"The best anecdote of the night was told by Lawrence Scarpa, who worked for Paul Rudolph in New York City early in his career. A client of Rudolph’s requested a colonial-revival style house, an odd request obviously for anyone familiar with Rudolph’s work. Scarpa asked Rudolph if he intended to design such a residence. Rudolph said yes, and proceeded to design a Paul Rudolph house for the client. The client apparently loved the drawings, but asked Rudolph if it was indeed colonial revival. Rudolph assured him it was, and the client said “I’ll take it.” The humor, and the lesson, was lost on no one in the audience."

Weinberg, Larry, "The Fame Game." Interior Design, December 4, 2008

http://www.interiordesign.net/blog/1850000585/post/850037485.html

“Architecture is a personal effort, and the fewer people coming between you and your work the better. This keeps some people from practicing architecture, like the sculptor Nivola [Constantino Nivola, 1911-1988], who says “I cannot stand anybody coming between me and my work.” This is a very real problem, and you can only stretch one man so far. The heart can fall right out of a building during the production of working drawings, and sometimes you would not even recognize your own building unless you followed it through. If an architect cares enough, and practices architecture as an art, then he must initiate design; he must create rather than make judgments.”
Heyer, Paul. Architects on Architecture: New Directions in America. New York: Walker, 1966

"My buildings are like children. And when the Art and Architecture Building at Yale was burned, I felt that somebody had died. My buildings are very real presences for me, and they change—are changed—and have a life of their own."
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.

“It was very complimentary for me to have been asked to do this because I loved Paul and because of my time here. Paul used to recruit Der Scutt (Yale, ’61) and me to ink perspective drawings of the building at night. As he designed, he struggled about being across the street from Louis Kahn. For me to be able to come back and restore the building and also do an addition is a great way to express my gratitude.”
"Charles Gwathmey and Robert A. M. Stern." Constructs. Fall 2008: 2-3.
A discussion between Dean Robert A. M. Stern (Yale '65) and Charles Gwathmey (Yale '62) on the occasion of the renovation of the A & A Building (Paul Rudolph Hall) at Yale University, which will be rededicated on November 8, 2008, and the new art history building, the Jeffrey Loria Center for the History of Art."

“Much worthy effort has been spent in finding better relationships between residential areas of all varieties and the town as a whole. However, it seems to us that the detached house, so popular in America and receiving so much attention as an individual unit, has for the most part simply been lined up on each side of the planners’ or speculative builders’ beautifully located cul-de-sac and that is the end of it. When the houses themselves are identical the results are particularly disastrous. Relationships between one house and its neighbor and devices to relieve the monotony of too much repetition and still keep within economic bounds are a real and urgent architectural problem and to us an exciting one…

The one tool which is the architect’s special weapon, the handling of inner and outer space, has seldom been applied to this problem. Our proposals are fundamentally concerned here with the relationships between the house and its private outdoor living and work spaces. Finally and possibly most important it is a search for means to create a coordinated whole out of the repetition of basically similar elements without creating monotony.”

Rudolph, Paul Marvin, 1918-1997. "Revere House Grouping." Architectural Forum 89 (December 1948): 28.