The

Architecture
of Bleach
No. of words- 2652

Chirag Ahluwalia
3A

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 Lumire 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 todays 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 persons 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
Figure 1. Karakura Town, Western
thematically contrasting supernatural powers, and by the use of aesthetics drawn
Tokyo, Japan.
from the artistic traditions of different real-life religions. Though he is a person
(Kubo, 2001-)
from 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 19th century.

found in the outskirts of Japanese metropolitans, with very basic house typologies which is found to
be used in most animes.
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 official
head-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)
Figure 2. Seireitei - Plan. (Kubo,
The soul society is also home to the soul king who remains in the soul
2001-)
palace and is the force of balance between the realms of the universe as
well 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 worlds 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
Figure 3. Las Noches - Hueco Mundo.
government and only one stronghold, Las Noches5. As described by
(Kubo, 2001-)
Ichigo, Las Noches didnt 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 may
seem 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.

Japanese version of Death or Soul Reapers. Literal translation is death god.

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- Genrysai Shigekuni
Yamamoto (previous) and Shunsui Kyraku (current).
3 A passage between Earth and the soul society where only authorized shinigami are allowed to pass, and is protected by
4
Reishi is the main component material of souls and all spiritual matter. It composes the spiritual bodies of hollows and shinigamis, 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 Ssuke Aizens fortress after he defects from the Gotei 13.
6 A class of powerful hollows that are at par with shinigamis. They have their own internal hierarchy; Menos Grande, Adjuchas, Vastos
Lordes.
2

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 peoples 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 human
form. 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 Skyoku Hill,
Figure 4. Skyoku Hill and the Seireitei Command
which itself is a natural raised platform with sheer cliffs on all sides. Its
Centre with the Senzaiky in the center.
(Kubo, 2001-)
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 Toriyamas Dragon Ball Series. (Tite Kubo, n.d.)
A manga and anime series by Akira Toriyama from the 1980s 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 worlds most successful manga and anime series.
2

Skyoku to the Senzaiky1, 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 Senzaiky 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 and
the headquarters of the one the series main antagonist and anti-hero
Ssuke 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 Espadas have their own buildings within Las Noches to live
as they wish under Aizens control. (Kubo, 2001-)

Figure 5. Senzaiky and the bridge.

(Kubo, 2001-)

Figure 6. Inside of Las Noches. Picture depicting

the comparative size of the structure within the
fort. (Nordstorm, 2012)

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 isnt 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

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

most the walls and predominantly the boundary wall and the Senzaiky, 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
arent 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 buildings 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. The
designer 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.

Shakonmaku is translated as a soul warding membrane.

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