This is a famous picture by the artist Imperial Boy (帝国少年), who works in the anime industry. I sometimes claim that the entire genre of solarpunk is simply a riff on this picture.
If it’s not just “trees on buildings”, where does the Imperial Boy picture get its magic? Looking at it carefully and trying to analyze what I like about it, I think that much of it is about architecture, and even more of it is about the use of urban space — about how the structures in the picture shape the kinds of things you’d do if you were there. For example, here are five things I like:
The bipartisan deal contains a pot of money to repair America’s roads and bridges, and build a few more besides. This is the way we usually do infrastructure in America. First we build a ton of roads and bridges that are highly expensive to maintain, especially with our ruinously high construction costs (see this recent article by Jerusalem Demsas). Then, because costs are so high, we wait for a long time to repair the roads and bridges, until civil engineers start screeching, roads get potholed, and there’s a bridge collapse or two. Then we muster up the political will to throw the requisite shit-ton of money at the problem, the potholes and weak bridges get repaired for twice the amount it would have cost had we done it on a regular schedule and three times the amount it would cost if we were a normal rich country. And the whole cycle begins again.
It has long been understood that striving for originality as an end in itself is the mark of an inferior artist. The personal style of a good artist is never something that has been deliberately cultivated and forced but something that has appeared unsought as inevitably as the personal style of a man's handwriting.
But since artists of note are seen to have a distinct personal style, no artist can hope to make a reputation in a competitive society unless he too can show a distinctive style which easily differentiates his work from that of other artists and draws attention to it. Therefore artists of little capability or uncertain vocation will take great care to make their work look 'different', whereas those with any certainty in them will know that their work cannot help but look different from that of other people any more than signatures can.
It is worth reflecting that the fact of the unmistakable individuality of each man's signature is one foundation of modern commerce everywhere. To establish the individuality of it one need not write it vertically up the page in letters two inches high. And yet there are only twenty six letters, and everyone else uses them too.