Bush Dark sets the weight of the palette in optimism and clarity, and Eucalyptus is the swatch that breaks rank: a single chartreuse that stops the set reading as one note. Bush Dark to Outback Light spans 80 points of lightness, so the palette can carry its own hierarchy without reaching for a second one. Bush Dark leads a set that runs warm the whole way through, so any relief will have to come from lightness rather than from hue.
Bush Dark an olive-leaning yellow, cheer pulled toward something more serious.
Eucalyptus sits between yellow and green, a slightly unstable, electric freshness that reads as novel.
Corrugated is true neutrality, balance and restraint, a color that recedes so the palette's other choices can carry the emotional weight.
Dry Earth a mustard or ochre yellow, optimism weathered into something wiser and more textured.
Outback Light a peach or apricot tint, all the friendliness of orange with none of the volume.
Kenneth Frampton's theoretical weapon against placeless universalism - Álvaro Siza writing Portuguese light into every concrete wall, Glenn Murcutt threading corrugated iron through Australian bush, local material and climate elevated as resistance.
Explore the full Critical Regionalism style guideIts decade on the timeline · 1980s