly relevant to this day. He had a gift for finding good green sites, and for building wonderful putting surfaces and surrounds on those sites. Working back, the ideal angles into the different sections of the green become apparent. Tilly positioned his tees and routed his fairways over the topography, accented by varied hazards, giving players a chance to work those angles to their advantage. Well conceived and executed shots are rewarded. From the tee forward, the ideal route is often not apparent. Somerset has its fair share of blind, semi-blind and visible-but-intimidating shots. Like many in the Tillinghast portfolio, it is a course that hides its secrets from first-timers, only revealing itself through repeat play.

The Course

A round at Somerset Hills is a tale of two nines. The outward half is routed intimately in a gentle valley below the clubhouse in a space previously occupied by a race track. Tillinghast incorporated remnants of that track into the design. The inward nine makes its way into the woods, past a lake, through wetlands and then takes a final hilly ride back up to the clubhouse. The only meaningful change Tilly’s original is a repositioning of the 10th green to stretch it from a par-4 to a par-5.

Although each nine has a distinct feel, the course retains its cohesion. Interestingly, the front nine is compact but feels more expansive than the back, which works back and forth over a ridge. Throughout the course, Tillinghast alternates between narrowing and widening the player’s focus, creating an enjoyable rhythm. Playing Somerset is truly like taking a journey.

Click on any gallery image below to enlarge with captions

There is an optimal presentation standard that Superintendent Ryan Tuxhorn and his team nail on the head at Somerset—everything is done, but nothing is overdone. This is an old course and they allow it to exude that classic feel, without any hint of it being tired. Brian Slawnick from Renaissance Golf Design has consulted over the years on fairway lines, green expansions, bunker edges and tree management, but has thankfully not changed the character. Further, Tuxhorn takes what Mother Nature gives and provides the best playing conditions possible. The course is allowed to change with the weather and the seasons, very much in tune with the spirit of variety that Tillinghast intended. The course tour that follows, with photos from Jon Cavalier (@LinksGems) is meant to convey Somerset’s gorgeous seasonal range.

The opener is a solid par-4 that bends right through the orchard and then runs downhill to a green that is open in the front. The 2nd is Tilly’s appropriately famous rendition of the redan with forebunkers center and a deep bunker left. The green is severely sloped from high front-right to low back-left and can be used to advantage, or spell disaster. Good shots are required right out of the gate.

The 3rd through 6th are intertwined on the interior of this portion of the property. Creativity abounds with the elevated 3rd green, the dolomites on the 4th and 6th, and the gloriously bold contours of the putting surface on the 5th. At no point does the player feel like they are on a bland march.

The final stretch of the front nine works around the perimeter and back up to the clubhouse. The 7th is a tough par-4 featuring a blind drive to a fairway that slopes all the way down into the front of the large green. The one-shot 8th plays perilously along a rock wall boundary to a green flanked by created bunkering. The 9th is a right-to-left par-5 where Tilly employed his trademark great hazard.

The back nine opens with the only hole that has been altered from Tillinghast’s design. The left-to-right dogleg now plays as a par-5 uphill to a green set on a hillside. The par-4 11th bends right past a lake and over a creek, and features one of the wildest greens on the course. The idyllic setting of the green at the par-3 12th distracts players from the punishment that awaits wayward tee balls.

The next two holes play on top of the ridge and have shades of Macdonald-Raynor influence. The par-4 13th features a left-center principal’s nose and a biarritz green. Quite the creative combination! The 14th turns around and heads back to a large, plateaued green that demands a much more precise approach than its footprint would indicate. A pair of outstanding two-shotters.

The par-4 15th is blind off the tee and requires a left-to-right shape to take advantage of the downhill fairway. The large green is fronted by a creek, creating a picture-perfect scene. The final one-shotter on the course, the 16th has hints of the Eden template, with Tilly’s creative twists of course.

Somerset Hills provides one last rollercoaster ride with its final pair of four pars. The 17th begins with a blind drive over a chasm to a fairway that rolls severely downhill. The 18th plays back uphill into the shadow of the clubhouse to one more boldly contoured green. Two par-4s that are ideal for match play as birdies and doubles are equally likely results.

By the time he arrived at the site that would become Somerset Hills, A.W. Tillinghast had a story to tell. It was a tale of where golf had come from, with hints of where it might be headed. He poured his heart and mind onto this land in the New Jersey countryside. Members and visitors ever since have been the beneficiaries, as they loop around and around, learning Tilly’s tricks and experiencing his tale for themselves.

Copyright 2019 – Jason Way, GeekedOnGolf


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FAIR IS A FOUR LETTER WORD AT FRENCH LICK

The second edition of this season’s Upping My Dye-Q series takes a look at The Pete Dye Course at French Lick Resort

The devilish designer himself greets visitors to The Pete Dye Course at French Lick Resort. A statue of the creator of nearly one hundred golf courses over a decades-long career stands by the bag drop. He is smiling, a friendly countenance on first impression. Alongside the sculpture is a stone adorned with a quote that ends ”…so why build a fair golf course”. After reading Pete Dye’s words, the smile doesn’t look quite so chummy. More a smirk, perhaps, or a grin that gives way to a chuckle at the travails that are about to ensue. Players have not even put on their shoes and Ol’ Pete is already trying to get in their heads.

Pete and Alice Dye have never been afraid to throw difficulty into their designs. After all, their first nine hole course included thirteen creek crossings. Tour pros have been complaining for years about being tortured by the duo on The Ocean Course to PGA West, and all points in between. However, to conclude that hard golf is what the Dyes design is to miss the point, and the complaints from fairness-loving pros speak to the reason why.

There is an adage from the Golden Age of golf architecture that the best holes appear either easier or harder than they actually are. Throughout their career, the Dyes have adhered to this principle of creating discomfort through deception. They are not simply testing a player’s ability to execute in the face of a straightforward challenge. Holes that only examine physical skills cannot test the best while remaining playable for the rest. Such design might be considered fair, but invariably, it is too easy or hard, depending on level of skill. It is also predictable and boring—two words that have never been used to describes the Dyes or their courses.

Influences of an Influencer

When Pete Dye hung up the insurance salesman suit in 1960 to don his brown work shoes and khakis, he was a far cry from having his own artistic voice. During his military service, he spent a great deal of time at Pinehurst, interacting with Donald Ross and falling in love with the No.2 course. His competitive playing career exposed him to the bold brilliance of Raynor’s Camargo and Langford & Moreau’s work throughout the Midwest. These Golden Age greats were influential, but were also being obscured at the time by Robert Trent Jones Sr. and other post-war practitioners of “heroic” design. Embarking on their architectural journey, the Dyes stood at the crossroads, not knowing exactly which way to go. The first half of the ’60s would be a formative jumping off point for the fifty years of exploration that would culminate on Mount Airie in French Lick.

In 1962, the Dyes were commissioned to build Radrick Farms in Ann Arbor, Michigan. It was a lengthy engagement with the course finally opening in 1965. During this period, two additional influences ensured that Radrick was the last Dye course to ever have an RTJ feel. The first was University of Michigan’s other course, designed by Alister MacKenzie. The second was Pete Dye’s 1963 trip to Scotland to study the great courses and history in golf’s birthplace. He came back enlightened to quirk, visual contrast and strategic design, and began working out the Dye style at Crooked Stick.

At Harbour Town in 1969, the pair took a contrarian approach with narrow playing corridors and small, angled greens. They exercised their earth moving and engineering muscle by conjuring TPC Sawgrass from the Florida swamp in 1982. By 1991, they were in full blown Dye-abolical mode at Kiawah Island’s Ocean Course. At this point in their career, a certain expectation had emerged among players and developers for what a “Pete Dye course” should be. Certain courses like Whistling Straits feel like they are in part the result of a compulsion to outdo the last hit offering, rather than further explore and evolve the artform. If a deleterious trend in the Dye’s work was developing at the turn of the century, they thankfully stamped it out by 2009.

Fairways and Greens

Pete Dye was tremendously excited to build this big budget course at the French Lick Resort, and he considered it to be among the best sites he had ever been given. Long-time Dye collaborator Tim Liddy confirmed, “Pete was enthusiastic about French Lick and heavily invested in its creation. It is the last big project to which he gave his maximum personal attention and on-site presence.” The numbers corroborate Liddy’s perspective—150 site visit made by Pete, 30 by Alice and almost 3 million cubic yards of earth moved to create 18 outstanding hilltop holes that can be stretched to 8,100 yards. The Dyes took a special opportunity, brought their expertise and willingness to push dirt, and delivered a magnum opus.

Although the scale and views are jaw-dropping, and the potential for punishment abounds, there is a subtle brilliance to the Pete Dye Course at French Lick that harkens back to Raynor, Langford, Ross and MacKenzie. Taking a look at the fairways and greens provides insight into the depth of the Dye’s design.

“Make their eyes lie to them” is a Dye family mantra, and French Lick is no exception. On many occasions, a player will stand on the tee with their eyes screaming, “There’s nowhere safe to hit it!” Holes feature a combination of fairway undulation and angled orientation that makes confidently choosing a line difficult, especially when one or both sides drop off the massive hillside. To top it off, degrees of blindness are sprinkled in, drawing upon the inspiring Scottish links of the designer’s early years. And yet students of Dye’s work know that they have provided safe landing areas for conservative and aggressive players. The eyes are lying, but those who can block that feedback out can find the fairway, and score.

Click on any gallery image below to enlarge with captions

The Pinehurst No.2 influence is evident from the first few green complexes. They are small relative to the overall scale of the course, often elevated, angled to the approaches, and shaped to allow for tucking pins. For the player looking to attack, the greens are intimidating and set up to punish reckless aggressiveness. On closer examination though, a high degree of playability is built in as well. The green fronts are open and wider. The slopes and surrounds are varied, including plentiful shortgrass maintained fast and firm by Superintendent Russ Apple and his team. Crafty players can bump-and-run or even putt their way to recovery around most of the course.

A final dose of deception is delivered on the putting surfaces. Although there are some pronounced contours, most are relatively benign. Instead subtle shaping complements the bold tee-to-green features. In this case, subtle does not mean easy though. The Dyes use the visual trick of countering green slopes to the hillsides, making reading break challenging, even on short putts. The green at French Lick confound first-timers, but also leave a desire to come back and try again.

The Pete Dye Course at French Lick is not fair, and players are all the better for it. What it is is the expression of artists who had come full circle and integrated five decades of exploration. It is a destination for players, and it would seem for Pete and Alice as well. To fully understand just how great the Dyes were at their craft, devotees must make the pilgrimage to French Lick. Like the statue with the satisfied smile, it stands as a testament to a lifetime spent climbing the circuitous route to the top of the mountain.

Copyright 2019 – Jason Way, GeekedOnGolf


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ROUTING PERFECTION AT SAND HILLS

A look at routing and the creation of Coore & Crenshaw’s modern masterpiece, Sand Hills Golf Club

Sand Hills Golf Club is generally considered to be a modern masterpiece. Bill Coore & Ben Crenshaw’s design has been credited as the original spark that lit the fire of the minimalist movement in golf course architecture, and the club proved that players will travel to experience great golf in far flung locales. The combination of minimalism and destination golf has been nothing short of revolutionary for the game. There is a case to be made though that Sand Hills is more than just a great course—it is perfect. That perfection has at its core the routing that Coore & Crenshaw discovered through the Nebraska countryside, and the effect that it has on those fortunate enough to play it.

In a discussion with Dunlop White about what gives a golf course character, Bill Coore said, “The routing is how a golf course lays on the land; how it showcases the landscape and brings out interesting golf in terms of the individual holes and how they fit together as an entire course.” That description makes intuitive sense, but just how does one go from a raw piece of land to a brilliant course like Sand Hills? For the average geek, the process seems quite mysterious—equal parts method and magic, akin to alchemy. Although routing is complicated, to grasp what transpires conceptually does not require that one be an architect or an alchemist. Before returning to Mullen, let’s take a quick look.

Assembling the Pieces

The process of routing a golf course can be compared to putting together a puzzle. The first order of business is assembling the edges, which is the equivalent of determining design constraints. Typically, a good puzzle-building strategy is to next look for pieces that comprise standout elements of the picture. Landmarks, if you will. And finally comes the painstaking effort to fill in the remaining pieces around those landmarks to produce a cohesive whole.

The comparison to puzzle building is, of course, a dramatic oversimplification. The end puzzle picture is known at the outset, which is clearly not the case for the golf course architect. The analogy does hold true at a basic level—both activities are difficult, even painful at times, and ultimately reward the patient and persistent practitioner. It also hints at an issue inherent in the approach to routing by some architects, an issue that can be the difference between a good golf course and a great one. While incorporating special features or landmarks into a design is always a worthy aim, fixating on any single element of the site can have a deleterious cascade effect. The course may indeed have a “signature” hole, but incorporating that hole into the routing necessitates including weaker “connector” holes.

In some unfortunate instances, course designs relied so heavily on the signature hole or stretch of holes that the overall quality of the course was diminished. That would be like assembling the feature portions of the puzzle, and then dumping the rest of the pieces inside the border willy nilly and calling it finished. One does not get to a level of quality approaching that of Sand Hills by trading signature hole photo ops for the integrity of the whole. As Bill Coore implied, he is not willing to make that trade, “The routing…brings out interesting golf in terms of the individual holes AND how they fit together as an entire course.”

Tough Decisions

Bill Coore is regularly asked some form of the question, “Was it enjoyable to work with land as great as Dick Youngscap gave you for Sand Hills?” His answer is a consistent and unequivocal “No.” Outside of getting the chance to work on seaside linksland, Coore & Crenshaw could not have dreamt of a better site than the one they got in Mullen. The ideal nature of the ground for golf heaped pressure on the duo to produce a special golf course. They feared that if they did not capitalize on this opportunity, it might be a long time before another came along, if ever.

As illustrated in the example above, a site typically has distinct features off which the architect can play—a ridge, a creek, stands of specimen trees or a dune. Average land yields a finite number of high quality holes which can be incorporated into a cohesive routing. A site like Sand Hills has nearly infinite potential for such holes. What’s a designer to do when everywhere they look, there is another feature, contour, or vista that would make for great golf?

In their customary fashion, Coore & Crenshaw started with knowing the land intimately. While tales of Bill Coore camping out like a frontiersman might be exaggerated, they contain a kernel of truth. Using a helicopter, topo maps and their feet, the team explored the property and made note of more than 100 potential holes that could be incorporated into the design. Those explorations and notations have been memorialized in the constellation map.

The Constellation Map with Sand Hills overlay – Credit: Scott Griffith (@bottomgroove)

Having catalogued the possibilities, the time came for the final, difficult cut down to eighteen. At this point in the process the experience and instincts that Bill & Ben possess combined to yield an alchemical result—the foundation of a course that works perfectly and fits perfectly onto the land it occupies. Looking at the constellation map, is it possible that there exists a single hole that would have been better than any of the eighteen that were eventually incorporated into Sand Hills? It is indeed possible, but the question is moot. After walking off the 18th green, one realizes the wisdom in prioritizing the entirety over any single part. The course is perfectly satisfying, as is.

The Course

It is easy enough to assert that there are no weak holes at Sand Hills. To understand just how strong each and every hole is though, it is fun to play a little game with those who have seen the course. Ask them which hole is their favorite. Within a group, there is likely to be a very wide variety of answers. Poll enough people and every hole will ultimately get a vote. Next, inquire of those same players which hole is their least favorite. After qualifying their answer with a reminder that there are no weak holes, they will sheepishly offer up their pick. Once again, within a large group, answers vary greatly. When no consensus exists about favorites, the course must be exceptional.

We know from Mr. Coore’s routing thoughts above that a golf course is meant to be more than a batch of holes. Sand Hills exemplifies this ethos. The course works in two loops out from and back to Ben’s Porch. Each of those loops has holes that take players up, down and around the dunes, producing all manner of interesting and sometimes terrifying shots. It also touches the property edges at several points—a reminder of the vastness of the setting that produces a keen sense of awe.

The flow of the course is further enhanced for walkers by the proximity of greens to tees, and the paths connecting tees to fairways. The cohesiveness of components creates a connection to the land and nature as one walks along. This is a hike that would be nearly as enjoyable without clubs.

Superintendent Kyle Hegland and his team provide terrific playing conditions and Mother Nature adds the unpredictability. The wind blows, sometimes delivering dramatic squalls that give way to brilliant sunshine. As is the case with world’s great links courses, the elements are always a factor. Jon Cavalier (@LinksGems) and I have collaborated to attempt to convey the Sand Hills experience—colors, textures and shapes that stir the soul.

Click on any gallery image below to enlarge with captions

The opener at Sand Hills is a par-5 that epitomizes strategic golf. A conservative route to a straightforward par is provided. Play away from the fairway bunker left, lay up to the middle short of the base of the hill and approach safely into the middle of the green set up in a dune-top saddle. Easy enough. But for players who desire to get out of the gate with a birdie, risk must be taken on by working angles and challenging the edges, which opens up myriad ways to make a bogey or worse. This conservative vs. aggressive choice is a consistent theme throughout the course that makes it so intriguing to play repeatedly.

The 2nd is a unique par-4 that plays over a gully to a partially blind fairway and then up to an infinity green that features a fantastic ripple contour running diagonally across. Sand Hills’s first one-shotter next plays downhill to a green with a severe slope created by a high left shoulder. Lag putting on the 3rd is a real challenge.

The story goes that the 4th green was a point of contention between Bill Coore and Dick Youngscap. Perhaps inspired by the Maxwells’ work at Prairie Dunes, Coore proposed to bench it into the hillside. Mr. Youngscap preferred to place it down in a bowl. After a lengthy discussion, both men thought they had won the argument and went off to attend to their business. Coming back to find the green where Bill wanted it, Mr. Youngscap was dumbfounded and has remained a bit salty ever since. With all due respect to the owner, we side with Bill Coore on this one—the 4th is a standout par-4, exactly as is.

The 5th turns back and heads slightly uphill past a center-left bunker to a green flanked by more bunkers left and right. The putting surface on this par-4 lays gently on the land with subtle internal contours. The par-3 6th plays slightly downhill over a large forebunker to an angled green that is canted, with pronounced ripples and rolls. Short grass surrounds provide recovery options—the deep bunker right, not so much.

The 7th and 8th are short fours that begin a stretch of six consecutive two-shotters. This anomalous sequence illustrates Coore & Crenshaw’s willingness to take the great golf that the land gives. The devilish 7th is drivable, but failed attempts can leave tough recoveries from the front left bunker or slope right. The 8th plays over rumpled ground to a lion’s mouth green in an amphitheater setting. Both holes burst at the seams with strategic options.

Each of the next three par-4s has a distinct feel. The 9th swings right and heads back up into the shadow of Ben’s Porch. The at-grade green falls subtly away on three sides and is one of the trickiest to putt on the course. The 10th runs downhill, snaking between bunkers to a putting surface that flows off a high left slope. The tee shot on the 11th must take on a massive blowout bunker left to get into position to approach the elevated green. All three holes require thoughtful positioning and creative shotmaking.

The final two-shotter of this stretch plays to a wide fairway with a single blowout marking the ideal line for approach into the green which is guarded front and right by one large bunker. The 13th is a stout par-3 that sits at an angle to the tee, causing alignment challenges when attacking the well-defended putting surface. The wind plays a significant role on both of the inward half’s three pars.

The 14th is one of Coore & Crenshaw’s all-time greatest par-5s. The key for success is to get left, as the tiny, severely sloped green is nearly impossible to hold from the right. Not surprisingly, a deathly blowout sits in the perfect spot for a layup. Players stand in the fairway and must decide if their drive was good enough to get beyond that hazard, or if they need to lay back of it. Seems simple enough, but it certainly doesn’t feel that way over the shot.

The par-4 15th plays straight along a high ridge. Cheating to the right from the tee opens up the angle into a green fronted left by an imposing bunker. The final three-shotter is a roller coaster ride downhill through sandy blowouts of all sizes. The day’s pin position relative to a fronting mound dictates positioning of a player’s approach on the 16th.

In his essay for Geoff Shackelford’s Masters of the Links, Ben Crenshaw wrote of the short par-3, “In this era of obscene power…why not strive to induce a little fun into the mix and at the same time present a true test of delicacy and accuracy?” In the spirit of the shorties built by the Golden Age greats, the 17th is the answer to Ben’s question. A hole this short presents a birdie opportunity, but only for tee shots struck perfectly after accounting for the wind. Bunkers and slopes that make for difficult recoveries await the indelicate or inaccurate.

The home hole at Sand Hills plays long uphill with huge blowouts running along the entire left. The large green sits in a bowl atop a dune, making it difficult to get the line and distance just right for a good birdie look. Players need to focus long enough for one last lag putt on the final C&C putting surface.

Bill Coore and Ben Crenshaw routed a course through the hills that takes players on an adventure with moments both thrilling and sublime. Combined with their minimalist approach to construction, the collection of holes is intellectually and emotionally evocative. At the end of a Sand Hills journey, visitors are left with lasting memories of their exposure to perfection.

Copyright 2019 – Jason Way, GeekedOnGolf


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EVENT-FULL SEASONS AT CANAL SHORES

Part 24 of the Journey Along the Shores series dives into our growing volume of activity and events

With each passing year, Canal Shores gets busier. The course is seeing more play and it would seem that the Evanston-Wilmette community has gotten markedly golfier. That is terrific progress from my geeky perspective. However, the activity at Canal Shores does not begin and end with golf, which is one of the many ways that our community course delivers value. The more people attending our growing roster of events or simply getting outdoors and using the space, the better.

Of course, the multi-use nature of the facility necessitates that different user groups have to figure out how to coexist. This process is not without moments of discord. Dog walkers, runners, picnickers and golfers use Canal Shores in different ways and have to learn how to respect the course, and each other. Casual golfers, players from the junior programs and the high school teams that call the course home sometimes step on each other’s toes. And we all have to make way for the steady stream of golf and non-golf events that are filling up the calendar. As an individual, it is easy to get caught up in the painful part of these growing pains. I choose to try and stay flexible so that I can enjoy the growth of the Canal Shores community.

In addition to our thriving junior camps and ladies league, 2018 saw many of our customary events return, which were also joined by newcomers. The year kicked off with the annual Garage Party fundraiser and was followed in the summer with the Murray Brothers Invitational benefiting first-responders. Fall brought Northwestern football tailgating and ETHS golf matches. Once again, we concluded the season with yet another rousing gathering of the Honourable Company of Reverse Jans Golfers. The chilly temps were happily faced and members of the company generously donated enough to fund a significant portion of the lease for our Superintendent Tony’s new utility vehicle. Many thanks to Seamus Golf, Imperial Headwear and Ballpark Blueprints for their support.

Other gatherings and meet-ups kept the season interesting, with the highlight being a visit from The Fried Egg’s Andy Johnson and Erik Anders Lang for a recording of his Random Golf Club series. The outdoor music scene at Canal Shores also went next level when the 1st and 2nd holes served as the venue for Out of Space, a festival headlined by Mavis Staples and The Indigo Girls. Last but not least and just under the weather wire, the Evanston Running Club held their Cross-Country Invitational. The diversity of these events is a testament to the movement within the community to take a fresh and open-minded look at this public asset we own and find new ways to make use of it—club in hand, or not.

On the heels of a successful 2018, this season is already off to a strong start (in spite of the Chicago weather) in this, our 100th anniversary year. The New Club golf society held their first spring tune-up and the Garage Party was once again a mob scene. The calendar is filling up quickly with events and outings, big and small. On June 4th, the ladies come out for Women’s Golf Day quickly followed on the 7th by the first annual Canal Shores Open, in which teams will battle for the inaugural title. On June 14th, we’re taking a page out of the Winter Park 9 playbook by starting up a weekly Friday Skins Game. Out of Space is coming back with four nights of shows featuring Cake, Mandolin Orange, I’m With Her, Jeff Tweedy and Bruce Hornsby & The Noisemakers. All exciting events that are sure to be good fun for all.

As we continue onward, it is my hope that more folks look at Canal Shores for what it is—a fun golf course in a beautiful green space that is welcoming and infinitely flexible for events and activities of all kinds. 18 hole golf outings are dandy, but they are just one of the many ways to enjoy Canal Shores. Our staff, including fabulous new Events Coordinator Melissa (melissa@canalshores.org) is willing to help with conceiving or executing any manner of gathering under the sun. Want to have a 5-hole one club tournament and then drink beer and eat pizza by the fire pit? No problem. Want to start a weekly disc golf league? She’s got you. Want to host a business networking meeting with cocktails and casual putting contests? Melissa and Tony will figure it out. Want to have a bring-your-dog-to-golf gathering? How has that not already happened? You get my point here.

The bottom line at Canal Shores is that it is our space. The more we use it and contribute to it, the more it will thrive. We certainly love seeing more people playing golf—it is the greatest game, after all—but there has always been more to Canal Shores than golf, and there always will be.

For the entire Journey Along the Shores, click here.

Copyright 2019 – Jason Way, GeekedOnGolf