The Perfect Matterhorn

From which angle should the Matterhorn be viewed? What is the mountain’s best side? What is the best season for looking upon its majestic face? What about the mountain commands our interest? Is it size? Does the mountainous contain an invisible power that attracts our gaze? The representational and conceptual analysis of the Matterhorn starts with such questions. They have to do with imagining a painting. It is a Hegelian notion. It is also a design approach, beginning with a sketch, but before the sketch, thinking about where to begin. Why is the question before the question. What is the definition of the project. How is the production. Perfection in the process is considered and affirmed, then forgotten. No Matterhorn is perfect, other than the one signed and hung on a wall, otherwise, why would the mountain change moment to moment, day after day?