moment a prospective architect would experience when first discovering this hidden hole. And yet, Bill Coore and Ben
Crenshaw gave away the dramatic and adrenaline-pumping scorecard hole— one nearly any course in the country would die for—to Doak. If you study the hillside beyond the
Clubhouse
f you’ve seen photos of the unan- imously acclaimed Streamsong Resort in the Bone Valley region of Florida—and it’s quite likely you’ve noticed the stunning new golf destination splashed across
the pages of Golf Magazine, Golf Digest and Golfweek—then you’ve surely gazed enviously at the seventh hole of Tom Doak’s Blue Course. The drop-dead gorgeous drop
No. 16 (Red)
shot—and no matter what tees you play for the rest of the round, be sure to swing away from the top deck of this pin-up par 3—jumps a lagoon to a green that is cradled by sand dunes draped in rustling native grasses. The green setting is so perfectly and naturally tucked away into the hillside that you can just imagine the Eureka
seventh green, you can spot a worn sandy trail that sneaks its way through the native grasses, eventually connect- ing with the 17th tee of Coore and Crenshaw’s Red Course. That was the planned routing, until a late swap of holes between Doak and Coore-Cren- shaw occurred just six months before Streamsong opened in 2013. But this isn’t Doak fleecing Coore-
Crenshaw, like the Lakers trading away Vlade Divac to land Kobe Bryant. Doak and Coore-Crenshaw collaborated on the converging routing that makes up the Red and Blue courses in a fascinat- ing and unique project. (The names of the courses were born from the colored pens the architects used during the orig- inal sketches of the routing—Coore- Crenshaw rendered in red; Doak drew in blue.) “The neat thing I find about it is
that some of the holes I particularly liked and perhaps saw first on the ground—they’re on Doak’s course,” said Coore when the two courses opened. “And some of the holes he particularly liked are on our course.”
No. 7 (Blue)
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