John,
Lakeside here in Los Angeles still has some great features left from Behr, though I doubt many there even know his name or what he was about.
I have put some of his writings in the forthcoming book with Mike Miller. Basically, I took some of the best sections of his long essays and made them sidebars. Someday I'd love to compile all of his writings, they are pretty incredible. The best are in Golf Illustrated and The Country Club Magazine, a western publication, though some great ones appear in the USGA green section bulletin and The Fairway. All are at Golf House, where I hope to go back and find some more besides those I have. Other than that, what you posted is about all I know. Ron Whitten has some interesting information on Behr in The Architects of Golf as well.
I think his philosophy was no different than MacKenzie, he just felt stronger about issues and delved into the question of what is "art in golf architecture." Here's another Behr gem that is a sidebar in the forthcoming book:
Naturalness in Golf Architecture
By Max Behr, 1926
The Nature the golf architect has in mind is one associated with golf, and this is linksland upon which golf has been played for hundreds of years, and remained through a major part of this time uncontaminated by the hand of man except for the cutting of the holes. Whatever beauty such land possessed was inherent in it, and those today who have played golf amidst such primeval surroundings are conscious of a certain charm wholly lacking upon a palpable man-made golf course.
In this country architects are presented with few locations the topography of which is ideally fitted for the playing of golf. Hence, the architect must improve upon Nature. But such improvements have primarily to with rendering Nature suitable for golf, and do not necessarily involve any improvement of Nature itself except for the definite purpose in hand.
Is it important that the architect should endeavor to go further and combine art with the utilitarian side of his work? It would seem so. And for this reason: Golf courses constructed with the limited idea of merely creating a playground around which one may bat a ball comfortably make possible only the efforts of one side of the contest, that of the golfer, and owing to this neglect, he finds himself confronted with a landscape brutalized with the ideas of some other golfer. Does he object?
Of course he does. He too has ideas of his own. Consequently the history of every artificial appearing golf course is one of continual change. There is a very practical lesson in this and one that can be translated into dollars and cents. And this is that golf architecture can only be rendered permanent by art. Art is usually associated in the mind with the aesthetic, but if we comprehend it in a larger sense, it will be seen that only by art is every walk of life rendered stable and enduring. If, then, for practical reasons we are justified in looking upon golf architecture as an art and not merely a means to an end, we shall find it closely akin to landscape gardening. What are the requisites to perfection in this art? Humphrey Repton, the great landscape gardener of the XVIII Century, has perhaps most concisely and perfectly stated them:
“First it must display the natural beauties and hide the natural defects of every situation. Secondly, it should give the appearance of any extent and freedom by carefully disguising or hiding the boundary. Thirdly, it must studiously conceal every interference of art, however expensive, by which the scenery is improved making the whole appear the production of nature only; and, fourthly, all objects of mere convenience or comfort, if incapable of being made ornamental, or of becoming proper parts of the general scenery, must be removed or concealed.”
If may never be possible to live up to such an ideal in golf architecture. In endeavoring to create an harmonious whole there are bunkers, greens, fairways and rough to be considered. Nevertheless where it is necessary to modify the ground to create these features, their contours can be made to seem as if they had always been, and their civilized aspect, because necessary to golf, will not be an affront to the natural beauty they reveal."