Who said this, and do you agree with it?
In GOLF, construction art and utility meet; both are absolutely vital; one is utterly ruined without the other. On the artisitic side there is a theory of construction with a main fundamental that we copy nature; in all of this we seem to agree. There are minor exceptions which are permitted, as the placing of sand traps in a country otherwise devoid of sand; the cutting of a fairway and green with uncut surroundings; the planting of varied trees, shrubs and grasses which do not blend with the existing conditions, and the practical neccessity of including fitting and implements required in the general scheme of play.
The contours of our tees, of our hazards, of our greens, of our rough and of our fairways should, except when absolutely neccessary, all melt into the land surrouding them, and should appear as always having been present. The washing of water makes smooth, gradually fading lines, as, for example, the sand bar; and the soft, rolling curves of low gently rounded hills are most attractive if copied in our molding. Where we have natural washes. many of their lines fade imperceptibly, and float or vanish into other contours with which they come into other contours with which they come into contanct. Such flowing, graceful curves are very valuable in the artificial contouring or modeling of approaches to greens, of greens themselves and of mounds adjacent; also for the sides, backs, and fore parts of hazards.
Tees should never obtrude, and, where possible, they be part of the fairway. Yet, sometimes it is expedient to build them seperately, and they should lose themselves, if practable, as much as other artificial mouldings, into contacting topography.
Raised tees require more water in dry conditions, and are unsightly, but aid utility where, because raised, they give a better view of the shot to be played; and so raised, their boundries should of course, fade, gradually into the ground near them.
Yet, while easy lines are beautiful and pleasing, they are not the only things we need in our golf architecture from an artistic point of view; and as a matter of utility they are not satisfactory if used alone. Variety must again be considered. We must have a contrast to orient our curving rolls, for not only will we it make it prominent, but will aid whatever point we desire in the fairway carry or green carry, or green entrance, and most of all of the green itself, to stand out to the view of the golfer. If we blend everything, nothing is accentuated, and in golf the position in which the ball should be placed must be emphasized, and the ability of the palyer to visualize or focus the distance to such a spot, by the aid of our contrasts, is the supreme test of our work. The flat plain, with a flag on a flat green, cannot be be oriented, neither can gently blending lines be conspicious.
For this reason we need sharper and sterner patterns for proper visuality, and we have much in nature to copy.