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In this task, you're given an article and an answer. Your task is to generate the question for the answer based on the given article.
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Article: Seventeenth-century houses in colonial North American were simple structures that were primarily functional, carrying over traditional designs that went back to the Middle Ages. During the first half of the eighteen century, however, houses began to show a new elegance. As wealth increased, more and more colonist built fine houses. Since architecture was not yet a specialized profession in the colonies, the design of buildings was left either to amateur designers or to carpenters who were engaged in translating architectural handbooks imported from England. Inventories of libraries shows an astonishing number of these handbooks for builders, and the houses built during the eighteenth century show their influence. Nevertheless, most household architecture of the first-quarters of the eighteenth century displays a wide _ of taste and freedom of application of the rules laid down in these books. Increasing wealth and growing sophistication throughout the colonies resulted in houses of improved design, whether the material was wood, stone, or brick. New England still favored wood, though brick houses became common in Boston and other towns, where the danger of fire gave an impetus to the use of more durable material. A few houses in New England were built of stone, but only in Pennsylvania and areas nearby was stone widely used in buildings. An increased use of brick in houses and outbuildings is noticeable in Virginia and Maryland, but wood remained the most popular material even in houses built by wealthy landowners. In the Carolinas, even in closely packed Charleston, wooden houses were much common than brick houses. Eighteenth-century houses showed great interior improvements over the former ones. Windows were made larger and shutters removed. Large, clear panes replaced the small leaded glass of the seventeenth century. Doorways were larger and more decorative. Fireplaces became decorative features of rooms. Walls were made of plaster or wood. White paint began to take the place of blues, yellows, greens, and lead color1s, which had been popular for walls in the earlier years. After about 1730, advertisements for wallpaper styles in scenic patterns began to appear in colonial newspapers.
Answer: The improved design of eighteenth-century colonial houses.
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What's the passage mainly about?

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Article: No opera smells of the sea quite like Britten's Peter Grimes. The music makes us constantly aware of the sea's immensity, it's potential for threat, and the play of light on its waves. But the sea isn't just a special background, it weighs on the lives of the characters, offering them a living, but at a price. In the first act the laboured sound of the strings evokes the complete heaviness of the sailor's work, as they haul the boats up the shingle . Then a storm gathers which rages through the scene at the Inn, and stirs up an orchestral hurricane. Even when it's calm and favorable, the sea is inescapable. In the comfortable enclosed world of the opera house, this can only be suggested. In the production of Peter Grimes about to open at the Aldeburgh Festival, it will be really present, because the opera is taking place on the beach, the setting for much of the narrative of Britten's opera, and also the poem by the Suffolk poet George Crabbe that inspired it. This won't be the first opera production to be set in the actual landscape in which the action takes place. There's a well-known filmed production of Tosca shot in Castel Gandolfo in Rome, and a production of Donizetti's Anna Bolena was once mounted in the moat surrounding the Tower of London. But those were manageable urban landscapes, with comfortingly solid buildings to act as wind shields and acoustic blocks. On the Aldeburgh beach there's actually nothing, apart from a few boats, some whole, some wrecked. Here anything more complicated than walking the dog is hard to solve. The wind blows away one's words, so conversation is hard, and anything not tied down tends to blow away. The sliding shingle turns one's steps into a drunken stagger. The idea of performing an opera in these conditions seems quite _ -- an accusation Aldeburgh director Jonathan Reakie takes cheerfully on the chin. Why has he done it? "Well, Grimes is the opera of Britten's that's most associated with Aldeburgh, but it's never been produced at the Festival which he founded. There just isn't the space for it. In his anniversary year we wanted to focus on Britten's connection with Suffolk, and this seemed the boldest way to do it." Having had the mad idea, Reakie found his colleagues were not just accepting, but enthusiastic. "We spent a long time thinking about ways to do it. One idea we had was to do all the scenes at the right time of day. There's one scene at dawn, another at midday, and a lot of action at night, but that was too complicated. Then we thought about doing a few scenes on the beach. But in the end, we thought hell, let's just do the whole thing."
Answer: Hard.
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Which of the following can best describe the sailor's work in the first act?

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Article: In the gym of Croxteth Community School, Liverpool, 50 boys have completed a course on boxing that is seen as a pilot for its return to state schools. The Schools Amateur Boxing Association (SABA) has developed the Kid Gloves scheme ( ),a -non-contact version of the sport where outside coaches teach a range of basic skills. Chris Andrews, assistant secretary of the SABA, said the scheme was regarded as a way of changing the decline in boxing in state schools which began 25 years ago. Safety fears and the poor image of professional boxing had accelerated the sport's decline. Concern was worsened by incidents such as the death of the professional boxer Bradley Stone. But the Croxteth example was winning more supporters. Mr. Andrews said the idea was particularly well received in the north-east of England. "The interest shown so far has been enormous," he said. "I believe that boxing will come back into schools. A video has been produced to promote boxing in schools, and a bid has been made for a Sports Council grant ." He said, "I think there is a genuine recognition that there are aspects to boxing, if it is controlled and properly run, that really are very beneficial for children. This scheme takes away the dangers. I hope boxing can be promoted throughout the country in a more coordinated way." Such an idea horrifies such groups as the British Medical Association (BMA) and the British Safety Council, both critics of the idea. Dr Jeffrey Cundy, the joint author of a BMA report on boxing, accepted that the scheme in Liverpool was non-contact, but he was still opposed. He said, "We feel that children should still not be introduced to boxing, because they will then be encouraged to take up an activity which is uniquely dangerous when actual contact takes place." He added, "There is a whole range of sports which will teach the discipline that comes from boxing without the dangers. We see this reintroduction in schools as an unhealthy development." At the 800-pupil Croxteth school, Steve Stewart, head of PE, said boxing had helped to improve self-confidence, self-discipline, self-awareness and self-respect in those taking part. Everybody could get involved and, because all were starting from scratch, the improvements could be quickly seen. Certificates were presented to the pupils at the end of the course by Paul Hodgkinson, a local boxer who is a former world champion. Next year, the course will be repeated and if possible girls will be allowed to take part following requests from them. Gerry Thompson and Tony Curry, both 12,have enjoyed the boxing sessions and say they will both join a local boxing club. "I thought it was brilliant," said Gerry. "I would rather be a professional boxer than a footballer. It's more enjoyable*"
Answer: Some pupils have been trained to be world champions.
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What's the present situation of the Croxteth school boxing course?