Outside the school: A review of the non-formal short-term architectural workshops

Over the last fifteen years, apart from compulsory curricular studios, extracurricular intensive studios in architectural design (ISAD) have become a mainstream educational environment worldwide. ISADs cover an actual weight in non-formal architectural education. However, to date, there is no review on the methods, processes, or implementation of extracurricular ISADs. The field needs to enhance the visibility of workshop results with regular reporting of workshop activities to raise awareness among future professionals and the wider public. This review aims to make visible existing learning-teaching-experiencing environments and pedagogical conditions, practices, tendencies, and implementations in ISADs. The study follows three stages. It first conducts a scoping study to examine the research outputs on ISADs indexed in SCOPUS and Web of Science from January 1975 to September 2020. Second, it expands the workshop pool by including past ISADs reached via websites/papers. It codes each workshop with the codes and themes determined through the scoping study. Finally, it creates an interactive mapping detailing the following analysis: (1) Quantitative analysis of ISADs (Geographical distribution; outputs; principles, as elements creating the atmosphere and tactics); (2) Qualitative analysis to reveal the impact of workshop outputs on the interested stakeholders. The review suggests that ISADs, including their processes and outputs, contribute to the knowledge triangle in architecture by serving two fundamental roles: (1) A research-by-design activity to address socio-economic-ecological problems caused by the built environment; (2) A pioneering venture in improving the curriculum and practices of teaching and learning. Within the scope of the exigencies of the education field, this review uncovers the potential of ISADs in overcoming time-related, geographical, economic limitations; providing fresh perspectives on content and methods concerning architectural education; expanding the intellectual resources of students; enabling international collaboration between HEIs; breeding an experimental/flexible learning and research environment in the 1st and 2nd cycles to absorb ever-changing tools/methods promoted in professional/research sides of the field. This review provides the reader with an array of diverse teaching and learning practices on these non/informal grounds. The number of workshops included in this study is relatively small, therefore, researchers are encouraged to expand the number of workshops for further analysis.


Introduction
In architectural education, design studios are the locus where students weave their knowledge and skills gained through other formal, non-formal, and informal learning into designing (Ruhi Sipahioğlu & Alanlı, 2020). Over the last fifteen years, apart from compulsory curricular studios, extracurricular intensive studios in architectural design (ISAD), commonly known as workshops, have become a mainstream educational environment worldwide. ISADs cover an actual weight in non-formal architectural education (Turgut & Canturk, 2015). 1 Yet, up to date, there is no overarching review on the processes and execution of extracurricular ISADs that discuss why we, including all the stakeholders, need these learning environments.
Tectonics/ways of doing/thinking of architecture face technical, aesthetic, and cultural implications of the emerging digital technologies, communication technologies, and new materialities. Architectural practices in all the fields of the discipline are thus in a reformation process. The field of education is not an exception. Except for a few notable schools, there are many limitations in architectural schools, including capacity, teaching methods, and regulatory frameworks, which hinder schools from devising changes immediately to their fixed departmental curricula (Tanyeli, 2013;Tzonis, 2014). Above all, it is now impossible to educate an all-knowing student for the diversity of architectural practices (Ruhi . The formal and non-formal studios differ in several ways: The duration (a term/yearlong versus short term), requirements students must fulfill (prerequisites/mandatory versus voluntary basis without a pass-fail issue), learning environments (schools versus outside the school) (Ciravoğlu, 2003). This study suggests that these differences are what allow ISADs to be incubators for both studio models and educational practices. These incubators might absorb the challenges brought by the proliferation of new ways of thinking and making architecture.
It is true that except for a few, information about ISADs (calls for applications, studio outcomes, models) are not widely disseminated across the world. The field needs to enhance the visibility of workshop results with regular reporting of workshop activities to raise awareness among future professionals and the wider public. To this end, this scoping review addresses the following research questions: What kind of learning environments (including tools, methods, courses, curricula, context) are implemented in intensive short-term architectural design studios? What makes ISADs potent in addressing the challenges of architectural education?
The research evolved in three stages. First, it conducted a scoping study to examine the research outputs on ISADs indexed in SCOPUS and Web of Science between January 1975 and September 2020. The second section of this paper describes the review methodology, the third and fourth sections discuss the findings. The second stage expanded the pool of ISADs, by including information about previous ISADs reached through websites. It then coded each workshop with the codes and themes determined in the scoping study. At the third stage, it created an interactive mapping that illustrates the following analysis: (1) Quantitative analysis of ISADs (Geographical distribution; outputs; principles, as elements creating the atmosphere and tactics); (2) Qualitative analysis to reveal the impact of workshop outputs on the stakeholders. The fifth section covers the second and third stage results. Ultimately, this review aims to make visible existing learning-teaching-experience environments, pedagogical conditions, practices, and implementations in ISADs.

The Scoping Study
The scoping review methodology was chosen for its aptness in providing an overview and 'mapping' of a research field without producing a summary answer to a discrete research question (Levac et al., 2010). 2 This study pursued the main stages defined by Levac et al. (2010): 3 (1) identifying the research question; (2) identifying relevant studies; (3) study selection; (4) charting the data; (5) collating, summarizing, and reporting the results; and (6) consultation (optional stage). The research questions given above were determined from the outset of this review.

Identifying relevant studies
To identify the relevant studies that lie at the intersection between 'architectural education,' 'workshop(s),' and 'extracurricular activities,' the study used the keywords defined in Table 1 to query two online databases, Scopus and Web of Science, from January 1975 to September 2020. These databases were chosen as they were considered the most relevant and provide the highest impact journals and conference proceedings.  The study used Zotero, a bibliography management tool, to list all citations from each database and to remove 89 duplicate studies. There were 529 in total.

Figure 1
Search strategy and study selection process 2 There exists no universal definition for this review type, including nomenclature 'scoping reviews,' 'scoping studies,' 'scoping literature reviews,' and 'scoping exercises' (Levac et al., 2010). 3 For another study pursuing this method in the field of architecture, please see Ucci et al. (2015) Page| 47

Study selection
The study specified the exclusion and inclusion criteria based on the research questions and new familiarity with the subject upon reading the studies (Table 2). 529 studies were examined against the inclusion and exclusion criteria using the Zotero report (exclusion based on the analysis of title, abstract, and keywords). At this point, non-useful results were removed (those not listed in journal articles, workshops, or conference papers). The study excluded 397 studies, and 132 studies remained. Only studies that were clearly unrelated were removed. In case there was doubt, we took the study to the next step. We then examined the full texts of studies (filtered out 30 without a full text) and further eliminated 59 studies, ending up with 43 studies (Figure 1).

Charting the data
The study prepared a data extraction table (Table 3) for mapping the workshops based on the key research questions.

Collating, summarizing, and reporting the results
Scoping studies have a thematic construction to provide the breadth of the literature in three steps (Levac et al., 2010): (1) the analysis with descriptive numerical summary analysis and qualitative thematic analysis; (2) reporting the results regarding the overall research questions; (3) to emphasize how results find their place in the knowledge pool and discuss future research implications.
The first two steps are undertaken according to Braun and Clarke's (2006) six-step framework for the qualitative thematic analysis. There is no specific justification for this choice, except for its widespread use in social sciences. The study used qualitative data analytic software MaxQDA 2018. These steps shall not be considered a linear process, but as a more recursive process, where the analysis goes back and forth among these steps. Table 4 Phases of thematic analysis, inspired from Braun and Clark (2006, p. 87)

Phase
Description of the process Description of the process in this study

Familiarizing with data
Reading, and re-reading the data, noting down initial ideas.
The researchers have already familiarized themselves with qualitative data over the study selection and charting data process.

Generating initial codes
Systematically organizing the data by moving from unstructured data to the development of ideas on the research topic through qualitative coding. Codes represent a feature of the data relevant to the 'thematic' focus of the current study.
The researchers pursued two types of coding: (1) initial broad code names for future reference (Deductive coding or theory-driven); (2) opencoding (coding without pre-set codes).
Researchers coded separately and wrote down notes detailing the codes during the process.

Searching for themes
Grouping different codes into broader/potential themes that have relevance to research questions.
In this study, the themes have descriptive nature and explain the data patterns that answer the research questions.

Reviewing themes
Checking if the candidate themes relate to the coded extracts and the entire data set, reviewing whether themes are coherent and distinct from each other (Maguire & Delahunt, 2017). Generating a thematic map.
MaxQDA allows visualizing all the data coded under one code and then one theme. By reading the data associated with each theme, the researchers checked all the articles. As part of the refinement, the study identified whether or not a theme contains any sub-themes. Sub-themes are themes-within-a-theme. These represent the hierarchy of meaning within the data and help to structure a particularly large and complex theme.

Defining and naming themes
Creating the final thematic map of the data and defining and naming themes upon determining the relationship between sub-themes and themes. 6. Producing the report Relating back the analysis to the research questions and literature and preparing the report.
The third and fourth section of this paper details the results.

ISAD Principles
The scoping study results point out that workshops are fertile grounds for: ▪ intervening ongoing research, practice, or education; ▪ triggering future research fields; ▪ intervening for place-based problems; ▪ creating and testing alternative studio settings for formal learning; ▪ students to gain/enhance 'survival skills' (Sorguç et al., 2019) There exist common tactics that create the workshop 'atmosphere' and learning practices for these fertile grounds.

The Atmosphere
The most crucial aspect differentiating workshops from formal settings lies in the atmosphere or ambiance that releases students from restrictions of formal processes (Orhan, 2017). Turgut and Canturk state that this "free atmosphere of workshops provides the medium for productivity and creativity of the students (2015, p. 89)." The common tactics for creating and supporting such a dynamic atmosphere are: (1) the preparation phase; (2) short-term/tight schedules/intensive collaboration; (3) the learning environment; (4) the motivation of tutors and students.

The Preparation: The Role of Tutors and Organization Teams
The short learning period results in difficulties in preparing assignments, the scope of lectures when compared to formal programs. This shortness necessitates a thought-through plan that enables achieving the primary objectives and overcomes possible obstacles via a flexible approach. A well-planned workshop requires significant effort in its preparation phase and places great responsibility on the workshop organization team and tutors (Garcia Saez et al., 2016;Momirski, 2019;Smatanová & Dubovcová, 2016). Creating a good atmosphere goes beyond a logistical organization. The preparation phase includes: -Research on learning priorities and research perspectives, -Definition of objectives -Assignment of tutors -Definition of workshop theme, the main problem to solve in a particular workshop studio; -Preparation of contents; -Invitation of critics and/or guest lecturers (if relevant) (Milovanovic et al., 2020;Paszkowski & Gołebiewski, 2020).
Most ISADs are open to students from diverse disciplines, hence needs, levels of experience, and individual interests. This unique student-centered atmosphere challenges tutors' to act as a facilitator, ready to be versatile to the diversity of workshop participants, for supporting experiential learning, rather than an instructor, and encouraging learning between and among all participants (Brooks-Harris & Stock-Ward, 1999;Garcia Saez et al., 2016;Sorguç et al., 2019). Therefore, tutors hold multiple tasks and roles at the same time.

Short-Term/Tight Schedule/Intensive Collaboration
ISADs are apt to provide an optimum period of study for students' maximum concentration, interest, and enthusiasm (Sorguç et al., 2019). This also enables keeping participants high involvement and interaction (Turgut & Canturk, 2015). Kahvecioglu et al. state that "[l]imiting the period of workshop to 72 hours was essential in avoiding possible outside interactions and impacts of formal educational activities (2002)." Short-term and tight schedules required collaboration in most of the reviewed workshops. Teamwork adds another level of complexity (Shatarova, 2015). The development of interpersonal skills required for teamwork is defined as one of the main objectives of workshops (Kahvecioglu et al., 2002;Smatanová & Dubovcová, 2016;Sorguç et al., 2019). Teamwork also supports collective learning and cooperation besides broadening horizons (Polatoğlu & Vural, 2012). For students' future practice, gaining the ability to work creatively under pressure is explained to become an essential critical skill (Paszkowski & Gołebiewski, 2020).
Almost all the reviewed workshop tracks shared a common approach, cooperative learning that puts students in teams under conditions that stimulate teamwork skills while ensuring their accountability for the entire process. There are many debates in the field about the notion of "star architect." This notion drives architectural education in many parts of the world to focus on education for creativity. However, we observe that the profession requires professionals involved in complex collaborative and collective processes. These processes necessitate the distribution of design responsibility. In the context of education, studio teaching methods where the focus on one student's abilities and skills become problematic (Habraken, 2006;Tzonis, 2014). Previous research indicated that many architecture schools do not promote collaborative learning practices in formal design studios (Ruhi Sipahioğlu & Alanlı, 2020). By promoting collaborative learning practices, ISADs are fertile grounds for students to gain interpersonal skills.

The Learning Environment
Organizing inter/multi-disciplinary design studios is a significant burden for fully booked departmental curricula and tight weekly/yearly schedules. Workshops are the locus for students to partake in interdisciplinary design processes (Milovanovic et al., 2020;Pereira & Roche, 2016). Smatanová and Dubovcová state that this environment provides "a safe ground for different actors to meet (2016)." […] the participation of the students in this multidisciplinary meeting has enhanced their capacity for selfcriticism in several disciplines and has promoted their ability to perform learning and research strategies in an autonomous way by both interactive classes and practical exercises supervised by teachers, working individually and in groups (Tang, 2013).
Having a multidisciplinary team paves the way to assess and understand the same work from different perspectives through collective expertise and knowledge. Multidisciplinary teams are also explained to present a wide variety of concerns and interests, which assist in providing answers to a wide range of questions of varied importance (Garcia Saez et al., 2016).
Increased international diversity yields challenges (Pereira & Roche, 2016) but benefits learners and tutors (Umran Topcu & Taberna Torres, 2018). International workshops incorporate different cultural backgrounds. This diversity widens participants' perspectives in approaching design interventions and fosters students' working international teams' skills. As current architectural problems are globally widespread (Pereira & Roche, 2016), in some cases, foreign professionals may discern local problems from different viewpoints while yielding a polarity of ideas (Paszkowski & Gołebiewski, 2020).

Motivation
In educational psychology, motivation is considered a critical factor for the success of learning. The lack of motivation has an impact on students' attention in class, hence the learning outcomes. It is maintained that "motivation to learn is directly proportional to the effectiveness of learning (Fernandez-Antolin et al., 2020)," because it stimulates students to learn and pursue learning activities. The will to delve into a specific subject correlates with students' motivation. Hence tutors need to determine the strategies that improve learning motivation (Fernandez-Antolin et al., 2020).
Existing literature details certain factors in improving learning motivation. The schedule, learning environment, and the tactics of ISADs represent diversities and this study cannot discern at this phase which factor best improve learning motivation. Almost all the reviewed articles include a common factor triggering students' motivation and informal learning. For the impact of informality, Smatanová & Dubovcová state that: Informality, which aims at going beyond the normal and ordinary, provides an environment excluding the current order and rules where hierarchy is taken down. The most important benefits of informality are motivation, a communicative environment where different ideas come together, expressing oneself individually and gaining self-confidence (2016, p. 126).
A number of studies detail that international learning environments, visiting a foreign country, improving lacking skills are among the main students' motivations. For example, Sorguç et al. state that "pushing students out of their comfort zone also plays a crucial role in the self-evaluation and increase self-motivation to make up their lacking knowledge and skills (2019, p. 136)" Paszkowski and Gołębiewski (2020) explain that the competition between student groups is an additional motivational factor. Fernandez-Antolin et al. (2020) state that the use of gamification increases students' motivation.

Lectures
ISADs generally include lectures prepared for the workshop themes, or if relevant, lectures for introducing participants to practical design (most often computational tools) or construction techniques.6 Lectures involve learning-by-thinking and reflecting on the theme. Invitation of external guest lecturers into formal education is considered a burden, as lecturers, especially from different disciplines, cannot give long-term commitments. Hence, workshops benefit from external lecturers, including those from diverse fields and disciplines, owing to its short-term promise (Smatanová & Dubovcová, 2016).7

Workshop Themes
There exist different tracks in the assignment of workshop themes (1): Real problems (based on a place); (2) Pre-defined design problem / conceptual question; (3) Experimental for ongoing research; (4) Exploring (Material/Techniques; City; Heritage; Representation techniques; computational design and/or fabrication tools).

'Real' problems
The workshop themes are 'real.' Either conceived as a hands-on studio, including the building phase, or a design studio, in these workshops, learners apply their knowledge or theory on real world problems and experiment in non-hypothetical conditions. Hence it is on the opposite side of "the abstract milieu associated with the virtual studio environment (Shatarova, 2015). International Network for Traditional Building, Architecture, and Urbanism (INTBAU) Design Workshops organized since 2002 using the charette model exemplifies this approach.8 INTBAU's Transylvanian Village Development Workshop 2003 […] aimed at assisting in the sustainable development of the medieval 'Saxon' villages of Transylvania. The workshop involved 32 practitioners and students from Romania and abroad, working with citizens in a 5 day charrette. Participants analysed the village and produced traditional urbanist proposals integrating heritage preservation and sustainable development. The masterplan included design guidance for simple improvements to the streetscape and amenities of the village, and for new traditional buildings in the village and in extensions to it (Hardy, 2008).
Summer Schools organized by Architecture Sans Frontiere-UK is another exemplar. 9 'Building Communities', suggests, this five-day course not only looked at the physical, construction-related aspects of improving slum neighbourhoods, but also -and perhaps more importantly -introduced the participants to the wider picture of encouraging positive change and regeneration by addressing key issues such as participatory practice, community development and environmental sustainability. Creating a dynamic between theoretical discourse and a practical hands-on building project, the Summer School focused on the importance of addressing the complexities of context, culture and community in development, and the potentially negative effects of remedial aid when this does not take these factors into account (Berg, 2008, p. 79).

Sas-Bojarska and Rembeza (2020) explain that their workshop series organized between
Portugal and Poland presented different local problems. These 'real' problems range from investment pressure, city fragmentation, degradation of landscape, changes in underground water level, pollution (air, noise, vibrations), chaotic-mix/use, and architectural banality (Sas-Bojarska & Rembeza, 2020, p. 191). These problems of a contemporary city turn out to be common problems affecting all the cities in subsequent years, especially European ones. This relevance stems from their selection of design areas based on "the complexity of problems, the challenges, and potential for creating new city values (Sas-Bojarska & Rembeza, 2020, p. 195)." In place-based studios, learning from the place and its people is paramount. Ethnographic, demographic, social statistical, site analysis, and participant-observation measures are among the methods here. These interactions with the community move the learning into the context. When learning takes place in the community, working alongside local partners, the process can be empowering, participatory and more meaningful. Field based learning allows for complex problems to be approached from a number of angles in order to see the short-term and long-term implications, and the range of stakeholders involved. The perception of this complexity changes once one is able to break down the challenges into a process consisting of people and responsibilities (Ernst & Edwards, 2013, p. 99).
Place-based learning practices require workshop participants to have intense interactions with the community, including their invitation to the final presentation and discussion sessions (Twardoch & Stangel, 2016).

Pre-defined design problem/conceptual question
These workshops challenge participants with a pre-defined design problem or conceptual approach. The workshop entitled "COVID-19 Challenges: Architecture of Pandemic" (Milovanovic et al., 2020) and the "Gazi University Winter Schools" best illustrates this approach (Paszkowski & Gołebiewski, 2020).

Exploring (Material/Techniques; City; Heritage; Use of computational design and fabrication processes)
Various workshop organizations explore the potentials of materials by delving into new fabrication techniques and form generation processes (Guner et al., 2017;Orhan, 2017;Tang, 2013). Another theme focuses on exploring the city while aiming to immerse students in context. These workshops expect to derive new design interventions in the city, enhance students' ability to read the city based on architectural interpretations (Polatoğlu & Vural, 2012;Umran Topcu & Taberna Torres, 2018;Turgut & Canturk, 2015). Exploring cultural or modern heritage is seen to be an emerging theme.

Learning-By-Doing: Studio Model
Most ISADs are built upon design studios enabling students' active experimentation while incorporating all the learning modes. Learning by working on 'unique' problems (Kahvecioglu et al., 2002), students actively incorporate all the learning modes. All the workshops pursued group supervision, including desk-crits or panel crits, in terms of instructional methods. This study classified ISADs based on the studio actual outputs: (1) Hands-on learning with design-build or fabricate projects (2) Studios resulting with architectural design projects/proposals represented with diverse mediums (3) Studios resulting in architectural reflections.

Design Studio: Hands-on (Design-build and Design-fabricate)
Design-build workshops are studio models in which "participants actually materialise their conceptual designs in either prototypes or full-scale models (Shatarova, 2015)." The material and materiality (process) of architecture is mostly reflected in these types of studios. In these studios, students first develop a design model and build the project. Hence knowledge is explained to be assimilated better through the first-hand experience (Garcia Saez et al., 2016;Guner et al., 2017). Especially construction workshops reinforce theory courses by taking learning out of classrooms and textbooks to develop structural intuition while working with physical models (Tang, 2013).
In the mapping, the study separated this studio model into two categories to differentiate between building technologies used in the workshop: Design-build and design-fabricate. While design-to-fabricate workshops allow students to explore the potentials of computational design processes combined with new fabrication technologies "to make automated construction a reality (Shi et al., 2020)", most design-build workshops are organized for communities with low income affected by political and natural disasters living in rural areas that are not accessible to architectural services. In these workshops, sustainable, recyclable, or salvaged materials can be obtained locally, easily, and cheaply (Guner et al., 2017, p. 6868).

Studio: Experimental / Reflective Practice
This type of studios usually has a theme this study calls 'exploring city.' Students learn-byexperiencing certain urban settings and buildings detailed below. In these workshops, students learn by reflective observation because they are asked to articulate their reflections on their experience via diverse mediums or techniques, like urban sketches, stop-motion videos (Umran Topcu & Taberna Torres, 2018), photographs accompanied with literary texts (Kahvecioglu et al., 2002), or diaries (Symans et al., 2010).

Learning-By-Travelling/Living/Exploring the Place
Learning by exploring the place or immersing in the cities is an educational tool used by ISADs for several objectives. First, they make "both students and professionals aware of this whole other world outside their studio design (Berg, 2008, p. 83)." Second, participants, either by researching the field or only by spending time in the new context, can grasp the meaning of lived space and the community. The following excerpts from reviewed publications better illustrate this learning experience: We explained the relevance of feeling with the cities. We encouraged the students not just to walk, but to live the places and buildings […] We challenged the groups for trying to find this lived space, these personal feelings they had while they were going around different places (U. Topcu et al., 2015, p. 262).
Meetings, communication with locals, lunches and study took place all at the site so that students are conducted in the area to experience a longer period of time, to monitor the behaviors of local people, to perceive the use of space. One of the most important aims of these workshops was to gather students together from different cultures (Polatoğlu & Vural, 2012, p. 483).
This lived space provides learning-by-experiencing.

ISAD Outputs
Workshop outputs become three sources of inspiration: Place, future-ongoing research activities, innovations toward formal learning practices.

Place: An Inspiration and A Facilitator
Place-based workshops in architecture and urban planning potentially bring benefit not only for practicing students but also for the world around them as they are mainly concerned with socially relevant issues. The primary objective of these workshops is to explore the "real problems" of the built environment. Workshop outputs may not be fully elaborated for a direct professional application, given the students' lack of experience or idealistic approach. However, the workshop is a "spark, an inspiration for further actions, a great opportunity for public education for all and urban-related issues awareness of building (Twardoch & Stangel, 2016)." Studied papers document how certain workshops have become inspirations for future actions (Sas-Bojarska & Rembeza, 2020;Twardoch & Stangel, 2016). Berg (2008) explains the impact of ASF-UK Summer School as follows: A live hands-on building programme using waste material simulated resettlement and reconstruction, and explored the ways and means of building local capacities for preparedness and recovery (Berg, 2008). Workshops are considered as a catalyst within a long-term agenda for socially active design and build activities (Ernst & Edwards, 2013).
The success of the model/pedagogy can be critically evaluated against the success of this workshop to instigate and sustain a longer-term project. The longer-term programme is the only way to achieve meaningful engagement, positive change and sustained learning. While the workshop is only two weeks the fast-paced learning scenario, with skilled individuals from seven nationalities and a variety of backgrounds and experiences, can provide the momentum to drive forward a process (Ernst & Edwards, 2013). Skills gained in a digital art workshop are seen to have triggered students in engaging new activities in support of a series of workshops with the homeless group.
In order to facilitate the participatory design process, they had to envisage an interface to evaluate the ability of lay people in the use computers; they had to set up a multi-functional web page; they had to sort out network issues in order to make one interface working across a dozen computers. Moreover, what is remarkable is that they were able to achieve these tasks by transferring the technical and creative knowledge they had developed in an otherwise playful situation, related to digital art (Cabral Filho, 2005). However, Ernst and Edwards (2013) suggest that these workshops "take place under the aegis of foundations, NGOs, universities and other bodies ready to continue the work's outcomes" for furthering the workshop outcomes and long-lasting interest in the topic.

Research and Education: Inspirations
Workshops are both a catalyst for ongoing research activities and a spark for future research. Their outcomes are visible faster, and outcomes are tangible (Smatanová & Dubovcová, 2016).
Cyborg sessions organized to address women's inequality in technology at the Iowa State University exemplifies such a role. Through these sessions, researchers test a pedagogical program's viability that provides a supportive environment and opportunities for women (Doyle et al., 2018). Diniz (2015) organizes a workshop for testing her hypothesis of using prototypes as the primary vehicle for research through design. Karadağ and Tuker (2020) organize an ecology-based computational design workshop to understand whether the incorporation of computational thinking into the design process would "increase students' awareness of the ecological dimension and their ability to make this dimension an integral part of their projects (2020)." All these applications correlate with the role of workshops in updating/renewing the existing formal learning environments. The following section will detail this issue further. These workshops also allow students to become part of ongoing research.
"I International Planning Preservation Workshop" is explained to lead to establishing a permanent international work structure for the development of projects of the Historical City. Afterward, this network published several books that refer to this workshop and teaching proposals shared between the affiliated institutions (Jimenez Delgado & Piedecausa-Garcia, 2013). By the same token, Ernst & Edwards (2013) reports how an international workshop coordinated by ASF-UK and SEEDS India paved the way for "a new three-year project to promote appropriate shelter technologies and processes for disaster and climate resilience in the Himalayan Region (2013, p. 101). Orozco-Messana et al. (2020) explain how "ISAlab Workshops" have become an initiator of new master thesis research. Tzaka et al. (2010) point out how the experimentations in the "SKG_Flux" on parametric urban design have relevance to developing the ways, the contents, and forms of expression of the parametric approach to urban design are converted into teaching practices and educational outcomes. Cabral Filho (2005) accounts for the role of a series of experimental workshops to include an artistic approach to the work in a computer lab dedicated to teaching and researching architecture. Shi et al. (2020) organized four "Robotic Tectonics" workshops to develop a new didactic pedagogical approach that relies on robotic tectonics principles.
Among the reviewed workshops, the study determined that problem-based learning workshops are an ideal mix of practice, research, and education and balance "situations in which the transfer of practice into faculty programs influences the development of education in the form of an architecture office where educational criteria do not take priority (Momirski, 2019)."

Education: Students' Skills
Reviewed studies detail the objectives of workshops concerning the students' learning outcomes. Given the diversity of workshop themes, the competences, skills, and abilities provided by each workshop differ from one another. Almost all the reviewed workshops address the acquisition of the knowledge, skills, and competences defined by Article 46 of 2013/55/EU entitled "Training of architects" (The European Parliament and of the Council of the European Union, 2013, p. 55). This study reveals that: • Place-based workshops enhance the "understanding of the relationship between people and buildings, and between buildings and their environment, and of the need to relate buildings and the spaces between them to human needs and scale," owing to its high focus on the context and communities. • Workshops pursuing hands-on learning practices provide "the understanding of the structural design, and constructional and engineering problems associated with building design." • One reviewed workshop (Cabral Filho, 2005) was specially dedicated to understanding how the knowledge of fine arts as an influence on the quality of architectural design has an impact on the design outcome. Numerous fine art techniques (stop-motion videos, collage techniques, etc.) • Numerous workshops aim to foster students' skills in addressing sustainability issues both on urban and building scales. Beyond providing "adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate, in the framework of sustainable development," we observe that place-based workshops focus also on skills and knowledge in addressing social sustainability. Another growing workshop strategy is the use of computational tools in designing environmental sensitive projects. • All the reviewed workshops require students to work in teams. This strategy develops not only students' communication skills but also interpersonal skills via group work.
Apart from these aspects, international workshops enhance students' self-confidence in international environments and language proficiency (Orhan, 2017;Umran Topcu & Taberna Torres, 2018. remaining was face-to-face activity. #1 depict the distribution of the number of workshops across the countries in which a workshop is held. The study combined qualitative and quantitative analysis methods to map the principles and outputs of ISADs. Based on a qualitative approach, it coded each ISAD with the codes and themes determined by the scoping study results and prepared a spreadsheet (Table 6) based on the data extraction table produced at the 4th stage of the scoping study (Appendix B). Subsequently, the study used the data visualization software, Tableau Desktop, mostly used in big data analytics, owing to its ease in providing new perceptions from data and enabling an interactive analysis framework (Figure 4). To make the following analysis:

Mapping and Analysis of Short-Term Architectural
(1) Quantitative analysis of ISADs (Geographical distribution; outputs; principles, as elements creating the atmosphere and tactics); (2) Qualitative analysis to reveal the impact of workshop outputs on the stakeholders.

Mapping the Atmosphere
The study does not attempt to make statistical analysis, but it deduces several remarks based on the cross-tabulation of these three sets of data given in the Tables below.    Compared to monodisciplinary ISADS, a considerable number of 11-15 days workshops are multidisciplinary. In terms of duration, the nationality of participants does not show a significant difference. What is more striking is that out of 28 international ISADs, 19 are multidisciplinary, while in national ISADs out of 19, only three are multidisciplinary (#2).

Mapping the Tactics
The second set of data pertain to the mapping of workshop themes and teaching/learning methods (learning-by-doing). Learning-by-travelling is intentionally not included in this analysis because the scoping study indicated that most ISAD programs include technical city tours. As for lectures, out of 47 ISADs, only five did not include lectures (#3).  The studio model 'Architectural reflections' focuses on exploring cities through various representation mediums, ranging from sketching, stop-motion videos, photography, etc. Hands-on learning via build-design workshops explores the potentials of materials, like gypsum, concrete, or timber.
In terms of the learning environment, 'real problems' are seen to be studied in multidisciplinary teams. While exploring the city is a theme dedicated to architecture students (#4). The majority of ISADs up to 5 days long pursued 'architectural reflections' models. Through the interactive tableau visuals, it is possible to explore the diverse array of ISAD durations (#5).
Design-Fabricate studios are seen to have no direct contact with the community while remaining detached from the local community (#6).

Mapping the Outputs
The scoping study showed how a workshop might have diverse outputs beyond the actual ones (either built or designed). These outputs relate to three major categories: Place (either workshop hometown or the assigned place); Education (Formal); Research. The figures #7 and #8 represent the correlation between the studio model/theme and education/research, studio model/theme, and place.
Workshops on the use of computational design and fabrication tools are means of developing new formal education strategies. However, until today it is not possible to interact with the broader community in which the workshop is organized. Figures #9 and #10 represent the cross-tabulations of studio models and their impact on the place, research, and education. This analysis depicts that the design studio (speculative) model has become a means to support the research-by-design strategy. At the same time, design-build studios enhance students' understanding of the potentials of the material. One can make diverse interpretations based on the tableau visualization; therefore, the online table includes the details of all the analyzed ISADs and their references.

Un-Conclusion(s)
Workshops, including their processes and outputs, are an inspiration for the knowledge triangle of the field of architecture. Workshops hold two crucial roles: (1) A research-by-design activity to address socio-economic-ecological problems caused by the built environment; (2) A pioneer activity in improving curricula and teaching-and-learning practices.
This study foresees the potential of ISADs in overcoming time-related, geographical, economic limitations; in providing fresh perspectives on content and methods concerning architectural education; expanding the intellectual resources of students; enabling international collaboration between diverse institutions; breeding an experimental/flexible learning and research environment in the 1st and 2nd cycles to absorb ever-changing tools/methods promoted in professional/research sides of the field promoting the pedagogical update of studio tutors, including professional practitioners, with peer teaching methods.
The field requires enhancing the visibility of workshop process and results combined with regular reporting on workshop activities to raise awareness building among future professionals and the wider public. Hence, beyond doing a review of existing ISADs, this output provides the reader with an array of diverse teaching and learning practices in these non/informal grounds. The interactive mapping created via Tableau is a tool open for interested parties in accessing previous ISADs.