About us

D:4 was founded in 1997 as a result of a cooperation between the business partners Marcus Nitschke and Jörn Focken.

To this day, the original idea of founding a planning office for the fields of architecture and church has developed into a particular specialisation and an interdisciplinary team.

Architects, monument conservators and designers work together with cultural scientists and real estate managers, so that we can advise our clients on specific questions.

A wide range of project experience in the architectural, real estate and cultural sectors is the basis of our ongoing demand for the careful consideration of new projects and assignments.

Our clients vary from public to private, from church to cultural institutions and individuals. For us, the focus is always on individual consultation and the joint development of ideas and goals. Contemporary ideas, well thought-out concepts and holistic consulting are the hallmarks of our work.


Our service profile in the field of architecture includes all service phases according to HOAI (LPH 1-9). Here we can draw on expertise in new construction, building in existing structures as well as in renovation and maintenance.

In addition, we are active in the field of building evaluation and have many years of practical experience in the analysis of room programs and the creation of usage profiles for individual buildings and larger real estate portfolios.

Furthermore, we prepare energy reports and provide comprehensive energy consulting.


Our employees bring in profound knowledge in dealing with listed buildings. In recent years, monument preservation tasks have become a special focus of our expertise.

Within the scope of these tasks we create:

  • building-historical investigations and building surveys incl. archive research, building research on the building and photo documentation
  • Plans for the preservation of historical monuments
  • Damage documentation and restoration reports
  • Colour diagnostic tests

We also assist our clients in making arrangements with the authorities and other parties involved.


At the interface between architecture and monument preservation, we can advise our clients with our specialist knowledge and many years of experience in the field of sacred buildings. In addition to new construction tasks, our field of activity also includes the accompaniment and support of congregations of all denominations in the management of their properties.

Construction projects in the field of sacred buildings always place special demands on our work: The sensitive analysis of the needs of the congregations, the historical and political contexts of the religious communities and the future visions of our clients for their property define our work. In recent years, we have been able to accompany many congregations in the renovation, redesign, conversion and optimisation of their buildings.


In many of our architectural projects, we work with artists from the design phase onwards. We explicitly understand art as an integral part of architecture, not as an application, as is often the case with "art on building" projects.

In the area of sacred architecture, we support church clients in the implementation of competitions for the artistic design of church interiors and accompany the implementation of the selected works in a moderating capacity.

In addition, D:4 founded the architecture gallery and the associated publishing house treppe b in 2016. The gallery space in the Corbusierhaus Berlin hosts temporary exhibitions on post-war modernist architecture as well as contemporary positions, but is also used for concerts and other events.


Today, many construction projects in the social and cultural sector can be co-financed by subsidies. We support our clients in the acquisition, application and administration of project-related funding, whether state, federal or EU funding.


The preparation of studies and expert opinions for individual buildings or larger building stocks is an important part of our work. Here we work with both private and public clients and create concept studies, feasibility studies, monument preservation analyses, but also energetic reports and profitability analyses.

We accompany our clients in operational decisions for the realization of their projects in an individual and trustful cooperation. Due to our interdisciplinary team we are not only able to deal with architectural and monument preservation issues, but always include political, social and historical contexts in our evaluations and recommendations.

Our individual achievements are:

  • Feasibility studies
  • Utilization concepts
  • Climate protection concepts/energy concepts
  • Valuation of real estate
  • Financing concepts
  • Real Estate Consulting


Detailed design of buildings and interiors (m-w-d)

We are looking for an architect for demanding implementation planning. We expect good knowledge of technical regulations and standards, pleasure in detail and sensitivity for the use of sustainable materials. The focus of your work will be on public buildings, including community centres and kindergartens.

> more info

D:4 Hamburg: Architect:in for all work phases (m-w-d)

We are looking for an architect for demanding design tasks, experience in implementation planning and with construction management tasks are expressly desired.

> more info

New publication

AIV Forum 2-2021
grossWEST - AIV Schinkel Competition 2021

Documentation of the AIV Schinkel Competition 2021

Since 1855, the AIV Schinkel Competition has been an annual competition for young planners to encourage their creativity in solving future-oriented planning tasks. In addition to promoting young technical and scientific talent, the competition initiates a dialogue between the urban public, experts, administration and politics. It aims to arouse interest in an area, to develop sensitivity in dealing with the existing buildings, to show the significance for the surroundings and thus to contribute to the qualification of the task of formal planning. In this sense, the competition aims to generate a relationship between the general public and the planning area and to win them over for the design of the public spaces. Due to its independence, the AIV Schinkel Competition thus succeeds in introducing suggestions into ongoing planning.

16 Euro
ISBN: 978-3-96551-802-5

Orders to: MAIL


Photography: Thomas Rosenthal

Deutschlandradio | Conclusion | 06.07.2021 

Berlin wants to make German-German post-war modernism a World Heritage Site.

Interview with Marcus Nitschke

New publication

With the new 2nd expanded edition of the book we start into the summer!

Le Corbusier's participation in the International Building Exhibition in Berlin in 1957 proved difficult. At the inauguration of his Unité d'Habitation in 1958, Le Corbusier distanced himself from the realised building and deliberately gave it the title: Typ Berlin. Today, the building is one of the most prominent witnesses of Berlin's post-war modernism. The dispute - with its escalation - became a legendary example of the real conditions and limits of faithfulness to a work, copyright and architectural originality.

After the first edition was sold out after only a few months, the new edition with a new layout and many supplementary letters by Le Corbusier and the Berlin building actors will be published in bookshops on 1 July for 18 euros.

We are happy to accept advance orders. As always, we offer a bookstore discount of 35 % for 5 or more copies and 40 % for 10 or more copies.

Info at: treppe-b.de
Orders: HERE

ISBN: 978-3-96551-012-8

Completely different rooms

Interview with Sebastian Behmann

Studio Other Spaces is an art and architecture practice founded in 2014 by artist Olafur Eliasson and architect Sebastian Behmann.


What is the working method of Studio Other Spaces?
A project must have potential, open up themes that are interesting. Our works emerge from dialogue and in the context in which we operate.
We believe that the quality of the relationship with the client significantly influences the quality of the work. We do a very detailed analysis, not only spatially but also socially and economically and then we respond to that on different levels through our work.
In addition to the quality of the space, we are interested in how and in what form the space can bring people together and connect them, and whether its form is suitable for generating community. The clients have to be able to answer our question as to whether they have an idea of how the space should be filled with content. This is where we come in and try to get involved. So it's about defining the space, not about pure aesthetics. That's why our strongest projects are those where we are in close contact with our clients. It's important to us to create a real collaboration, where you work together and complement each other. Of course, this also makes the work more complicated, because everyone has their own ideas and perceptions, but such hurdles give a project more depth.

Sebastian Behmann and Olafur Eliasson © Anders Sune Berg

Other Spaces' sounds like a different, maybe a better world. What is the goal of the office?
Of course we want to change the world!
Besides an interest in the past, the most important thing is to create something that depicts the future and gives perspective. It's about designing a future in dialogue with institutions, private individuals or museums, and ideally building it.

And where does the name Studio Other Spaces come from, or rather what does it initiate?
It has several levels: On the one hand, we are interested in heterotopias and in built utopias. These are, for example, sacred buildings or museums, in other words buildings that are not rooted in everyday life, but where one formulates spaces with a certain aspiration that want to carry and change something. That is an important aspect of our work. On the other hand, we go into the everyday world. We process and negotiate things in such a way that they can be experienced and reached by everyone: For example, we are currently working with David Chipperfield Architects on part of a hotel in Paris. This is a relatively mundane task. But here we are adopting processes that we know from our many years of collaboration in the art world. The dialogues become different as a result and we often choose a different way of developing things. A lot of what we have learned in art flows into architecture. In the end, the works are good when you don't see any difference between art and architecture.

Fjordenhus © Anders Sune Berg

You talk about the connection between architecture and art. What potential arises from the connection, especially paired with perceiving and experiencing spaces?
I really enjoy doing things differently: For example, we built an elevator at Fjordenhus1 in Vejle (Denmark) that has special features
. For one thing, you can feel the wind when it's moving, because it's only separated from the stairwell by grids, and for another, it moves particularly fast. You really have the feeling of moving. The elevator is designed to make you bend your knees when it starts, and when you stop again you have to hold your bag so the key doesn't fly out. It goes against what you're used to. It's the only way to question what you see.

Fjordenhus © Anders Sune Berg

Your buildings are about a perceptual experience for the visitor. How do you build atmosphere?
At Fjordenhus, the visitor comes over a bridge into the open foyer, just like on a ship. He experiences what the city is all about: the lapping of the water, the wind and the light reflecting off the ceiling. These sensory experiences create a sense of place and answer the question: where are we? As in church construction, we use the available means to create a dramaturgy and an atmosphere. The arc of tension runs through the whole building and has a lot to do with the lighting mood and the acoustics. For example, not all rooms are lit in the same way. The foyer has no light of its own, but is only illuminated by the adjoining rooms. A dynamic that one is no longer used to today. From the metallic loud staircase, you then enter the first entrance room, which is very muffled with the help of acoustic stones. This gives each room its own sound quality: either deliberately loud or deliberately quiet and muffled.


The whole interview can be found in: Kunst und Kirche - Magazin für Kritik, Ästhetik und Religion, 3.2020, pp. 54-56.

The interview was conducted by Hanna Düspohl and Marcus Nitschke, D:4 Architekten Berlin.

Growing together - Landschaf(f)tstadt

Prof. Dr. Silvia Malcovati and Bernd Albers in conversation with Marcus Nitschke


Marcus Nitschke
Your contribution to the 2070 competition deals with the towns of Bernau and Schwedt in Brandenburg. How did you come up with these two places?

Silvia Malcovati
We started without a precise idea. At first we started to investigate places we had already looked at under other conditions, like Potsdam or Brandenburg an der Havel. Quite quickly, however, we realized how rich and diverse Brandenburg is. We then decided to explore the radials that were of great importance for our design idea, especially the radials towards the north-east. A good hint came from the mobility experts, who pointed out to us how important the relations between Berlin-Brandenburg and Poland are for Germany at the moment. This aroused our curiosity! Afterwards we collected information and drove through Brandenburg in this direction and visited several cities.

Continue here...

Competition entry Growing Together - Landschaf(f)tstadt © Bernd Albers/Silvia Malcovati