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The architecture firm of Michael Scott Architect was known for its meticulous detailing of interiors, using materials and paint effects to add texture and interest to their buildings. The Irish Builder and Engineer described the interiors of the Ritz Cinema Athlone: "As might be expected, the architect, Mr. Michael Scott has devoted considerable attention to the internal decorative scheme" (Anon, 17 February 1940, p. 99). Scott's attention to the interiors of his buildings was a result of his desire to create buildings as an overall work of design. This was a result of the influence of Walter Gropius and his idea of Gesamtkunstwerk or total work of art where many talents and skills were used to a common artistic purpose. Scott's policy of commissioning artists to produce work to enliven his interiors was augmented at Busáras by the design of furniture and light fittings by the architecture team.
Busáras is one of the few twentieth century examples of an integrated building design in Ireland. Two other examples are Collinstown Airport (1936-1940) by Desmond FitzGerald and the Department of Industry and Commerce Offices (1937) by Basil Boyd Barrett in Kildare Street. At Collinstown, the design team were responsible for the complete design of the interior including the design of items such as cutlery and menu-cards. Similarly at Kildare Street the architect was responsible for all the details, from the commissioning of sculptures for the exterior, to the design of the flooring patterns.
At Busáras, Scott and his team were responsible for the design of all the interior details including furniture, door handles and light fittings. Individual members of the team were responsible for designing chairs and tables for the two restaurants, light fittings and fixtures like shop fronts and the cinema stage and screen. The architects Patrick Scott and Robin Walker were primarily responsible for the cinema and other interiors. Walker was responsible for the design of the chairs and tables for the two restaurants. Patrick Hamilton was responsible for many of the small details through the building both internally and externally like the bollards and door handles.
Early in 1948, as the concrete structure of the building neared completion, the architects turned their attention to the interior fitting out stage. The earliest drawings of interior fittings date from this time and many of these fittings designed early in the project were never executed. The subsequent controversy and uncertainty regarding the building's function meant that many designs for fittings were discarded as the interior plans changed. After the building was purchased by the Department of Social Welfare, most of the design and expense went into the fitting out of the public areas including the bus station concourse and the entrance foyer to the offices.
In the 1950s, travel was glamorous. This was reflected in the provision of the restaurant overlooking the concourse and the pavilion restaurant, which was originally intended to be a restaurant and night-club accessible from the street. This was modelled on Collinstown Airport. When the Airport first opened, it was popular as a venue for dances and it was felt that Busáras could be a popular social venue also, with its views over the city in all directions. However, unlike air travel, bus travel was transport for the masses, and this egalitarianism was reflected in the provision of the newsreel cinema, snack bar and public bar. The newsreel cinema was the first of its type in Dublin.