“All architecture is, for me, a matter of participation of the human being – contrary to what a lot of people have had to say. I regard it as memorable space. It must be acoustically and visually rewarding. You should be aware that you have arrived at a room where theater is going to take place. You ought to feel you’re absolutely at the same level as the performance. I don’t think it can be just any old room; it needs to be a breathing, dynamic thing.”
The Changing Practice: Theaters." Progressive Architecture 46 (October 1965): 160-220.

"I try to find a graphic means of indicating what’s happening to the space. Space can move quickly or slowly. It can twist and turn. Space extends the dynamics of any building, because if the thrusting and counter-thrusting of the spaces aren’t balanced, then people feel unstable, the building doesn’t feel harmonious."
Zinsser, John. "Staying Creative; Artistic Passion Is a Lifelong Pursuit - and These Mature Masters Prove the Point. (Otto Luening, Elizabeth Catlett, Paul Rudolph)." 50 Plus 25 (December 1985): 55.

"Mies was wonderful when he was asked how he went about designing the Seagram Building [1957-1958]. He said he read the New York City Building Code. I think that's an absolutely accurate and marvelous answer. It's what all of us do. You have to know what's possible. Architecture is not a question of the purely theoretical if you're interested in building buildings. It's the art of what is possible."
Rudolph, Paul Marvin, 1918-1997. "Interview with Paul Rudolph.". Ed. Robert Bruegmann. Chicago: Department of Architecture, Art Institute of Chicago, February 28, 1986.

http://www.artic.edu/aic/libraries/caohp/rudolph.pdf

"Rudolph and I never could keep up the same quality of conversation because Rudolph is an artist. That really, I suppose, has been his problem throughout life. He is a real artist. He knew what he wanted, knew what shapes he wanted. And he was more interested in those than he was in the – although there’s nothing wrong with his intellect. He’s a great teacher, as you know. Oh, my God, you were his student, weren’t you? But somehow you wouldn’t put him in that class of intellectural."
Johnson, Philip, 1906-2005, and Robert A. M. Stern. The Philip Johnson Tapes: Interviews by Robert A.M. Stern. Ed. Kazys Varnelis. New York: Monacelli Press, 2008. pp. 99-100.

"You go back to age-old principles. I think there are definite and definable theories on how to relate volume to volume, mass to mass, texture and scale; the relationship of a building to the ground, to the sky, to neighbors. I really believe that you can define X number of approaches. The problem is to see that the approach is consistent, that each component part belongs to the same family of ideas."
Barnett, Jonathan. "Paul Rudolph Cites Old Principles as Bases for Analysis of Today's Work." Architectural Record 131 (January 1962): 12.