After the construction of Busáras, Scott's firm survived with the construction of smaller projects like the Bridgefoot Street Flats for Dublin Corporation. In 1958 the firm was renamed Michael Scott and Associates, bringing on board Ronnie Tallon (born 1927) and Robin Walker as partners. From then on each major project was spearheaded either by Walker or Tallon. Then the practice began to show a more Miesian influence due to Walker and Tallon's admiration of Mies van der Rohe, with buildings like the Carrolls Factory in Dundalk and the Radio Telefís Éireann studio complex in Dublin. With this shift in aesthetics, Busáras has been described as representing a full stop in the work of Scott's office.

This shift in aesthetics is also due to the fact that the design team responsible for the bus station had by now broken up, and Scott had retreated from day to day involvement in the design process. Cantwell had gone out to practice on his own, before the building was completed, as had Kevin Fox. Kevin Roche had gone to the United States in 1948. Patrick Scott was to leave the practice in 1959 to paint full time. Of the team that designed the Bus Station, only Michael Scott, Patrick Hamilton and Robin Walker were still with the firm by 1960 but the architects most responsible for the outward appearance of the building were gone.

Scott's work up to the building of Busáras is divided into two strains - the purer modernism of Geragh, Portlaoise, the World Fair Pavilion, Athlone and Clonmel cinemas and the more decorative works of Tullamore, O'Rourke's Bakery and his interior projects. It has been said by former employees that Scott tended to design in the current fashionable style - a point that was true of his practice in later years and is true today. But through the 1930s and early 1940s, it may be that Scott's firm was still developing a mature style.

With the New York World Fair Pavilion, Scott's architecture moved away from the formulaic arrangement of volumes as seen in his hospitals and houses, to a more organic and externally decorative architecture. Certain characteristics can be seen through buildings which otherwise may be seen as quite disparate. Tullamore, Geragh and Arthur Shield's house all have curved bays. His later works including the cinemas at Athlone and Carlow also share similarities with Geragh - the use of porthole windows and pilotis, and the white concrete finish. These buildings of which Portlaoise Hospital may be seen as the first, were purer attempts at the New Architecture as preached by Gropius than his earlier work. After the war, his architecture began to show more external decoration, as at Donnybrook Bus Garage with its sculptural concrete shape and decoration. The logical progression of Scott's obsession with art and decoration as well as with his use of the modern vernacular is Busáras where decoration and a large selection of materials was used externally to relieve the starkness of the façades.

Although Scott was not personally responsible for the design of the bus station, as the principal of the firm and mastermind of the project he would have had the final decision of what design was produced. Scott had very strong views and always stood by his opinions and never relented if he could help it on matters of design. The building shares similarities with previous works by Scott's firm: the similar use of a double height entrance foyer as in Athlone Cinema, the use of the solid endwall of the New York World Fair, the use of a sculptural concrete form like Donnybrook and the integration of art and architecture. Although Scott only produced one drawing during the design process of Busáras, verbal input and suggestions would have played a role in the design, as would previous work of the practice.

One of Scott's merits was that he could recognise a good idea when he saw it or equally a bad one. He could come over to your drawing board, see a drawing he hadn't seen before and immediately point out a weak part of the design. Scott was a lousy architect; his judgement was pretty good but his ideas were pretty poor. The only drawing he did on Busáras was when the city architect specified an imitation Wyatt window in the stone on the south endwall to reflect the Custom House. So Scott did the drawing and submitted it to the planning office. After planning permission, it was quietly forgotten about.
Wilfrid Cantwell in interview