Golfadelphia

6,505 yards, 134 slope from the Blues

The sun rose yet again. The rain clouds scattered, satisfied with their vigorous drenching of Southern California the day before. That familiar sheen of the sun against the palm trees, the ocean close at hand as the horizon stretches infinitely. Just another day in Los Angeles. Like anything else, one gets accustomed to the beauty yet acknowledges it every now and then but probably not as much as everyone else believes they would if they lived here. Coming from the East makes it much easier to pause and take in. I never tire of it every time I come back. The sights and sounds are particularly vivid in the hills above UCLA. Those hills rest high above Los Angeles proper, then angle towards Santa Monica and the rest that way. Rigid canyons reside between the hills, carving out valleys originating from the streams that run down. This is the setting of Bel-Air. At first, one might be skeptical the land can yield worthwhile golf because of the jagged severity that seems to prevail, but that’s the brilliance of the design. Embracing the severity and beauty, traversing the volatile land in all of its splendid variety.

Bel-Air was designed in 1925 by George Thomas with design counseling and construction by Billy Bell and guest designer Jack Neville of Pebble Beach fame. Club founder Alphonso Bell tasked Thomas to lay out a course amongst the hills and canyons above the Los Angeles basin. This was largely accomplished with the use of tunnels running from one canyon to the next through the hills. This was no small feat. Engineering and course design prowess was needed to not just make it possible, but make it a marvelous design. Neville’s critical contribution to the project came during construction of the first nine holes, when the land deal for the back nine fell through. That land was below Sunset Boulevard, below the front nine. It appeared there was no place for another nine holes, even with tunnels and the rest of it. Neville noticed a tangle of scrub oak on a ridge across from the clubhouse, a 150 foot wide canyon separating the two. After realizing Bell owned the land on that side, Neville wondered if it was possible to hit a golf ball across the wide expanse as a way to open up the land beyond for the back nine. Neville teed up with a Ray Mills aluminum headed putter and watched as the ball indeed made it across. Thomas was next, likewise successful. They planned the construction of a bridge to get across the canyon and to the back nine, which would be laid out to the west and slightly above the front, primarily within a valley formed long ago by tectonic shifting and a stream running in the middle of the whole scene. In Golf Architecture in America, Thomas described the design and construction process as, “the exception that proves the rule in the using of hilly country.” Credit to Geoff Shackelford’s The Captain for much of the design history referenced above, which cited longtime Bel-Air club professional Joe Novak’s unpublished manuscript, The Bel-Air Story for how the back nine was forged through exploration by necessity.

The course was a rousing success upon opening and has enjoyed a prominent membership ever since. Several architects imparted changes to the course in the ensuing decades, which included removal of the famous “Mae West” green at the Twelfth. In writing of the course, Tom Doak remarked he would seize the opportunity to restore Bel-Air above most any other course. That opportunity was ultimately realized in 2017 when he was retained by the club to undergo restoration efforts. Doak, along with Eric Iverson, Kye Goalby and Blake Conant, focused on restoring the greens (including the return of “Mae West”), fairway contours and bunkers using historical aerials and research by Tommy Naccarato, as well as removing water features that were installed over the years. And of course, extensive tree removal. A new strain of Bermuda was used while drainage and irrigation were improved as well. The Golfadelphia 2025 Preview mentions, “there are two very notable projects that took place long ago we’re able to evaluate their long-lasting impact. Two well known architects with different styles each restoring respective very well known courses originally by the same architect is an evaluation exercise I’ve wanted to embark on for a while. This is the year it happens.” Doak’s restoration of Bel-Air is one of those projects. Here, Doak was presented a course where the routing was intact and most of the changes were cosmetic and most importantly, possible to restore. He focused on the more important features to return the original character and his brilliance with the greens is world renown. The club does not seem to have any aspirations to host professional tournaments, so Doak did not need to worry about any of those types of factors that have the capacity to influence these types of projects. In short, much was in place for Doak and his team to accomplish a faithful restoration of Bel-Air to an iteration much more closely resembling the original design.

Driving up the hills to the course, one certainly starts to wonder how an entire golf course manages and that feeling doesn’t really dissipate even upon stepping foot in the clubhouse. In fact, that feeling remains until the final approach at the Eighteenth. It’s the routing doing its work, finding answers within the riddle of the terrain for each hole following the other. One of the joys of the day was waiting to see the next hole show itself. The bunkering was also superb, showcasing the catcher mitt style characteristic of Bell. At the time, it was one of the boldest bunkering schemes for Thomas and Bell and this certainly comes through at present. They are typically below grade set into hillsides yet a couple are fairway interruptions, their shaping very much fluid, like still pools of cool water stoically relaxed. In line with the bold bunker scheme, Thomas implemented is first alternate fairway hole here, as well as a modified Redan and more of a reliance on zesty mounding (Mae West introduced as Exhibit A). In terms of Doak’s restoration, the course now has the strategy and character intended by Thomas and his associates. These changes opened up corridors of play, especially with the ground game with the work to the green surrounds, and sharpened the subtle layers of thought that Thomas focused on with his designs. Simultaneously and consistent with his minimalist design philosophy, Doak refrained from anything that would place his own mark on the design and simply adhered to a pure restoration approach. The project was well researched and well executed, returning Bel-Air to more of its original identity with subtle complexity.

The beauty of the hills and city beyond is on full display below the golfer at the First tee. We watched as our opening shots took flight before romping about down the hill. A gorgeous scene, the whole round now ahead of us in such opulence. Just another day in Los Angeles.

The First is a 475 yard par 5 (from the Blues). The clubhouse resides at one of the highest points on the property so we start the round by dramatically soaring in the sky to the fairway below. This is the most expansive part of the course, with three fairways next to each other, ours sandwiched between the Ninth and Eighteenth. The width is surprising as it grows with each step down from the clubhouse and once we are on the valley floor, the full array of options for the second shot finally becomes delightfully clear. The green is off to the left and uphill while the fairway before it is relatively straight and a touch downhill. It is left to the golfer how he would like to reach the green and deal with the hill yet he should consider the inevitable eschewing of each shot downwards and to the right. The green moves similarly, more intensely at the back left. Thomas believed in a par 5 start and here, it is a splendid opener.

The Second is a 395 yard par 4. The Thomas opening duo typically consisted of a gentler par 5 opener and a much more difficult par 4 Second. That is certainly the case here as the menacing bunker in the distance from the tee gets the golfer thinking about the preferred path to the green. The flat area is off to the right yet the left is suggestive even though the hillside leads into the sand. Those with the gusto carrying the bunker altogether are rewarded with a much shorter approach, which is a boon here with the elevated green moving hard from right to left. Give me the left side every time for a fighting chance at that green.

The Third is a 160 yard par 3. Now the bunkering is simply showing off, mostly at the front of the green but also at their corners. The green is wide with a touch of depth. If you can’t fight the urge to miss, may I suggest short right before the sand. The rear of the green becomes much more complicated. Recovery character abounds every where but the green beckons above all else.

The Fourth is a 445 yard par 4. A leggy par 4 heading straight out with a few pesky Sycamores on the right. The golfer will be hitting two long shots into the green, which is slightly pushed up with effective yet unassuming mounding surrounding it.

The Fifth is a 145 yard par 3. The green is more elaborately enveloped in bunkers than the Third and we now hit up to it. There are less recovery options off to the sides even though I would be remiss not to mention my par save from a ghastly miss off the too into the trees on the right. It can be done but I wouldn’t recommend it. The left side does slope down to the valley floor so if there is a miss to be had here, it is there. The green moves from back to front with interior shifts in direction that’s enough to give pause.

The Sixth is a 380 yard par 4. We move through our first tunnel, under Belagio Road and back in the direction of the clubhouse. The fairway is a hillside leading down to a creek off the left side of the fairway. The tee shot must favor the right side for its inevitable pull to the left and keep the creek at bay. There are no fairway bunkers and only a single at the rear of the green. The contours are both our friend and foe as the approach is uphill to the green, opposite in movement from the fairway with its left to right.

The Seventh is a 380 yard par 4. I don’t know how many times I have run into this, but there are two holes next to each other the exact same length. Of course, they do not play the same at all, which includes the approach into the green. We reverse direction and are faced with the right to left hillside and bunker complexes on the left, then near the green on the right. They are imposing and with the hillside hiding a good amount of the fairway, the golfer must fight the trepidation off and commit to his line. I like playing off the left bunkers so that the ball tails to the right as close as possible to the greenside bunker behemoth. From there, it’s a pitch likely blind. Laying off the tee some what for a fuller shot into the green would be another favorable route I may need to explore should the opportunity present itself.

The Eighth is a 495 yard par 5. The third consecutive tee shot where the hills need to be embraced. Those too far left or short will be faced with a blind second shot while those flirting with the right side bunkers will see their shot advance forward and towards the center, shortening things up for consideration of going for the green on the second. The fairway moves downhill to the green, needling through hills on both sides and feeding right on to the green, which moves front to back. Left near the green is the grave error while the preferred miss is short. The downhill nature of the hole gives those out of position a nice shot at redemption for par.

The Ninth is a 325 yard par 4. A short par 4 with a wealth of strategic options, one of the key features Doak restored is the creek that runs along the left side. This brings in much more thought off the tee should the golfer wish to lay up to the wide part of the fairway. The creek also tempers those who want to go for the left side upper fairway just before the green, which leaves a pitch on. The further one desires to move on the right side, the narrower the fairway gets so one must think about that as well. The green sits above on the left, some sharp mounding just before it to add interest to the shorter approach. A diagonal ridge creates an upper rear tier and lower front, all of it moving back to front. A great short par 4 to finish up the front.

The front nine is superb, seemingly effortless routing with a variety of holes taking root in the unique terrain. I would rank them 9, 7, 1, 8, 2, 5, 6, 4, 3.

The back nine starts with the 205 yard par 3 Tenth. The green floats just above the oak scrub with the valley below. That valley has the Eighteenth finishing up, showing the close of the loop on the back as it starts. Doak restored the green to its original features, which include a modified bowl green running around the entirety of the hillside with a bump protecting the front right. Those that favor the left side can slot their shot into the bowl, which will funnel towards the center. Those off line will likely need to negotiate the contours and hilly lies to get near the pin. If the wind is against off the tee, no one will think twice about pulling driver. Finally, take a moment on the Swinging Bridge, one of the more famous golf landmarks one can find.

The Eleventh is a 395 yard par 4. Thomas, Bell and Neville solved where the back nine could reside with the shot at the Tenth across the valley, which opened up one of the valleys on that side. The tee shot here dives into that valley. The trees only reveal so much, the strategic envelope totale from the tee hiding beyond them. One can lay off and land on the wider part of the the fairway straight out, or take the daring shot out over the left of the tree line, which would land on the left side of the fairway for a shorter approach. It’s a blind shot and an alternate fairway to the visible right hand side. The creek runs on the left side of the green and bunkers sprawl out on both sides, angled to the right. Those approaching from the left have the contours in their favor and away from the creek while the right side approach has the entry point in their favor but must consider the creek at the rear.

The Twelfth is a 385 yard par 4. Now in the valley, the canyon wall runs along the right and the green is not in view at the moment. One needs to move straight out and favor the left center to left side, or sling it left to right so that the ball moves around the turn ahead. Mae West is in view from the tee, marking the green location before it. The creek is still on our left and any shot too far in that direction will find it. The high mounds near the green have earned the nickname Mae West in fondness to the curvy movie star. The mounds hide the green from any approach off to the left and quite honestly, most from the right as well. The right hillside can be used a side board to propel the ball left towards the center of the green. One won’t be able to see this happen so will just have to have some faith in old Mae.

The Thirteenth is a 220 yard par 3. As Shackelford puts it, things now get downright tough. A modified Redan on the longer side where the bunkers obscure the green and are before it. The left bunker complex was left intact as constructed and is considered one of if not the finest bunker Thomas ands Bell produced. The canyon wall on the right still works the ball to the left, towards the creek.

The Fourteenth is a 580 yard par 5. We have reached the end of the canyon and now turn around to move down the other side. Long, straight and downhill, the par 5 widens the further away it gets from the tee. The creek on the left and canyon wall on the right need to be avoided yet there is some refuge in the right to left movement coming off the wall. The bunkering before the green flummoxes from pretty much any spot on the fairway and makes it seem the green is close than it really is. The right to left movement continues at the green and just like the Eleventh and even the hole prior, the creek looms directly left rear adjacent, just waiting to become more prevalent.

The Fifteenth is a 445 yard par 4. A bend to the right at the tee shot, the creek is no more but the area off fairway to the left is limited. The green is deep and the bunker on the left is imposing yet there is plenty of room on the right to miss.

The Sixteenth is a 200 yard par 3. The final par 3 is uphill to the green, protected by bunkers at the front with an entry point in between. The interior contours on this green are notable, adding complexity to a general back to front movement.

The Seventeenth is a 475 yard par 4. Now tunneling back to the main course area, the tee shot heads back down to the valley floor, a hard dog leg right tempered by the a bunker on the left side that collects overly aggressive tee shots that forget to turn right. The fairway starts narrowing to the green after the turn. The green is pushed up and the fall off on the right side. It’s a deceptively tough approach because the golfer doesn’t realize just how penal the slight miss is if to the right or long. This makes the tee shot all the more important and the reward that much more valuable for those who can cut the turn for a shorter approach much easier to control. This was one of the favorite holes of both Ben Hogan and Bobby Jones.

The Eighteenth is a 400 yard par 4. Moving up the canyon floor towards the clubhouse and finishing under the Swinging Bridge, the left to right movement is strong off the tee. Like the hole prior, the fairway narrows as it progresses to the green, a center line bunker complex just before the green and deep enough to detour the next shot. The green moves back to front, delicately then all at once.

The back nine has the strategic dance of the opening trio then insists the golfer calls upon his arsenal of shots to get through the remaining holes. Considering the terrain, the nine is extraordinarily well-rounded. My ranking would be 11, 17, 12, 10, 13, 18, 16, 14, 15.

Generally, Bel-Air is a marvel accomplishment and even more so because of how richly complex and subtle the structure of play can get. There is very little if any severity and the walk itself is fairly manageable, underscoring how much it accomplishes. The fluctuation of width, using the hillsides for contours in both strategy and challenge, as well as bunkering for strategy and functional catch basins is ingenious. Geoff Shackelford’s The Captain is command reading when it comes to George Thomas and golf course architecture in general. Of Bel Air, he wrote, “[M]any of the innovations that Captain Thomas and Billy Bell implemented at Bel-Air were important because they served as a trial run for some of their most enduring design elements, which were used on the next two (and most popular) projects.” Geoff is referring to Riviera and Los Angeles Country Club. The Bel-Air section of The Captain is especially apt in light of Doak’s restoration. The book was written before that project and bemoans the lost of several features that have been restored just as Shack describes. That restoration was indeed magnificent and captured the adventurous strategic Thomas character the course encapsulates. It’s a course that engages on every shot. With the exception of the Thirteenth and Tenth, however, the par 3’s are subject to a bit of repetition, lagging a but behind the 4’s and 5’s, as well as Thomas’ lot of par 3’s in general and specifically in the Los Angeles area. Yet they make more sense considering the overall routing, which is among one of the best the golfer can find. A course that should be played over and over for theses reasons along with an unmentioned million more.

Clubhouse/Pro Shop: Screaming Los Angeles in the best way possible, the white adobe mission style clubhouse sits atop the hill overlooking the course majestically and boasts some spectacular views. The pro shop is worth a visit for its very good selection.

Practice area: There is a driving range down the hill behind the First green, putting green next to the First tee and short game area near the range.