In the postwar, cold war years, there emerges a new type of modern architecture that represents a fundamental transformation from only five decades prior. In Domesticity at War, Beatriz Colomina presents domesticity as a new, and very potent weapon in a changed architectural battlefield. No longer the domain of heroic figures, this post war architecture becomes the property of the middle-class consumer, a truly "modern man" who is constantly bombarded with images of domestic bliss that form a lifestyle campaign, exactingly deployed using recycled military methods and techniques, launched into millions of homes. The resultant mass consumable environment transformed both architect and building, replacing them with newer versions, blindingly happy agents of domestic pleasure, at the same breakneck efficiency that marked the transition of wartime industry to peacetime, from missiles to washing machines. The significance of architects such as Charles and Ray Eames lies in their particular sensitivity to this transformation where buildings and images both come to define occupiable space. A sense of embattled domesticity is the trademark of the immediate postwar years and the focus of this archaeological study.