The extensive practice of collaborative design-based learning and the increasing cultural plurality of design courses in Design Education is becoming relevant. Students' critical reflection on teamwork experience through structured activities of self-, peer and group evaluation can provide a space for students to ask themselves pertinent questions and to discuss together with the team about each one's reflections. A guided sharing of personal perspectives on teamwork reveals to students the existence of multiple perceptions and increases mutual understanding and sensitivity. To this extent, a colour-based assessment tool for teams, the Teamwork Colour Matrix (TCM), was designed with the idea that colours can take on very different associations for each individual and therefore can leave more freedom of expression, especially when it comes to evaluating teamwork. Students intuitively coded their experience concerning the different moments of teamwork and represented it inside the TCM by using eight given colours. The paper presents the qualitative data collected during the TCM redesign and remote application, showing how it can support students to reflect and evaluate plural remote teamwork, at the same time it helps teachers to monitor team dynamics within collaborative design-based learning courses. The test also provided rich data about the challenges students experienced in the current collaborative distance learning context, contributing to acknowledging students' learning trajectories in this type of course.

This project arises from the need to produce didactic resources to support the teaching of color in the Chilean school environment. It starts from a critical screening at the Visual Arts curriculum proposed by the Ministry of Education. The way to address this lack of resources was through exploration techniques of digital fabrication and rapid prototyping, in order to generate updated and low cost learning objects. This could provide didactic materials to a wider amount of teachers and learning environments. The prototypes created will be implemented in the Centro de Arte y Tecnología, of the Fundación Mustakis, a pioneering space for independent learning and exploration around chromatic topics.

From 2020, education had to rapidly adapt to the massive employment of distance learning. The adaptation of design teaching at university level seemed to be particularly challenging because of its orientation towards project-based and active learning. Design students engage in learning by doing, being supported by the interrelation with teachers and classmates within the classroom. This approach is rooted in the art and craft teaching, historically hinged on studio pedagogy where the direct teacher-learner relationship is a key element of learning. Besides, design education strongly relies on peer learning, which naturally occurs within the physical space. Also, design learners deal with concepts related to the perception of forms, colours and spaces, which can be critical when mediated by a screen. All these disciplinary and relational implications defy design teachers to adapt to distant learning. Through action research, this paper presents four design-related courses that were adapted to distance learning. Being originally in presence, at different programme levels (i.e. Bachelor, MSc), in two universities and countries (i.e. Politecnico di Milano, Italy; UAHC, Chile), these courses implemented different teaching strategies that make them succeed in keeping the active learning approach. They possibly achieved even better results than in the previous years, in terms of participation, engagement and outcomes. An analysis of the four courses, the teaching strategies implemented, and results are described, with the aim of providing an aid to teachers from project disciplines, for the adaptation to distance learning of courses with a strong focus on practice and presence.

The transmission of memory seems to be an obsession of our time. This issue has been addressed by different disciplines and approaches. Design, as a discipline that contributes to the enhancement of culture, can help to expand the horizon of memory studies, but so far this issue is still undefined and blurred. Mnemosphere project, through an interdisciplinary approach, investigates the ways in which the memory of places is designed and communicated through experiential spaces capable of stimulating emotions. The research proposes a dialogue between communication design and exhibition design, in the atmospheric and aesthetic dimension, with emphasis on the translation of content into a system for the understanding of the mnestic space set up. This is done with special attention to the topics of emotions, chromatic perception, and the design of temporary spaces and services. The research first considers the articulation of a common lexicon regarding the memory of places, atmospheres of spaces and atlas of emotions, among others. Then, the project analysis devices for activating the memory in exhibition spaces, through data collection and defines parameters for the design of future spaces related to memory and emotions. The result is the collective construction of an archive of visual materials for the concepts proposed. This is being done through an open call that has been spread online through the project's platforms. The shared archive and results will be available online to contribute for a further perspective on design studies connected with memory and spaces.