"MEUW (Socius novus)" represents a groundbreaking project by designers Jaemo Lee and Lisa Schober, showcased at Milan Design Week 2026. This exhibition introduces a series of soft, vaguely amphibian-like creatures, meticulously crafted from colored silicone. These unique objects are not pets in the conventional sense, nor are they robots; instead, they serve as "companion objects" designed to simulate intimacy and companionship without the responsibilities of caring for a living being. The project critically examines the complexities of human-animal relationships, particularly the desire for connection and the challenges of coexistence, by offering a speculative alternative to traditional pet ownership. Through their texture, weight, and perceived cuteness, these creations invite viewers to reconsider the nature of emotional bonds and the potential for simulated forms of connection.
The installation, part of HEAD-Genève’s Master in Interior Architecture (MAIA) group show, "No One Sees Them Like We Do. Notes on Animal Interiors," was conceived to provoke thought on non-anthropocentric paradigms. It sits among six projects that collectively explore new spatial narratives, using fables as tools to rethink relationships between humans, animals, and their environments. Lee and Schober's work, in particular, delves into the commercial pet industry, highlighting how animals are often commodified. By creating objects that evoke the tactile and emotional experiences of pet interaction, "MEUW" encourages a deeper inquiry into why humans seek animal companionship and whether these needs can be met through alternative, ethical means.
The Genesis and Philosophy of "MEUW"
The conceptual underpinning of "MEUW" emerged from a critical examination of the reptile pet industry, particularly the breeding and commodification of leopard geckos. Designers Jaemo Lee and Lisa Schober observed how these animals are often transformed into decorative or collectible items, raising questions about the artificial conditions of their captivity and the superficiality of some human-animal bonds. This initial research sparked a broader inquiry into the human desire for animal companionship, moving beyond mere aesthetics or status symbols to explore the deeper psychological need for connection. The project draws inspiration from significant cultural references, such as Carlo Mollino’s "Walking Dragon" (1964), which envisioned a non-animal companion as a substitute for a lap dog, thereby shifting focus from the animal itself to its symbolic role in human life. Another key influence was David Cronenberg’s film "eXistenZ", particularly the game pod as a strange, symbiotic body companion that is cared for and treated almost like a living entity. These references were instrumental in shaping "MEUW" as a speculative object that challenges prevailing notions of ownership, projection, and emotional attachment within human-animal interactions.
Lee and Schober's work fundamentally questions whether intimacy can be replicated without domination, and if replacing living animals with these simulated companions could unveil both a profound human yearning for connection and an inherent difficulty in maintaining harmonious coexistence with other living beings. By presenting objects that are neither pets nor robots, but rather tactile, aesthetically pleasing surrogates, "MEUW" invites a re-evaluation of ethical considerations in companionship. The designers aimed to create a discourse around responsible pet ownership, the potential for ethical alternatives, and the psychological dimensions of human affection for non-human entities. This philosophical foundation underscores the project's intention to stimulate a deeper reflection on how we form bonds, what those bonds truly mean, and whether our desires for companionship can be met in ways that prioritize well-being for all species involved.
Crafting Connection: The Impact of Tactile Companions
The manufacturing process for the "MEUW" creatures is as innovative as their conceptual design, relying entirely on colored silicone without any internal rigid structure. This unique construction allows for inherent movement, flexibility, and tactile responsiveness directly from the material itself, contributing significantly to the objects' lifelike qualities. The design phase involved creating a diverse family of creatures in various sizes and forms, inspired by the morphological evolution of reptiles. This intricate process utilized a combination of traditional sketching, advanced 3D modeling, Grasshopper software, and AI technologies to refine their organic shapes. Once the designs were finalized, custom 3D-printed molds were developed for each unique body. The final forms were meticulously hand-cast using transparent silicone mixed with precise pigments, a process that demanded exceptional speed and precision due to the material's rapid hardening time. This intense workflow, allowing only about 10 minutes to pour the silicone before it set, highlighted the designers' dedication to their craft and their mastery of material properties. Extensive experimentation with varying degrees of hardness, textures, and colors further ensured that each creature would elicit specific sensory responses, directly influencing how people would instinctively want to touch, hold, and interact with them, thereby fostering an immediate sense of connection.
During the exhibition, audience reactions to the "MEUW" creatures were profoundly insightful, revealing an instinctive human desire for physical interaction and care. Initially, many visitors exhibited hesitation, but their intrigue eventually led them to engage with the objects. A crucial element of the exhibition was encouraging people to touch and handle the creatures, as this haptic experience proved to be central to establishing a connection. Regardless of age, attendees demonstrated a natural inclination to pet, hold, and nurture the silicone companions. When visitors picked up a "MEUW", their own movements were subtly transferred to the object, creating the illusion that the creature was responding and coming to life. The weight of these objects played a significant role in this experience, with the largest "MEUW" weighing nearly 12 kg, imparting a strong physical presence that further reinforced the perception of interacting with a living being. This tangible interaction underscored the project's core message: that simulated companionship, when thoughtfully designed, can evoke genuine emotional responses and challenge our conventional understanding of what constitutes a meaningful connection.
