The exact replica of National is not possible given the many variables, but the exactitude of the act of creating a NGLA should not be the issue. Rather the deep understanding of what it means can be meaningful if that understanding is allowed to come forth on another course while it is in planning or design. Just in reading Bill Evans liner notes for “Kind of Blue”, you might could make the connection here by applying the idea espoused in the notes that the architect must work within a framework that is real to the site before them, but the improvising that occurs on the site can be informed by the spirit of NGLA in a manner that can result in something very satisfying. Here you would have what he calls the direct deed which is the most meaningful reflection affecting the design in a direct way without being overly influenced by deliberation. In my mind meaning that too much deliberation, which is the hallmark of this site, actually can dampen creative, improvised action, which is the most meaningful action, IF the actor (architect) is properly informed by great works like NGLA, and IF the architect is directly involved in the creation, on the site. As he goes onto say it is “not uncommon for a jazz musician to be expected to improvise on new material at a recording session, the character of these pieces (referring to “Kind of Blue”) represents a particular challenge.” Just to make a big leap here I might say that it is not uncommon for some architects to be on site constantly, I mean every “liner note” you read about a project the architect brags about all the days they spent on site, but the character, meaning for me the quality of what has informed the architect, like an NGLA, is what will come out in the architect’s improvising in the field. That is the key difference, what is informing the architect so that when they go on site and begin that creative design process directly in the field, improvising, what has been rolling around in their head, because that is what is likely to come out in the present design. An architect consumed by NGLA is likely to be producing something like that in the field. It may be happening more than you think, because you may not be sophisticated enough, or attentive enough to see it, you want to see an exact replication of NGLA, hit me in the face with it, rather than what is more likely to happen and that is a spontaneous expression of the spirit and principles of an NGLA but in a totally different environment, making it more difficult to discern but certainly not making it less worthy of your attention. As a point, I am immersed in a book about the creation of “Kind of Blue”. Now I know more, I know about influences in the songs I never knew about, I know more about classical music influences in Miles Davis I never knew about or I never would have known by just listening to his work, because I am not that attentive, knowledgeable, or sophisticated enough to discern these connections. That does not mean they do not exist, even though I cannot discover them. But, now in a quiet environment with no distractions, listening to the music, I cannot imagine the need to hear any other jazz disc. I know so much about each song and am learning more each day I cannot imagine needing any more. But that is ridiculous. That set of songs have influenced others in all fields of music, it has been a holy grail of music for many, therefore there has to be more great music out there influenced by this one monumental work that if I just gave the time and attention I could enjoy the other music as well. So it is to say that if NGLA were the “Kind of Blue” it has and can spawn others to create in the same spirit, not the same exact look, but definitely in the same wonderful improvisational manner it was created. The burden falls on the golfer to take the time to learn more to study harder to be more attentive, and not to just say the influences of NGLA do not exist today just because they cannot see it in there cursory manner of looking at courses.