Sunday, May 28, 2023

China’s Youth Unemployment Problem by Nancy Qian - Project Syndicate

https://www.project-syndicate.org/commentary/china-youth-unemployment-problem-by-nancy-qian-1-2023-05?utm_source=Project+Syndicate+Newsletter&utm_campaign=5b579d49ed-sunday_newsletter_05_28_2023&utm_medium=email&utm_term=0_73bad5b7d8-5b579d49ed-93854061&mc_cid=5b579d49ed&mc_eid=be3809ebbc

China’s Youth Unemployment Problem

May 25, 2023NANCY QIAN

New record-breaking figures for joblessness among workers aged 16 to 24 weaken the Chinese economy's near- and long-term prospects. If the trend persists, as seems likely, China will have an even harder time supporting its rapidly aging population.

CHICAGO – This month, China released official statistics showing that its unemployment rate for young people (16-24 years old) reached a record high of 20.4% in April. Worse, the news comes just one month before another 11.6 million students will graduate from college and vocational schools and enter the job market.

True, the lockdowns under the government’s zero-COVID policy were much more draconian and economically damaging than other countries’ containment policies, and they were enforced for more than a year longer in most cases. So, it is not surprising that China’s economic recovery has lagged others. For comparison, the US youth unemployment rate hit 14.85% at its pandemic peak in 2020, before declining to 9.57% in 2021, and to 6.5% today.

But while most of China’s pandemic-related obstacles to employment have been lifted, the fundamental conditions for reducing China’s youth unemployment are not improving. While the long-run post-pandemic jobless rate will be lower than it is now, it is still likely to remain higher compared to the pre-pandemic years. There are many reasons for this, but one key issue is the large gap between the “reservation wage” rate that young graduates are willing to accept and the rate that firms are willing to pay.

This mismatch reflects the extent to which the cost of living has outpaced the growth in salaries. According to a 2021 survey, jobs for new graduates in big cities like Shanghai and Beijing paid an average of only CN¥5,290 ($749) per month. That is just enough to rent a 25-square-meter (269 square feet) apartment (Chinese cities now have some of the world’s most expensive real estate). And these young people can see that a job with such a low starting salary is unlikely to provide the income progression needed to support a family ten years down the line. Since urban white-collar workers are typically expected to work from 9 a.m. to 9 p.m. six days per week, a dual-career couple with a child must rely heavily on a nanny. Yet in Shanghai and Beijing, nannies, who usually come from the countryside and often have not graduated from high school, earn CN¥6,000 per month on average – more than recent college graduates.

One might wonder why recent graduates do not just move to smaller cities with lower costs of living. That is what many younger American workers have done, relocating from the San Francisco Bay area or New York City to the Sunbelt or the Rustbelt. But the analogous move for Chinese workers is much costlier, because the amenities in smaller cities tend to be substantially worse than in large cities (as is true of most middle-income countries). While some parts of Chinese first-tier cities feel more affluent than even New York or Tokyo, many third-tier cities still struggle to provide reliable electricity and basic sanitation (like private indoor toilets).

It is no wonder that most college graduates avoid moving to these more “affordable” areas. Instead, they rely on their parents to help cover basic costs. In 2014, a national survey found that around 30% of Chinese college graduates continued to live with their parents. But parental support is a double-edged sword when it comes to youth unemployment. While some young workers cannot get by without their parents’ support, others are choosing not to work precisely because their parents can afford to support them.

Young Chinese who were born in urban areas usually have parents or grandparents who own apartments in the city center, owing to the mass transfer of property rights from the state to residents during the 1990s housing reforms. And the one-child policy that was in force between 1978 and 2016 means that these young people have no siblings and thus stand to inherit prime real estate. If you are in this situation and your parents can cover your living expenses, why bother to work for a pittance?

China thus needs not only more jobs, but more high-paying jobs. That is a tall order for any economy; but China will face additional headwinds. For example, youth unemployment tends to cause other problems, such as increased crime and social and political instability. Research also shows that youth unemployment depresses lifetime earnings, because it means that young people are missing important opportunities to develop skills. In the United Kingdom, one year of unemployment at age 22 has been shown to depress wages by 13-21% 20 years later.

Prolonged, widespread youth unemployment can have profoundly negative long-run macroeconomic consequences anywhere. But it is especially a problem for China, now that it has one of the world’s largest and fastest-aging populations. The Chinese economy urgently needs new cohorts of highly productive workers to help sustain a rapidly growing elderly population. More than ever, Chinese policymakers need to focus on economic growth.


Wednesday, May 24, 2023

Tour the L.A. house museum devoted to Modernist Paul McCobb - Los Angeles Times

Tour the L.A. house museum devoted to Modernist Paul McCobb - Los Angeles Times

Modernist designer Paul McCobb is having a moment. Now you can tour a house full of his work

A view of a stylish living room with armchairs with hairpin legs and a shelf room divider that holds colorful ceramics
Yogi Proctor has transformed his home into an informal museum showcasing the designs of Modernist Paul McCobb. 
(Myung J. Chun / Los Angeles Times)

In the middle of the last century, designer Paul McCobb seemed to be just about everywhere. His mass-market furnishings, with their thoughtful construction and clean lines — think: “Mad Men” Modernism — graced countless middle-class homes. He designed glassware, lamps and Remington typewriters. And you could read his articles about design in major U.S. newspapers on topics such as the need for more bounce in furniture cushions and how to define a room without cluttering it up, the latter for the Los Angeles Times Home Magazine in 1954.

In 1957, Bloomingdale’s showed 15 of his room settings. Of that showcase, a furniture buyer told the New York Times: “We treat Paul’s furniture like sugar in the grocery store — it’s a staple.”

But unlike some of his fellow Modernist designers, including Herman Miller and Charles and Ray Eames, the Boston-born McCobb didn’t remain a household name. Some of that has to do with the fact that the designer frequently worked in collaboration with different companies rather than solely under his own name. He also died young: in 1969, at the age of 51.

But in recent years, McCobb has made a roaring comeback. Rising interest in his designs has sent prices for his original pieces soaring and led furniture makers to reissue some of his works. The Danish company Fritz Hansen, for example, now carries pieces from the designer’s Planner Group series, which feature slender wrought-iron frames bearing unembellished wood or glass surfaces. Two years ago, CB2 became the first U.S. company to reissue McCobb’s designs — among them, his angular bow-tie sofa, redolent of an age when cars sported fins.

Now, in Los Angeles, you can sate an interest in all things Paul McCobb with a visit to the Paul McCobb Museum.

Though, to call it a museum is a bit of a stretch. This DIY institution is the passion project of a single collector — designer Yogi Proctor — who has turned his Silver Lake home into a singular showcase.

Yogi Proctor, a slender man in his 50s, stands in a sunlit living room framed by two vintage lamps.
Yogi Proctor in his living room between a pair of Paul McCobb lamps — including one of his earliest pieces from 1947, at right. 
(Myung J. Chun / Los Angeles Times)

Enter the home and you’ll spot a McCobb chair inspired by Shaker design from 1949 and a pair of pristine armchairs from 1950 that Proctor reupholstered in Knoll fabric from the era. Move on to the dining room and you’ll find a delicate tea wagon (1953) and more Planner Group designs — including a sleek wooden dining table surrounded by chairs whose backrests gently swoop. Nearby, a display features the fabrics McCobb designed for textile producer L. Anton Maix, one of which bears an ebullient rhombus pattern.

The exhibition continues in Proctor’s library and bedroom. “The scope of [McCobb’s] work,” he says, “hasn’t been presented in this way.”

Proctor quietly debuted the museum early in 2022, when he began accepting visitors by appointment — namely, McCobb devotees and design aficionados who heard about the collection through word-of-mouth or design circles. Now the public is invited. On Saturday, he is teaming up with the Los Angeles Forum for Architecture and Urban Design to host three house tours of his “living museum.”

Modernist fabrics covered in geometric patterns are displayed in tidy arrangement on a wooden surface.
A sampler of fabrics that Paul McCobb designed for the Riverdale textiles company in 1953.
(Myung J. Chun / Los Angeles Times)

On a sunny weekday afternoon earlier this month, Proctor eased into a McCobb-designed high-back chair in his library for a conversation (which has been condensed and edited for clarity) about his most treasured pieces and the disaster that inspired him to turn his home into a museum.

What was the piece that got you started on McCobb and where did you get it?

I’m pretty sure it was at the Broadway Antique Market in Chicago. It’s a bench that’s in the middle of the living room, a super simple 60-by-18-inch bench. The appeal was the thin black iron legs and frame and the simple slab of wood on top. It also had a heat brand stamp. This was 18 years ago and there was really no information on [McCobb’s] design and oeuvre. But from the design and the style, I started to piece together that there were other pieces. And then we started to figure out that it’s modular, it’s coordinated and accessorized.

Piece by piece, I built the collection. I collected this archive of materials — catalogs and whatnot — and that was essential for filling out the story. It’s a one-of-a-kind thing.

A Modernist tea wagon made from wood (resembling a bar cart) is shown bearing colorful ceramics in sunlight.
A 1953 tea wagon from the Planner Group series by Paul McCobb. 
(Myung J. Chun / Los Angeles Times)

What makes a Paul McCobb a Paul McCobb?

He would have a lot of quotes about that. Planner Group — the very name is derived from home planning. And it was really aligned with this growing American landscape and this new prosperity after [World War II]. He really designed these pieces for young couples, very budget-conscious. These were innovations at the time: You would buy a piece and maybe add something as your family grew or as your home grew. So, there was this growing relationship. ... It was very accessible.

Also, it was designed for small spaces, with very clean lines. There is an efficiency, a simplicity of form, a structural integrity to it. He isn’t known for singular iconic pieces. The differentiation came from designing collections that fit to a market or a demographic and their needs.

A photo taken at an angle reveals a corner of a wood dining table and curved back dining chairs in the Modernist style
A Paul McCobb dining table and chairs from 1955 are among the many McCobb objects in Yogi Proctor’s collection.
(Myung J. Chun / Los Angeles Times)
The heat brand on a piece of wood bears the signature "Paul McCobb: Planner Group."
The heat brand bearing Paul McCobb’s name.
(Myung J. Chun / Los Angeles Times)

What is your most storied piece?

There are two lamps — lamps were his first pieces. McCobb started after the war, and Paul McCobb Design Associates was really an interior design company and he had a showroom. In designing floor sets for furniture pieces, he started to make his own lamps to go in there. Those were the pieces that got discovered by Irving Richards of Raymor [a distributor of designer products], who said, we need to put these into production.

The lamps I found are early Paul McCobb and they are very handmade. One I found in the background of a photo of a table that was for sale — I think it might have been on eBay or Instagram. I asked if the lamp was for sale and the guy was like, “I guess, sure.” And it was kind of in bad shape. He said, “Are you sure you want the shade? It was really worn.” I was like, “Yes, I want it!”

The other was through Steve [Aldana] at Esoteric Survey, who found it in San Diego, I believe. He put it up online for sale, just listed as a cool lamp at a low price. I spotted it and bought it straight away. I told him that it was an early McCobb lamp for Raymor. Those early lamp designs, there’s a real ambiguous space where I’m still discovering information. It’s in the backgrounds of photos, it’s mentioned in captions. It’s a research project.

A Modernist living room has two lamps resting, respectively, on a table and a wooden cabinet as sun streams in a window
Yogi Proctor has hunted down some of Paul McCobb’s earliest objects — such as the 1940s lamps featured in his living room.
(Myung J. Chun / Los Angeles Times)

How did you come to create the museum?

We did a remodel here, which was finished in 2017, and it was kind of done conceptually with a museum project in mind. But then interesting stuff happened during 2020 when the world was turning upside down.

Everything that is out now is about a quarter or a third of the collection. A lot of it is in storage. Well, the storage facility burned down in 2020 and a lot of the collection was lost that summer. I probably should have been more shocked or devastated, but the world was really in a different place. I took it as a sign of, let’s see where this goes.

A Modernist easy chair upholstered in white sits before a backless wooden shelf in a bedroom
In the bedroom: a 1958 Paul McCobb armchair and room divider. (The mirror is not McCobb.) 
(Myung J. Chun / Los Angeles Times)

So, we did an insurance claim and they did five or six interviews, which turned from interviews to investigations. I found my notes for an idea of a museum. I’m explaining it to these insurance investigators who are asking: Why do you have seven sofas? Why do you have 10 side tables? I had to explain to them the idea of what this furniture was.

They honored the claim and I took that as a sign. So I thought, let’s do the museum and rebuild it. It’s the idea of legitimizing this as a design legacy and story and sharing it with the world.

House Tour: Paul McCobb Living Museum

When: Saturday, May 27, at 11 a.m., 12:30 p.m. and 2 p.m.
Where: Silver Lake; address will be shared upon registration
Organizer: Los Angeles Forum for Architecture and Urban Design
Admission: $25/$10 adults/students
Info: laforum.org