the architecture of bleach

8/19/2019 The Architecture of Bleach

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The

Architectureof Bleach

Chirag Ahluwalia

No. of words- 2652



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Abstract

This paper is an attempt to prove that a designer, be it from any creative field where the

person is able to visualize and translate their design on any medium, does so based on the common

characteristics that come from their everyday life experiences; from moving around various types of

urban and open spaces as well as their own imagination. The focus of this paper revolves around

particularly, on the use of animation as a tool and as a secondary virtual space; taking Bleach the

series as its primary example, to incite the same kinds of emotions that may come from the real

world. Thus, furthering the reach of architecture in the virtual, as well as the real world.

Introduction

Since the first commercial screening of film and the birth of cinema by the Lumière Brothers

in Paris (Webb, 1986), the moving picture has taken leaps and bounds to reach where it is today.

From the iconic silent films of the early twentieth century to the various forms of visual

entertainment it has become in today’s date. These moving pictures have captivated their

audiences, inciting various forms of emotions to inducing thought provoking revelations. However,the moving pictures found its places in every person’s heart early in their childhood through

animated cartoons and stuck with them till adulthood, spreading happiness and joy throughout the

world. These moving pictures soon became a front for various artist and designers alike to propagate

their vision as well as inspiring young minds to dream and imagine.

“ Cartoons can bring so many rewards: pleasure, joy, insight, and wonder. They can be

drawn from countless lines or only a stroke. Whether inundated with words or remaining utterly

silent, they can bring forth surprising recognition, shock, and anger. Indeed, cartoons can be

masterful inventions, giving perfect form to thought and feeling.” (Goodwin, 2001)

“The cartoons are very popular in Japan; they make any topic

understandable to the public by explaining complicated subjects through a story

with characters.” (Hunold, April 2012)

Noriaki Kubo, known otherwise by his pen name Tite Kubo, is one such artist who

propagates his imagination through not only manga1 but also its animated

counterpart ‘Japanese Anime’. In his series Bleach, the series takes place in a

fictional universe in which the characters are divided into various functionalized

fictional races. All the races are sub-divisions of humanity, but are distinguished by

whether they live on Earth or in one of the afterlives, through the possession of

thematically contrasting supernatural powers, and by the use of aesthetics drawn

from the artistic traditions of different real-life religions. Though he is a personfrom a non-architectural background, Tite Kubo is able to create spaces using

scale, materiality, typologies and other architectural tools to create the scenes within the series.

(Bleach Wiki , n.d.)

Bleach

The story takes place in three specific locations in the Bleach universe. The first is Karakura town, a

small town in western Tokyo, Japan with a small population, home to the main protagonist Ichigo

Kurosaki along with his friends and family. The town design is based on the small sub-urban villages

1 Japanese comic created by Japanese artists conferring to a style developed in Japan in the late 19 th century.

Figure 1. Karakura Town, Western

Tokyo, Japan.

(Kubo, 2001-)



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found in the outskirts of Japanese metropolitans, with very basic house typologies which is found to

be used in most anime’s.

The second and main location where most of the story unfolds is the soul society, home to souls and

Shinigami1 alike. The soul society is a large realm which is home to many

souls who reside here until they are reincarnated on earth again. While the

Shinigami live in the Seireitei, the capital of the soul society and the officialhead-quarters of the Gotei 132 along with their Shinigami subordinates. The

Seireitei is a highly guarded and impenetrable military base (though has

been infiltrated on many occasions since Ichigo Kurosaki became a

Shinigami) located in the center of the soul society. It is also home to a few

of the royal families.

“The soul king is the keystone, without the keystone in place the soul

society would fall apart easily.” (Urohara, 2011)

The soul society is also home to the soul king who remains in the soul

palace and is the force of balance between the realms of the universe aswell as central 46, the main governing body in the soul society. The only

means of transport between Earth and the soul society is through the Senkaimon.3

The third realm in the bleach universe is Hueco Mundo. This realm is the

Bleach counter-part to our world’s hell which is made out of free flowing

Reishi4 and where, all the souls that were not able to cross over to the

soul society reach in the form of hollows.

Hueco Mundo has a never ending desert like landscape where there is no

life (unlike soul society) and has an unchanging night cover in the sky.

Even the trees that are present there are lifeless and made from a cold,crystal like material. Unlike the soul society, Hueco Mundo has no

government and only one stronghold, Las Noches5. As described by

Ichigo, Las Noches didn’t appear to be any closer to them from when they

first started running on entering the desert landscape despite its

enormous size. Ruled by the upper class Menos6 called the Espada; these hollows are extremely

powerful and ruthless and even compare in power to those of the captain class shinigami. (Kubo,

2001-)

Though Tite Kubo is only a manga artist, and is not a designer from an Architectural background, he,

like many other artist, from not only different comic book genres and anime series, but also from

different mediums of creative expression, is able to portray his creation, his own world, in what mayseem to the layman as just cartoons but is the careful designing of space in the two dimensional

realm where even though the same laws of physics and matter do not apply; follow the logic of

reality in his imagination that helps further the plot of his story.

1 Japanese version of Death or Soul Reapers. Literal translation is death god. 2 The thirteen court guard squads, led by thirteen powerful captains each specializing in specific capabilities, ranging from assassination

squad to the technological department. The captain of the first division is the captain commander of the Gotei 13- Genryūsai Shigekuni

Yamamoto (previous) and Shunsui Kyōraku (current). 3 A passage between Earth and the soul society where only authorized shinigami are allowed to pass, and is protected by4 Reishi is the main component material of souls and all spiritual matter. It composes the spiritual bodies of hollows and shinigami’s, and

the two planes of existence, Hueco Mundo and the soul society in its entirety. 5 The strong hold of Hueco Mundo and home to the Espada. Later Sōsuke Aizen’s fortress after he defects from the Gotei 13. 6 A class of powerful hollows that are at par with shinigami’s. They have their own internal hierarchy; Menos Grande, Adjuchas, Vastos

Lordes.

Figure 2. Seireitei - Plan. (Kubo,

2001-)

Figure 3. Las Noches - Hueco Mundo.

(Kubo, 2001-)



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The Designer and his Design

“ Architecture is a serious art, and all society its captive audience” (Shawcroft, (Summer, 1960)).

Architects use their ideas terming them as concepts and create three dimensional spaces as a means

to further impose their own ideas on others. However, in actuality there are many external

conditions which do affect the people’s perception of space; ranging from weather conditions to the

quality of space translated from the architects design to the site. Animation and the virtual space

however, can be created to reciprocate the designers thought process, creating the intend emotions

through not only the spaces created in the two dimensional virtual space but the freedom to play

with scale and exaggerated actions along with the addition of background sound effects which as a

“Verbal denomination of sound effects, it is the foundation not only of intersubjective

communication but also of a differentiation in the perception process.” (Flueckigier, 2009)

In the article, Theoretical Framework for creative Visual Thinking, the author describes the

framework for creative thinking process through a set of ‘actions’ that use the help of an arbitrary

mediums such as the ‘internal world ‘ and the ‘external world’. She describes these defines these

mediums wherein, “The internal world is built up inside the designer in terms of concepts and

perceptions, while the external world is composed of graphical representations outside the

designer” (Grabska, 2015). She explains that various actions ranging from conceptualizing the design

to editing and functionalizing the design so to make the viewers or readers better co-relate with

content are important to create the two dimensional virtual world which can provide the viewers

the intend emotional as well graphical output.

Ideas that dwell on the perception of space through the perspective of those who come across it.

Factors including scale, shape, form and colour that form the body of the content in a cartoon are

among the most important things that determine the quality of the end product. While most

cartoons are made for the purpose of satirical humor; anime cartoons however, are made as a more

exaggerated, though fundamentally similar version of reality. At least when it comes to the humanform. Which in my opinion creates a sort of reference point, from which we may be able to relate

with what is depicted in his art.

Scale

In the virtual world the artist has always had control of the control of the various tools that

in our reality are pre-defined. The scale of the human being however is always kept same. Yes, there

may be exceptions when it comes to cartoons especially those that involve mythical and imaginary

creatures, but by the end it is the play on scale within these realms that are able to produce the

intended emotions and create the intended ‘external world’.

Bleach artist Tite Kubo has designed his world keeping in mind his

influences1, from where he decided his series, like Dragon Ball2, must

feature characters; mostly villains that are, “strong, scary and cool”

without any exceptions.

Through his use of scale in his design, Kubo has created emotions that

set off from the dumbfounding grandeur depicted in his work. The

size of the execution ground which is located on top of Sōkyoku Hill,

which itself is a natural raised platform with sheer cliffs on all sides. Its

main access is a long, high colonnaded bridge which connects the

1 Tite Kubo draws his inspiration from various other manga series and more notably Akira Toriyama’s Dragon Ball Series. (Tite Kubo, n.d.) 2 A manga and anime series by Akira Toriyama from the 1980’s that went on for more than two decade through its two sequel series,

Dragon Ball Z and Dragon Ball GT, and has become among the world’s most successful manga and anime series.

Figure 4. Sōkyoku Hill and the Seireitei Command

Centre with the Senzaikyū in the cent er.

(Kubo, 2001-)



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Sōkyoku to the Senzaikyū1, and another long, zigzagging stairway as secondary access carved into

the side of the hill. The execution ground as well as the puresist all white form of the of Seireitei

Command center and Senzaikyū are all designed with the intent to subdue all hopes of those who go

against the rules of soul society and central 46.

Similar is the case with Las Noches in Hueco Mundo. A grand fortress for hollows of various sizes and

abilities that match the destructive force of tanks and warships. Here in the home of the Espada andthe headquarters of the one the series main antagonist and anti-hero

Sōsuke Aizen, the ceiling of the fortress is as high as the sky and normal in

colour compared to the rest of Hueco Mundo; and with whose gates are

each at a distance of three days from one another within the fortress.

Each of the ten Espada’s have their own buildings within Las Noches to live

as they wish under Aizens control. (Kubo, 2001-)

Materiality

“ The relationship between architecture and materials had been fairly straightforward until

the Industrial Revolution. Materials were chosen either pragmatically – for their utility and

availability – or they were chosen formally – for their appearance and ornamental qualities.

Locally available stone formed foundations and walls, and high-quality marbles often appeared as

thin veneers covering the rough construction. Decisions about building and architecture

determined the material choice, and as such, we can consider the pre-19th century use of materials

in design to have been subordinate to issues in function and form .” (Addington, 2004)

In the world of bleach, Tite Kubo has paid careful attention to materiality. A trait which is a defining

aspect in architecture. The two most notable and peculiar building materials used in construction of

the buildings in the bleach universe are, Sekkiseki, a rare and special mineral that has the ability to

negate Reishi and Reishi itself. Though Reishi isn’t a solid or any other sort of tangible material2, it is

the main component material of all souls and spiritual matter. It is abundantly found in both soul

society and Hueco Mundo.

Sekkiseki on the other hand is a material that possesses the ability to emit a unique wave of spiritual

energy from its edged surfaces (walls, etc.). Used in the Seireitei as the basic building material for

1 Senzaikyū is the holding chamber of those in death row awaiting execution. Its literal translational is the Palace of Penitence. 2 Though it does not exist in a physical form of its own, all other in-animate objects present are made of Reishi. Quincy’s are the only ones

shown to be able to harness Reishi and use it in the form of attacks. Shown as blue, glowing source of light.

Figure 5. Senzaikyū and the bridge.(Kubo, 2001-)

Figure 6. Inside of Las Noches. Picture depicting

the comparative size of the structure within the

fort. (Nordstorm, 2012)



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most the walls and predominantly the boundary wall and the Senzaikyū, it is that energy that is

emitted and forms large barrier around the Seireitei called the Shakonmaku1. It is the stones ability

to repel any Reishi from passing through it that makes it so valuable and an important part of the

soul society. Even though its place of origin, method of extraction and construction techniques

aren’t known; it is noteworthy to see the in-depth detail and thought Tite Kubo has put into creating

a material solely for the sake of his own design and work.

Conclusion

“Architecture is not only the built constructs we design; it is also the spaces within the built

constructs that gives the built form character.” This is the belief upon which spatial architecture

defines itself. According to this theory, the architecture of a space is equally important to that of the

building. As the building’s form determines the space it creates inside, it may be said that one is

dependent on the other. As such the spaces created, work on the logic designed by the architect or

designer for that space.

If a space is considered as an entity of its own, then that space, that exists either in terms of a three

dimensional constructs or a two dimensional virtual space on canvas, paper or media, then those

that design it are the architects or designers of that space. Artist, designers, animators, and

architects all design in their own personal mediums. As such we may call them medium specific

architects; those who know how their design functions and are able to translate it onto their specific

mediums, using basic logic that is required to have a functioning space according to their design. Thedesigner and architect of Bleach, Tite Kubo has shown all these skills from making knew realms with

their own architecture, materials, landscape and government to having a completely different ways

of functioning but by using the knowledge and understanding derived from the real world.

Bleach is a very successful manga and anime series, filled with action, adventure, drama, romance

and a lot of comedy; it is series with something for everyone. With its detailed story and mix of the

supernatural it is a story that will not let go of its reader or viewers.

1 Shakonmaku is translated as a soul warding membrane.



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eferences

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http://bleach.wikia.com/wiki/Bleach_Wiki

Flueckigier, B. (2009). Sound Effects. Continuum International Publishing Group.

Goodwin, G. (2001, May). More Than a Laughing Matter: Cartoons and Jews. Modern judaism , Vol.

21, No. 2, pp. 146-174.

Grabska, E. (2015). The Theoretical Framework for Creative Visual. In E. Grabska, Studying Visual and

Spatial Reasoning for Design Creativity (pp. 39-49). Poland: Springer Netherlands.

Hunold, P. F. (April 2012). Japan. In P. F. Hunold, Exploring Cultural Differences in Approaches to

Visual Communication Design (pp. 72-84). Radford University.

Kubo, T. (2001-). Bleach . Weekly Shounen Jump.

Nordstorm. (2012, June 7th ). NarutoForums.com. Retrieved from

http://www.narutoforums.com/showthread.php?t=843036

Shawcroft, B. ((Summer, 1960)). Architecture and Layman. Journal of Architectural Education (1947-

1974), Vol. 15, No. 2, 10.

Tite Kubo. (n.d.). Retrieved from http://en.wikipedia.org/: http://en.wikipedia.org/wiki/Tite_Kubo

Urohara, K. (2011, February 15th). Bleach- Fierce Fighting Conclusion! Release, the Final Getsuga

Tenshō! Episode 309. Japan: Studio Pierrot.

Webb, M. (1986). The City in Film. Design Quarterly, No. 136, 1-32.

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