Long story short a former gf was part of a family art restoration business. I knew nothing of art restoration prior, nor much of art for that matter sans a history of art class in college (good ole' electives). As any young man trying to impress his partner's parents, I sounded more interested than I probably was in asking them questions of their craft. Actually it did turn out to be quite a detailed and painstaking journey. I see it somewhat similar to golf course restoration work in it's sequential steps. This is from memory and I may be missing a step, but the basics are what I recall.
1. Current condition and evaluation. This includes the obvious flaws such as tears, worn areas and paint loss, but also for the condition of the canvas to see if it has enough tension and structure. However, depending on the budget even more forensically using UV light and xrays to determine what work has been done previously and in some art the original sketching believe it or not.
2. Was previous work done and if so what exactly was that work? Typically cleaning and removing the varnish is required to see this and can be painstaking to start depending on the value of the painting.
3. What treatment is required? So now that you know what was the original work, any previous restoration work done how can you (within the budget) bring it back to it's original state that will last. This isn't always clear as budgets vary, some restorations can be in the tens of thousands of dollars as it will require hundreds of hours. Do you need it perfect as possible, or will 90% do you just fine? That is a question for the client.
4. Conservation for the long term. This is not only fixing the issue today, but the underlying cause of the problem. The easiest example is probably where to display, change frame, etc. Moving the painting away from the window in the summer I was told is good, but then can be put there in the winter. I'm assuming UV rays.
So to apply this to a golf course restoration I think is probably very similar.
1. What was the original? Look at photos, sketches, drawings etc. to document what was there in the beginning (assuming you want to go back to the original. Some clubs have a larger library of information than others as fires, water damage or theft of archives has happened. So without step one being accurate, how can you aim at the right target? Do the best you can with what you have.
2. What work has taken place since? If you have a good original idea, this is easy to spot. The previous super or green committee added bunkers here, changed the green slope there, added trees, added a pond (gulp!), etc. There would be changes over time, principally trees at the very least, greens being shrunk and mowing lines narrowed perhaps.
3. What is the treatment? So now you know what was there, what is there now so there is a gap to bridge. What is your budget and can you afford to go all the way back? Sometimes yes, others no and in yet others agree to do it over time. Clubs interview many GCA's who come up with plans, power points, presentations in hopes of winning the job with many hours poured over the project just to get the job. There are a lot of ways to skin a cat, in the end some personality at the club makes a decision and pushes their candidate or one stands out (for better or worse).
4. Long term solution. Drainage, irrigation, maybe sand capping, pga spec green construction, etc. a variety of things under the ground or behind the scenes I'm sure play a part in keeping what you changed standing up the test of time.
Well not sure if many in the profession or have been intimately involved in their courses restoration would agree, but I see quite a few similarities. The two things I recall most from my former gf's family were that first, if you skip your due diligence in step 1/2 and instantly start doing things for a solution, mistakes will be made. The true mission of a authentic restoration will be lost. Not all "artists" are equal, the same with the talent of art restorers. Second, make sure you have the $ or you will have to compromise in the process. I doubt many who are submitting their art for restoration are humble poor souls, but golf courses outside of the top clubs all have budgets to work within and lowering expectations is probably common. Interesting to hear other perspectives if you see some similarities.