Hole Design
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Hole Design
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Each hole must fit into the overall rhythm of the course.
The best holes offer golfers multiple strategic options. Pictured here: the 6th at Punta Espada Golf Course, in Mexico.
The dogleg-left par-5 13th at Augusta National is one of the all-time great risk-reward holes.
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So, you want to be a golf-course architect. Or, at least, you plan to enter the GOLF Magazine + Nicklaus Design Challenge .
Allow us to offer some advice from an expert in the field.
As a senior designer at Nicklaus Design , Chad Goetz will tell you that everything he and his colleagues do is dictated by the site they’re given.
“It all begins and ends with the piece of land,” Goetz says. “That, along with what the client wants to accomplish.”
Once that’s been determined, it’s on to developing the course routing and rhythm, crafting holes that make the most of the terrain while providing varied looks and shot-making demands.
“You’ve got to go with what the land gives you but you’re also trying not to have six long par-4s in a row,” Goetz says. “You want to mix it up with various angles and lengths and wind directions to create a compelling challenge.”
In short, designing an entire course is a very different job than dreaming up a single hole from scratch. Yet many of the same principles apply.
With the GOLF Magazine + Nicklaus Design Challenge underway, GOLF.com asked Goetz to flesh out the fundamentals those in his business lean on when creating a hole.
Think of them as your architecture guidelines: 8 do’s and don’ts of golf design.
The Golden Age architect A.W. Tillinghast likened greens to human faces, the defining feature on the body of a hole. What does that suggest? When you’re sketching your design, the putting surface is a good place to start. Envision the shots you want players to confront on their approaches — long, low runners? high-lofted irons? — and design the green accordingly, its shape, size and contouring suited to the shots you expect it to see. “It’s tempting to have fun by throwing in a lot of wild contours or severe bunkering,” Goetz says. “But remember that what you’re doing needs to make sense in the larger context. It’s going to dictate what you do with the rest of the hole.”
“Golf is a game,” Goetz says. “It should be fun.” Of course, like many elements of golf design, what qualifies as “fun” is subjective. But as a general rule, punishment does not equal pleasure. “Every course has to have a hardest hole,” Goetz says. “They have their place, but I don’t necessarily think of them as being fun to play. So, if I’m designing a single hole, over-the-top difficult is probably not the way I’d go.”
More alluring than a long, bunker-laden brute is, Goetz believes, a beguiling hole that presents a golfer with strategic choices. Do you play safe off the tee, knowing that you’ll face a testier approach shot? Or rear back with your driver in hopes of setting up a simple pitch? That’s the basic thinking, though the potential variations on the theme are boundless. “Risk and reward is a phrase you hear a lot because it’s at the heart of a lot of what we do,” Goetz says. “We’re trying to create a puzzle for the golfer to solve that fits into the larger puzzle of the course.” Now, that’s fun.
A minefield of bunkers might look cool when you’re doodling on a cocktail napkin. Ditto an island tee playing to an island fairway and an island green. Just remember: You want your doodle to play cool, too. “I’ve played a few holes and thought, ‘Wow, that must have looked really great on paper,’” Goetz says. Bottom line: If what you’ve sketched bears closer resemblance to a video game than a golf hole, you’d be wise to scratch it and start again.
Sand and water are all well and good. But there are other ways to defend a golf hole. “It’s easy to throw 15 or 20 bunkers or a lake out there,” Goetz says. “But some of the more interesting strategic concepts are created with topography.” Think, for instance, of the greens at Augusta , which are built to defy certain angles from the fairway and leave you all but dead if you’re above the hole. Or some fairways at the Olympic Club, which dogleg one way and tilt the other, asking you to hit a draw or fade with the ball above or below your feet. “It’s remarkable how even a subtle slope or contour can affect a shot,” Goetz says. “A lot of golfers might not think of them, but those factors have a huge influence on how a hole plays.”
Phil Mickelson smoking a 6-iron from the pine straw at Augusta. Tom Watson chipping in from the rough at Pebble Beach. Think of some of golf’s most memorable moments; many have been recovery shots. A well-designed hole should allow for them. “With every hole, we’re trying to define how it should be played, but we’re also trying to determine what the penalty is if you don’t play the correct shot. How is that going to set up?” Recovery shots call for skill and imagination, which translate into excitement. As satisfying as it is to bomb one down the middle, “a hole where that’s the only option is pretty dull,” Goetz says.
Blind shots can be compelling. But a guiding philosophy at Nicklaus Design is to keep most targets and trouble in plain view. “We might blind you on, say, a par-4, but that will be part of the strategy,” Goetz says. “For example, if you play conservatively or hit a poor shot, now you can’t see everything in front of you. But typically, Jack works very hard to make everything visible.” If water awaits, he doesn’t simply want you to know it’s there. He wants you to be able to see its edges. Same with greens. “We may not show you the entire putting surface,” Goetz says. “But we’re trying to show you the corners of it at least, so you have an idea of your limits.”
One of the toughest aspects of golf design is walking the fine line of forgiveness, the better to appeal to a range of skills. “The question always is, ‘How do you make it challenging for the good player but enjoyable for a higher handicap?” Goetz says. One way to do that is with offset tees, which create varied angles and differing demands. “If you have a dogleg, not only does the hole get shorter from the forward tees, but it’s also straighter,” Goetz says. “So that someone playing up can hit a straight shot, whereas as someone from the back has to take on angles.” Given how far elite players hit it, forced carries aren’t an issue for them. But what about the rest of us? There are no hard-set rules, but Goetz says that average weekend golfers on a 6,300-yard course shouldn’t be asked to fly their balls much more than 130 yards.
For the purposes of the GOLF Magazine + Nicklaus Design Challenge , contestants have been asked to submit their designs on 8.5” x 11” paper. That’s not a lot of space. But it’s still important to try to draw to scale. What is that scale? Goetz says to think of it this way: one inch equals 200 feet.
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A precise long-iron shot is required to score well on a Redan design like Chicago GC's 7th hole.
The redan design is one of the pillars golf course design, requiring precision and skill.
Punchbowl designs are a unique mix of intimidating and approachable, with Sleepy Hollow G.C.'s recently renovated 16th serving as a good example of the risk-reward.
The switchback is a hallmark of Donald Ross's course designs, forcing golfers to hit good shots from a variety of angles to score well.
The road hole design is perhaps the most famous in all of golf, but its combination of difficulty and strategy are what separate it from a design perspective.
The volcano design gets its name from its appearance, but its memorableness comes from the precision it requires.
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Course design, like fine wine, impacts our palates differently — not every track will be as savory to you as it might be to someone who passionately studies and rates architecture . Of course, that doesn’t mean an enthusiast’s opinion — whether it be of a vintage Bordeaux or a C. B. Macdonald design — is more valid than yours. Even experts disagree continually about what constitutes greatness. But the challenge can be following what these guys are even talking about. No worries. A baseline understanding of the principles behind golf’s iconic “template” holes can refine your design taste buds and enhance your enjoyment of the courses you play. Start with the five listed here. Once you know them, you’ll recognize them everywhere — and savor every last drop.
Design aficionados contend that the Redan is the most copied par 3 in golf . It first appeared at North Berwick (No. 37 on GOLF ’s Top 100 Courses in the World list) in Scotland, arriving in the U.S. in 1911 as one of C.B. Macdonald’s “ideal” holes at National Golf Links of America (No. 5). Macdonald, along with protégés Seth Raynor and Charles Banks, employed the Redan concept extensively throughout their careers.
The Redan’s intent is to test long-iron ability. (It typically measures 170 to 200 yards.) Its key feature is its green, perched at a right-to-left angle to the line of flight and falling away from the player standing on the tee with a right-to-left canter. The opening to the green is often protected by a false front, yet most Redans allow for a low, running shot. The design emphasizes precision — if you aren’t able to carve a draw to take advantage of the slope when the pin is back left, good luck. Keep your eyes peeled for reverse Redans, which mirror the characteristics of the original but with everything angling from left-to-right.
Notable examples: The 15th at North Berwick; the 4th at National Golf Links of America; the 2nd at Somerset Hills (No. 42); the 11th at CC of Charleston
Few things in course design are more polarizing than a blind shot. Some players believe that if they can’t see the target, the task is unduly unfair. Since architects aren’t always demonic and twisted, especially those of the Golden Age (1910s to 1930s, roughly), they frequently soften blind shots by pairing them with Punchbowl greens.
As the name suggests, this green design funnels the ball toward the middle of the putting surface. A famous example of a Punchbowl can be found at the 4th at Fishers Island (No. 18). One of the most beautiful and exhilarating holes in golf, this Raynor-designed par 4 runs hard along Block Island Sound. From the fairway, golfers confront a completely blind second shot — the lone option being to hold your breath and take aim at a large flagpole that indicates the position of the green. After cresting the hill, however, players will find — perhaps with some relief — a massive Punchbowl green. Locating where your ball has finally come to rest after rolling in a Punchbowl (outside of your watch, no less) remains one of golf’s singular thrills.
The Punchbowl at the 4th on Fishers Island, however, is more than just a roller coaster. Yes, it often gathers shots toward its center, but two cleverly positioned knobs in the putting surface can knock shots out to the edges. Moreso than any green complex, Punchbowls excel at rewarding great shots and punishing those that are merely “good.”
Notable examples: The 12th at Chicago (No. 19); the 16th at National Golf Links of America; the 18th at Old Macdonald (Top 150); the 17th at Sand Valley (Top 150); the 9th at Streamsong Black
Leave it to Donald Ross, America’s most prolific architect , to favor design concepts that keep golfers on their toes. One such bit of nuance is the Switchback, a par 4 or 5 that, among other things, tests the ability to work the ball in opposite directions on successive swings. A prime example is the 2nd hole at Ross’s masterpiece, Pinehurst (No. 2) (No. 16). A fade off the tee safely negotiates a waste area jutting in from the left side of the fairway. Plus, landing the ball on the right side yields a better angle into the green, which slants back-left to front-right. The ideal shot shape is flipped for the approach: A smooth draw allows use of the green’s tilt to “absorb” the ball and keep it from running off the putting surface. Fun stuff.
Notable examples: The 5th at Oakland Hills (Top 150); the 18th at Seminole (No. 34); the 7th at Aronimink
When it comes to the combination of strategy and challenge, a Road hole stands unmatched. This simple design has stood the test of time and its origin, the 17th at the Old Course at St. Andrews (No. 3), is one of the most famous — if not the most famous — holes in golf.
Road holes demand plotting your strategy in reverse. Shallow greens angled from right-to-left are guarded by a pot bunker — a magnet for even slightly errant shots. Clearly, it’s far easier to avoid these hazards by playing from the right portion of the fairway, down the long axis of the green. Easier said than done: Road holes are built to make finding the correct section of the fairway extremely difficult. In the case of the original, you’re forced to flight your tee shot over the out-of-bounds stakes and the Old Course Hotel! There’s all the room in the world to the left, but every yard in that direction worsens the angle into the green and lengthens the approach. In the end, it’s simple strategy: Challenge the danger to earn an easier approach or play it safe off the tee and deal with a tougher second shot. No wonder they’re often referred to as par 4.5s — with 4 being a birdie and 6 a bogey.
Notable examples: The 7th at National Golf Links of America; the 10th at Shoreacres (No. 45); the 7th at Yeamans Hall (Top 150)
A Volcano hole has a green complex that looks like… well, a volcano. Built up into the air on at least three sides, these greens appear to tower over players standing on the tee box. As you can imagine, even the slightest miss in any direction will repel shots to their doom. Donald Ross was a fan of Volcanoes — when done properly they make for some of the most thrilling shots you’ll attempt anywhere.
At LuLu CC, a semi-private course outside of Philadelphia, a Ross-designed Volcano remains active. On paper, this 112-yard par 3 doesn’t look like much of a test, but any miss short, long, left or right will tumble down into the surrounding quarry. The name of the game on any Volcano hole is to hit the green — or else.
Ross’s Volcanoes vary from LuLu’s diminutive example to the Country Club of Buffalo’s 186-yard 6th hole. But they’re all capable of striking fear into players’ hearts — and making you think twice about hunting a tucked pin.
Notable examples: The 6th at Roaring Gap Club; the 12th at Bald Peak Colony Club; the 15th at Pinehurst (No. 4)
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A hole in a part can have many functions, including acting as a fixation point, offering passage to other parts and reducing a parts weight.
The most convenient hole shape is a circular hole. The core pin required, is a common part available in many different sizes and materials. Using core pins also offers some flexibility as replacing a core pin for a slightly bigger or smaller one often only requires minor tool modifications.
Obviously, holes can’t always be circular, and they don’t need to be. Differently shaped holes can be made using custom cores.
From a tool manufacturing point of view, it’s easiest to create a hole with a centerline parallel to the draw direction of the tool. The simple construction of a static core makes it sturdy, low-maintenance and relatively cheap.
Holes with an axis that isn’t parallel to the mold opening direction, are mostly made using retractable pins or split tools. Core pins should be draw polished and include draft to facilitate ejection. In some cases, retractable cores can be avoided: if the part design allows for an extreme taper in the wall, a hole perpendicular to the draw direction can be formed by the main static core.
A hole may be a through hole (or ‘thru-hole’) or a blind hole. A through hole goes all the way through a part's wall. In other words, there’s an opening on both sides. A blind hole, however, has a specific depth, it doesn’t break through to the other side of the workpiece.
Whether the hole goes all the way through or not makes a big difference from a manufacturing point of view. If it does, the core can be supported on both ends. The longer and/or thinner a core is, the more important this is. A core supported on both sides is less likely to bend or even break during injection molding.
When molten material flows around a core pin during injection molding, a weldline occurs on the opposite side of where it first reaches the core. If weldlines are not permissible due to strength or appearance requirements, holes may be partially cored to facilitate drilling as a post-molding operation.
As mentioned above, the length of the core pin, and therefore the depth of the hole, is limited by the ability of the core pin to withstand any deflection imposed on it by the melt during the injection phase. Through holes can be longer than blind holes because their core can be supported on both sides of the mold cavity. The following are some general guidelines for hole dimensio
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