Only after several days of immersion, reflection, and exchange did the residency transition into prototyping. Using a collective clustering process called Thematic Village, participants articulated the questions and possibilities they wished to explore. These gradually converged into four collaborative prototypes centred on Mayan youth, performance and haiku, nature and culture, and the future of the Yucatán as a place for social art.



The second half of the residency became a functioning social art studio. Daily structure was intentionally kept minimal, consisting primarily of morning awareness practices and collective check-ins, while participants organised their own working rhythms, found collaborators across groups, sought feedback, and iteratively developed their ideas. The emphasis shifted from planning towards making, allowing artistic forms to emerge directly from shared experience rather than predetermined concepts.