{
  "schema": "archi.render/1",
  "created_at": "2026-11-08T10:09:43.9161521\u002B01:00",
  "archi_automate_version": "27.33.0",
  "provider": "google",
  "model": "google/gemini-nano-banana-2.1",
  "lane": "reference",
  "prompt": "Interior architectural visualisation of a tall church nave in calm, matte winter daylight with directional sun. A symmetric one-point view down the nave with the chancel at the centre. Lifted shadow tones that are never black; creamy highlights; a muted, warm-neutral palette with low saturation; natural materials read matte and tactile. A very slight haze in the volume, with no visible light rays. Two or three small figures sit quietly on chairs far down the nave near the chancel, none closer than about 20 m to the camera, none looking at the camera. A fine, even grain; quiet, legible, monumental and hand-finished.\n\nRoom: the nave of Grundtvig\u0027s Church in Copenhagen, the brick church by P. V. Jensen-Klint completed by Kaare Klint, seen from the west along its centre line toward the altar. In view: a very tall pale yellow brick nave; on each side a row of massive clustered piers made of many fine vertical brick ribs, rising straight up into pointed rib vaults with slender brick ribs high above; the arcades between the piers; at the far end, at the centre, the chancel with its tall narrow windows with fine glazing bars, a low arcade below them, the altar with two candles and the altar rail; a small pulpit far down on the right. On the floor, rows of simple church chairs in four banks with a central aisle. On the nave faces of the piers, small brass wall sconces (eight on each side, receding to the chancel) and small grey loudspeaker boxes at about 2 m. Daylight: low November midday sun comes from the right, from tall windows out of view, and crosses the nave. It falls as tall, crisp bands of pale warm sunlight on the faces of the left-hand piers that turn toward the centre of the nave, from the floor high up the piers, and as broken patches of sun on the left chair banks and the floor between them, with a fine grid of window-bar shadows inside the patches, and one patch of sun high on the chancel vault at the far end. The right half of the nave, its piers and its chairs stay in soft, luminous shade. The sun patches are crisp but natural, not spotlights. Warm lamplight, 2700 K, soft and local, added to the cool daylight: pools of warm light glow from the side aisles, seen between the piers, on the aisle floors and on the pier faces about 3 to 10 m up; each brass sconce washes its own pier face with a soft warm glow up and down and casts a faint warm pool on the chair ends below. The winter sun stays the main light. Season and time: mid-November, about half past twelve.\n\nMaterials and furniture: everything built is the same pale yellow brick, a soft warm sand-yellow, matte, with fine light mortar joints: the piers and their ribs, the arcades, the walls and the vaults. The vaults print dark grey in the input only because the input has no bounced light: they are pale yellow brick in soft shadow, lighter than in the input. The dark olive-grey tones on the piers are also only the viewer\u0027s flat shading, not dark brick. The floor is pale yellow brick laid flat in a basket-weave pattern with fine light joints; the dense dark grid lines in the input are only drawn joints, not dark mortar, and the black strip down the far central aisle is the same pale brick floor seen at a distance, not a carpet. The chairs are pale natural wood with woven paper-cord seats and ladder backs, light in colour, not dark. The sconces are simple brass.\n\nCorrections, follow them strictly: the near floor in the lower third of the image, between the camera and the first chairs, lies in soft shade with no sunlight on it; direct sun reaches only the left piers, the left chair banks and the floor between those chairs, and the patch high on the chancel vault. No sunlight on the right-hand piers. The chancel at the far end is exactly as in the input: a flat end wall under the last vault, with the tall narrow windows seen in the input, flat-topped, with a square grid of glazing bars; no pointed or arched window heads and no apse vault. Do not add any windows or openings on the piers or between them. The brick is a pale, muted sand colour, not saturated yellow, not orange.\n\nTreat the input image as the exact geometry and camera. Keep every building element exactly where it is: outline, proportions, the number, spacing and thickness of columns, mullions and frames, floor and roof edges, openings, stairs and terraces. Keep the camera position, lens, horizon height and frame exactly as in the input. Do not add, remove, move, bend or resize any part of the building. Change only how materials, light, sky, vegetation, people and atmosphere look.\n\nAvoid: saturated blue sky, sunset or golden-hour colour, dramatic clouds, lens flare, HDR look, glossy CGI reflections, deep black shadows, vignetting, tilted or converging verticals, visible brush strokes, oil-paint or canvas-weave texture, people posing or looking at the camera, people close to the camera, cars in the foreground, text, logos or watermarks, visible side windows, volumetric god-rays or light shafts in the air, spotlight-like sun patches, sun disc, lens glow or starbursts around the lamps, dark or black vaults, glossy or polished floor, carpet in the aisle, people in the foreground.",
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  "mime_type": "image/jpeg",
  "source_image_path": "C:\\Archi\\Marketing\\Next Houses\\11-grundtvigs-kirke\\cameras\\inputs\\GK LD - 02 Nave east classic 1-3 centred - hybrid.png",
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  "camera": null,
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  "watermark": "synthid",
  "elapsed_ms": 19591,
  "provenance": {
    "provider": "google",
    "route": "https://generativelanguage.googleapis.com/v1beta/interactions",
    "api_revision": "2026-05-20",
    "model_version": "gemini-nano-banana-2.1",
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    "output_tokens": "2197",
    "thought_tokens": "0",
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