Monica Calcagno is an associate professor in the Department of Management, Università Ca’ Foscari di Venezia; e-mail: calc@unive.it. Claudio Biscaro is a doctoral student at the Scuola Superiore di Economia, Venezia. The authors acknowledge James Bradburne and Graziella Battaglia at Fondazione Palazzo Strozzi and Cristina Bucci and Chiara Lachi at L’immaginario. 43 Int. Studies of Mgt. & Org., vol. 42, no. 2, Summer 2012, pp. 43–56. © 2012 M.E. Sharpe, Inc. All rights reserved. Permissions: www.copyright.com ISSN 0020–8825 (print)/ISSN 1558–0911 (online) DOI: 10.2753/IMO0020-8825420203 MONICA CALCAGNO AND CLAUDIO BISCARO Designing the Interactions in the Museum Learning from Palazzo Strozzi Abstract: In cultural productions, and specifically in the context of museums and exhibitions, the process of construction of meanings has historically involved the audience in a relationship with the product. Nevertheless, this relationship is still designed using traditional language aimed at constraining the interpretation within the pattern suggested by the producer and reducing the room left for free interpretation by the user. Innovation, then, takes place in the offer of services and tools to support the process, and not in a proposal of a new approach to the construction of meaning. Our research discusses a case of an Italian cultural institution as a model for proposing a new approach to the process of interpretation of the relationship between the users and the product. The innovation in this case is the result of a redesign of the language offered to the users, and it is aimed at involving them in the process of sense making. Our article sheds light on the way in which innovation of language may impact the world of signs and symbols that determine the meaning of the product. The process of consumption is grounded mainly in the relationship between the consumer and the product. This relationship refers to two major dimensions: the functionalities—what the product is able to perform—and the symbolic content (Blumer 1969) or meanings—the emotional content and the language spoken by the product itself (Eco 1975; Margolin and Buchanan 1995; Monö 1997; Peirce 1935; Verganti 2003). The language can be identified as “a particular meaning [that]