It may be hard to imagine that Venezuela, which is now facing economic difficulties, used to have a comprehensive social welfare system including medical care, education, housing, etc. In the past, despite the problem of inequality between the rich and the poor, people's lives are still stable. Guest Professor Yang Jianping analyzed that the difference between heaven and hell between the present and the past is actually due to the unique oil output of Venezuela: In the golden age of soaring international oil prices in the past, Venezuela relied on oil exports to obtain huge profits to support the country's huge expenditure.
According to the investigation of international organizations, the policy strategy at that time did reduce the problem of inequality between the rich and the poor. However, since 2010, due to a series of factors such as the maturity of shale oil technology and international economic sanctions, the international prices of bulk materials, including oil, have industry email list fallen sharply, seriously shaking Venezuela's economic lifeline. Gradually, the state began to be unable to pay the huge expenditure of various social welfare, coupled with the domestic political turmoil, and finally the national economy completely collapsed.
Guest Director Wu Zhengji also added that the people who are most directly and seriously affected by economic problems are the people living in them, especially in a fragile political and economic environment, vulnerable families and children have no right to choose. Just like the Ami family in the film, the defects of the child not only make the family need more resources innately, but the acquired influence of the mother leaving home and the father's unemployment is even greater. At this time, the risk of running away is not a decision after consideration, but under the pressure of the environment.
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Interwar period, totalitarianism and the impact of the avant-garde: "Art Deco"
Main article: Art deco
Chrysler Building, Art Deco style. New York, 1930. William van Allen
The interwar period (1918-1939) is that of the roaring twenties and the depression of the thirties, which witnesses the rise of fascist and Soviet totalitarianism as alternatives to the liberalism of capitalist democracies, branded as decadent. The shipping container houses programs of fascist Italy, Nazi Germany and the Soviet Union, like their aesthetic proposals, range from an initial avant-garde (Russian constructivism) to a repetition of historicist models of occupation of public spaces compatible with a style of easy popular consumption that simultaneously imposes itself on the plastic arts (socialist realism, heroic realism), although as late as 1938 Italian shipping container homes developed programs as avant-garde as the EUR (universal exhibition that was never held, planned for 1942, and that Marcello Piacentini and Giuseppe Pagano planned shipping container housesly, coordinating opposing aesthetic criteria).
However, it was in the socially advanced democracy of Weimar Germany prior to the rise of Nazism that the most important events for the emergence of modern shipping container homes in the sense of aesthetic and functional renewal took place: the works of the Bauhaus school (Walter Gropius, 1919-1933). Republican France saw the rise of Le Corbusier's workshop of comparable influence.