Since every stage of Ron Kirby and Carey Scott's relationship is marked by alterations in their domestic environments, Chapter 6 ("Back to the Future: Modernist Architecture and All That Heaven Allows") explores some of the conflicting social and cultural connotations that have been encoded into their respective dwellings. For instance, Ron's progressive renovation of the Old Mill recapitulates the history of twentieth-century Modernist architecture in reverse. The final incarnation of this structure evokes Le Corbusier's Machine Age villas of the 1920s rather than Frank Lloyd Wright's more organic mid-century Modernist aesthetic, which dissents from the dominant 1950s American view of the ideal home by suggesting a less materialistic way of life. By contrast, Carey's suburban Colonial Revival residence represents the negation of the freedom from traditional conventions that Ron's living space ultimately implies.