Europe, Ireland, Dublin

Busáras (Irish pronunciation: [ˈbˠɔsˠˌɑːɾˠəsˠ]; from bus + áras "building") is the central bus station in Dublin, Ireland for intercity and regional bus services operated by Bus Éireann. Busáras is also a stop on the Red Line of the Luas system, just before the terminus at Dublin Connolly railway station. Áras Mhic Dhiarmada is the official name of the building, which also includes the headquarters of the Department of Social Protection. CIÉ, parent of Bus Éireann, rents the lower floors from the Department. Áras Mhic Dhiarmada is named after Seán Mac Diarmada, a leader of the Easter Rising in 1916. Busáras was designed by Michael Scott and his team of young architects and designers between 1945 and 1953. It was built against a background of public opposition which centred on the external appearance, function and excessive cost - over £1,000,000 before completion in 1953. Simultaneously loathed by some of the populace and but loved by architectural purists, the building was designed in an International Modern style between 1945 and 1953. A number of the original fixtures and fittings designed by Scott still exist, including terrazzo floor tiles, and large timber wall panels. One of the first modern buildings in Dublin that attempted to integrate art and architecture, utilising elements like glass facades and a pavilionised top storey, the building won the Royal Institute of Architects in Ireland (RIAI) Triennial Gold medal in 1955. It was featured on the highest value stamp issued in the Architecture definitive postage stamp set issued in 1982 by the P&T, the forerunner of An Post. Bus Éireann is seeking planning permission for the €2 million-plus second phase of refurbishment of the building. The proposal involves repairing and cleaning the bronze glazing and brickwork at ground floor level, which will be overseen by conservation architects and an expert in bronze. The west-facing entrance lobby is to get new entrances at both sides with bronze automatic sliding doors and uplights installed to the underside of the canopy. The building is praised for use of materials and paint effects that enhanced texture and brass, bronze, copper, mosaics, and exotic timbers often featured in Michael Scott’s work.