Scarpa Materials, Wood and Metal Joinery

The prompt

Using the Archi Automate MCP, render a materials board with render_view on [GPT Image 2.5 Sunburst] at 1664 x 2080, quality high, text only, with no input images, with this image prompt: A top-down flat lay studio photograph, camera looking straight down, of nine material samples from Venetian rooms of fine timber and metal, laid on a matte warm light-grey paper backdrop. The samples are arranged in a calm, balanced, slightly asymmetric composition with generous even spacing; the anchor piece is the largest, and one or two samples overlap a neighbour slightly. Each sample is a small, plainly cut offcut of the real material, as an architect's supplier would send it, matching the material, finish and colour of the named room. Do not depict the buildings or any part of them: no architectural forms, no openings, no ornament, no carving, no motifs. The samples: (1) the largest piece and the anchor, four long narrow boards of African teak about 10 cm wide laid side by side with fine shadow joints, a warm mid red-brown with a ribbon figure of alternating light and dark stripes along each board, satin oil with soft linear highlights, as used at Negozio Olivetti, Venice, ceilings; (2) a pair of thin oiled teak fillets with a flat brass strip set between them, precise and flush, as used at Negozio Olivetti, Venice, battens dividing the mezzanine stucco panels; (3) two short boards of dark teak, straight grain, satin, slightly worn, as used at Negozio Olivetti, Venice, mezzanine floor; (4) a narrow strip of evenly etched milky white glass set in a slim dark brown hardwood frame, as used at Negozio Olivetti, Venice, continuous light strips; (5) four short straight boards of larch weathered to soft silver-grey, fine linear grain, about 6 cm wide, with a solid ebony rod about 1.5 cm thick laid across their ends, as used at Memoriale Brion, the water pavilion cladding; (6) an offcut of marine plywood with visible plies at the edge, studded with small flat bright copper nail heads, flush and a few centimetres apart in a neat grid, as used at Memoriale Brion, the water pavilion screens; (7) a short length of rounded hardwood handrail, orange-brown on its sides and weathered silver-grey along the top, ending in a brass end cap polished bright, as used at Fondazione Querini Stampalia, Venice, the bridge; (8) a short flat bar of dark rust-brown to black iron with two domed rivet heads, as used at Fondazione Querini Stampalia, Venice, the bridge posts; (9) a panel of narrow straight wood strips, burnt black and then brushed so the raised grain of 1 to 3 mm catches a silvery sheen, matte, as used at Venezuelan Pavilion, Biennale Giardini, outer face of the rotating panel. Soft directional studio light from the upper left, like a large softbox, with a gentle fill; real soft shadows and contact shadows under every sample. Macro-level texture is visible on every surface. Neutral, calm, true colour; photographed on a medium-format camera, sharp and detailed, a well-composed professional studio photograph of an architect's material board. No text, no labels, no letters, no numbers, no logos, no tags or stickers. No people, no hands. No furniture, no plants, no flowers, no leaves, no props, no pens or tools, no house, no building, no architectural model, no room, no landscape. No emblems, no interlocking circles or ring motifs, no round windows, no carved figures or sculpture. No grilles, no lattices, no furniture. Only the nine material samples on the backdrop.