What is it now? Ptolemy's writings from around 140 CE first mention the area now occupied by Dublin. In the 9th century, a Norse village was the first to be discovered. This list shows how Ireland's capital city has changed in recent years.
5 buildings to see when traveling to Dublin
Earlier versions of the descriptions of these buildings first appeared in Mark Irving's book 1001 Buildings.
Marino's Casino
The Casino is an architectural marvel located 3 miles (5 kilometres) northeast of Dublin city centre.
Sir William Chambers created Ireland's first and most notable Neoclassical structure as a garden pavilion for the Earl of Charlemont's Marino estate, of which it is currently the only surviving portion.
It is surprisingly small—only 50 square feet (15 sq m) to the outer columns—having been completed in 1762. It seems to be a single-roomed, single-story Greek temple from the outside.
On the inside, though, there are 16 well proportioned rooms spread across three floors. Chambers never visited Ireland, despite the fact that his design was planned as an end pavilion for Harewood House in Yorkshire, England.
Lord Charlemont was an art aficionado, and the Casino exemplifies both his artistic and political goals.
Each projecting elevation is framed by a pair of columns in a Greek cross plan.
The north and south facades are dominated by the substantial attic storey, statues, and urns, with the entrance on the north.
The freestanding columns were hollowed down to convey rainwater from the roof, while the urns were previously working chimneys.
The saloon is a more appealing area on the inside than the lavish cabin.
The centrepiece of its ceiling is an Apollo head emerging from a sunburst.
Two smaller chambers, the China Closet and the Zodiac Room, are also beautiful.
Library with a Long Room
The greatest buildings concentrated around Front Square and stretching back past the Campanile to Library Square beyond, the 400-year-old Trinity College campus is packed of architectural marvels. Contemporary architecture takes its place behind these, with an astonishing variety of styles and periods coexisting with the gardens and cricket greens. The huge Long Room, also known as The Old Library, was built in the early 18th century and once dominated vistas of both the college campus and the city. The main structure was built by Thomas Burgh, the son of a bishop who was also in charge of the Royal Barracks in Dublin. These were originally planned with open colonnades at ground level, but they were enclosed in the 19th century to make extra space for scholars and literature. The building's most notable addition occurred in 1858–60, when Irish architects Thomas Deane and Benjamin Woodward removed the flat roof and replaced it with a stunning wooden barrel-vaulted ceiling.
Deane and Woodward's work can be found next door in the wonderful Museum Building, which is known for both drama and Neo-Gothic whimsy. The Long Room at Trinity, which is 210 feet (12 metres) long, is the world's largest single chamber library, with 200,000 of Trinity's oldest books housed in its oak cases.
Campus Headquarters of RTÉ
The Dublin campus of Radio Telefs Éireann (RTÉ), Ireland's national television and radio broadcasting business, offered a new level of aim for Irish architecture and a tangible reflection of the Irish state's modernization discourse. The first phase of the Television Centre was built as the country emerged from a recession in the 1950s, which was accompanied by an emigration problem that shook national confidence. The RTÉ campus, on the other hand, established a new optimism in Irish society and reflected its architect, Ronnie Tallon's, love for Miesian ideas.
For more than 40 years, the architectural company Scott Tallon Walker, which dominated Irish architecture for the most of its history, created many facilities for RTÉ. The campus concept is more fully realised here than at other colleges. Tallon's designs demonstrate his conviction in the notion of expandable structures, giving it a pleasant village closeness.
The Radio Centre's offices and studios are situated in a purpose-built facility on the north campus. For added soundproofing, several of the studios are below ground level, while production employees operate on the upper floor. The two floors are connected by an orchestral studio with a public gallery, and the lower-level studios are organised around a sunken garden that also serves as a source of natural light.
Custom House
The Custom House, which cost $390,000 (£200,000) to construct, represents a brief period of governmental confidence in 18th-century Dublin, when the city gained the architectural attributes of a capital city. It is the city's most important public edifice, designed by architect James Gandon and finished in 1791. It is located on Custom House Quay, to the west of the modern-day port, on the banks of the River Liffey. The central dome is crowned by a 16-foot-high (4.8 m) figure depicting Commerce; 14 keystones above the doors and windows signify the Atlantic Ocean and 13 Irish rivers, and the building has a lengthy classical front of beautiful pavilions, arcades, and columns. Sculptures and coats of arms by Agostino Carlini, Thomas Banks, and Edward Smith adorn the four facades of the Custom House. Gandon was the most significant Irish Neoclassical figure in the country.
The merchant elite in Dublin opposed the construction of the Custom House because they believed that the chosen site, on reclaimed ground, would shift the city's attention to the east, away from its mediaeval core. The Commissioners of Customs and Excise had their headquarters at the Custom House at first. During the Irish War of Independence in 1921, the IRA set fire to the structure in an attempt to undermine British control in Ireland. After independence, the Irish government renovated the Custom House dome using Ardbraccan limestone, which is notably darker than the Portland stone used in the original. In the 1980s, the structure was substantially restored, with a new Portland stone cornice replacing the inferior one installed after the fire.
Dublin Central Bus Station
Busáras, or Dublin Central Bus Station, is one of Europe's first postwar examples of the International Modern style. Michael Scott's architectural team was heavily influenced by Le Corbusier's Maison Suisse in Paris. The bus station is built in the same Portland stone as James Gandon's Custom House, Dublin's greatest 18th-century structure. Because of its high cost, Busáras was contentious at the time of its construction in the early 1950s, There are four separate elements to the station, which stands on an island site surrounded by three streets with equal detailed facades: two rectangular office structures, a top-floor pavilion, and the irregularly shaped station itself. The bus station, a curving block topped by a wave-contoured cast concrete roof, appears to join the two office towers. This canopy, which couldtilevered out far enough into the forecourt to cover the passengers, was unique at the time.
Busáras combined art and architecture, using stone, mosaics, hand-made bricks, and other woods in exquisite detail. It had a theatre in the basement and a café on the upper floor. Due to a lack of funds, Scott's imaginative idea was unable to fully realise the building's potential. The theatre and restaurant closed, and the structure fell into disrepair. However, as a listed structure, its iconic value is just now being acknowledged.
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