The Experience, designed for my Bachelor’s Thesis in Graphic and Multimedia Communication, aims to give an identity to a conceptual interactive museum that intends to teach young individuals, aged 9 to 16, how new technologies and new media can be used to promote human relationships in a world in which modern technologies appear to have disfavored interpersonal - and more particularly face-to-face - relationships. However, the latter have been deemed capable of improving individuals’ well-being, thus adjudging them of fundamental importance. The Thesis aimed to demonstrate that, indeed, new technologies and new media - also employed to give rise to this very same brand - actually possess an innate power to become a catalyst for the establishment, refurbishment, and enhancement of interpersonal relationships. And it alla starts from the very essence that defines the latter, i.e. people. Museums exists thanks to the individuals who visit them. For this reason, their emotions become the paramount element that materializes and gives concreteness to the brand. By reading the visitor’s non-verbal language through a camera, a generative AI software is able to visually “type” their emotions felt during the visit - derived from the interactions that occurred between individuals themselves, the environment, and the encompassed relationship-prompting technological installations - giving rise to endless variations that can be applied in diverse ways throughout – and outside of – the museum, thus transforming The Experience into an actual non-verbal language itself. Face-to-face relationships subtend a series of mechanisms, other than verbal language, within the realm of non-verbal language - e.g. smiles, gestures, and postures - which modern technologies are not yet able to fully reproduce. However, The Experience aims to question this assumption. The gradient hues consciously intend to challenge the basic rules of graphic design in order to convey greater concreteness, presence, and phisicality to the brand. They were scientifically derived from Munsell’s Color System by analyzing a series of recurring associations between specific emotions and precise colors positioned within the system itself. The naming was subsequently selected starting from the Latin etymology of the term “experience” – i.e. experientia – which means “to try”: a situation, usually practical, which leaves an impression – emotion or sensation – on people, hence influencing and changing them and, consequently, modifying their essence as human beings. The great peculiarity lies in the fact that the system was designed in such a way as to enable the software to manage itself independently, but simultaneously, the dynamic variations can be designed in a manual and analogical manner, without compromising the final effect, which turns out to be completely identical to that created by the AI generative software. In this way, the museum takes on its own singular identity composed of an institutional logo, its dynamic developments, and an actual language made up of a series of hand-made internal and external communicative elements that enable the design in its entirety to fully embrace its payoff, “reimagining relationships”, while welcoming a new era of modern, face-to-face relationships.