"Paul Rudolph was about six. Like Frank Lloyd Wright’s, his father was a preacher- Southern Methodist, and forever on the move from one parish to another. A new church building was in the offing at the time, and he grew up with memories of the architectural drawings which had been scattered about:
'I never really gave up the idea of becoming an architect after that. There are two things I remember being fantastically impressed with. First of all, the weekly revivals. And then the first modern structure I saw - Wright’s Rosenbaum House in Florence, Alabama. I can remember taking my parents and making them drive me to see that house- the carport, those low ceilings, the clerestory light coming in overhead, the sequence of space. In fact, to this day, I remember that house as the most vivid structure I have ever seen.'"
Marlin, William. "Paul Rudolph: Drawings." Architectural Forum 138 (June 1973): 46-47.

“The Colgate Theater has some of the features of an Elizabethan theater: four side stages (two levels on each side) and an apron that projects into the audience in a V form. The stage continues in front of the side stages, and along the sides of the audience. It is the level you actually enter on. Part of my notion is that when you enter the theater you are on the stage, and then you go down and take your seats.”
"The Changing Practice: Theaters." Progressive Architecture 46 (October 1965): 160-220.

"People, if they think about architecture at all, usually think in terms of the materials. While that’s important, it’s not the thing that determines the psychology of the building. It’s really the compression and release of space, the lighting of that space—dark to light—and the progression of one space to another. Because one remembers in that sense. Architecture is very much like music—just as you remember the introductory themes of any great symphony; architectural themes are experienced throughout the space from within. And that’s what unifies it."
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): 49-55.

“As an architect, most of my efforts are absorbed in being an administrator, committee man, business man, and consultant—and, by choice, a teacher. Building committees sometimes concern themselves with only these qualities, but actually they are without meaning unless the artist pervades every act.

Yet today it is the artist that you honor. It is for this reason that it is so deeply felt, and is received with so much gratitude. For, to me, the architect’s function as artist means everything; it is indeed both the reason and the reward for all his efforts. Insofar as he is an artist, the architect must inevitably be subject to the same rule as any other artist, that of personal expression. Here he is alone, despite his many roles.

Architecture is still an art, and in its name, I accept the Arnold Brunner Memorial Award with sincere gratitude.”

Rudolph, Paul Marvin, 1918-1997. Writings on Architecture. Ed. Robert A. M. Stern. New Haven: Yale School of Architecture: Distributed by Yale University Press, 2008.

“I've never known any project that didn't come about circuitously, whether foreign or domestic.”
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