あまりに分厚いので恐れ慄いたが、観念して読んだ。正直なもので私が磯崎に興味を持っていた時代まではとても面白く読めた。著者の筆力が、磯崎の狂気を余すところなく描いていてスリリングである。僕の学生時代の二人の尊敬すべき建築家の一人だった磯崎のプラトン立体（特に立方体）による建築の自律性と、原風景である東大寺の巨大性への憧れが、篠原一男と大いに重なる。篠原は正方形で建築の自律性を作り、体質として巨大性を保持していた。この時代を作った二人の類似点に改めて気づく。It was so thick I was intimidated, but I gave in and read it anyway. I found it very interesting up until the time when I was interested in Isozaki. The author's writing skills are thrilling as he portrays Isozaki's madness in full detail. Isozaki was one of the two architects I respected in my student days, and his admiration for the autonomy of architecture through Platonic solids (especially cubes) and the enormity of Todaiji Temple, his original landscape, overlap greatly with Shinohara Kazuo's. Shinohara created architectural autonomy through squares and maintained enormity as a natural part of his character. I am reminded once again of the similarities between these two men who made this era.