架构师提供的文本描述。Felix Nussbaum博物馆是Osnabrück文化历史博物馆的延伸，致力于1904年生于Osnabrück的犹太艺术家Felix Nussbaum的作品。博物馆展出努斯鲍姆在奥斯威辛被消灭之前所做的图形和绘画，并提供了一个以种族主义和不容忍为主题的临时展览空间。这座大楼于1998年夏天与Reinders公司合作完工。

Text description provided by the architects. The Felix Nussbaum Museum is an extension to the Cultural History Museum in Osnabrück and is dedicated to the work of Felix Nussbaum, the Jewish artist born in Osnabrück in 1904. The Museum displays Nussbaum’s graphics and paintings done prior to his extermination in Auschwitz, and houses a temporary exhibition space focusing on the themes of racism and intolerance. The building was completed in the summer of 1998, in collaboration with Reinders & Partner Lange, and has already attracted more than 4 million visitors.

这座建筑由三个主要组成部分组成：高而窄的中央努斯鲍姆走廊、长长的主干道和连接老博物馆的桥梁。在其突如其来的断裂，不可预测的十字路口和死胡同的道路上，建筑结构反映了费利克斯·努斯鲍姆的生活。

The building consists of three main components: the tall and narrow central Nussbaum corridor, the long main section, and the bridge, which acts as a connection to the old museum. In its pathways with their sudden breaks, unpredictable intersections and dead ends, the building structure reflects the life of Felix Nussbaum.

 © Bitter Bredt Fotografie

[医]苦涩的福托格拉菲(Bredt Fotografie)

“只有在一次偶然的事故和奥斯纳布吕克镇的坚定意志下，费利克斯·努斯鲍姆的名字和作品才在数以百万计被抹去的犹太人名字和丢失的作品中被提高到了意识。建造一座博物馆以容纳努斯鲍姆生活中的艺术残余，这一任务提出的问题不仅是建筑上的问题，也是道德方面的问题。因此，我认为，第三帝国对犹太文化的破坏不应仅以纪念的方式处理。欧洲犹太人灭绝事件的其余目击者现在正在消失。努斯鲍姆的绘画不仅仅是绘画-它们是生活在新的参与和见证背景下的文件，把历史作为艺术的叙述提升为犹太民族和欧洲文明生存的标志。这一计划的空间组织、几何学和方案内容的每一个要素都提到努斯鲍姆的典型命运：他在罗马的奖品被纳粹移走，他在柏林的时光，他从奥斯纳布吕克永久流亡的后果，他在法国和比利时的逃亡路线徒劳无功，直到他最后被驱逐和在奥斯维辛被谋杀。然而，所有这些悲剧性的命运都被置于努斯鲍姆对最终正义的持久希望的背景下，这一拟议的计划试图实现这一希望。

"It is only by a fortuitous accident and the determined will of the town of Osnabrück that the name and works of Felix Nussbaum have been raised to consciousness amongst the millions of erased Jewish names and lost works. The task of building a Museum to house the artistic remnants of Nussbaum’s life raises issues which are not merely architectural but moral as well. I believe therefore, that the destruction of Jewish culture perpetuated by the Third Reich must not be dealt with solely in memorial terms. The remaining witnesses to the annihilation of European Jewry are now dying out. The paintings of Nussbaum are more than paintings - they are everliving documents which, placed in a new context of participation and a new witnessing, elevate the narration of history as art into the emblem of the very survival of the Jewish people and of European civilization. Every element of the spatial organization, geometry and programmatic content of this scheme refers to the paradigmatic destiny of Nussbaum: his prize in Rome removed by the Nazis, his time in Berlin, the consequences of his permanent exile from Osnabrück, the futility of his escape routes through France and Belgium, to his final deportation and murder in Auschwitz. And yet all this tragic destiny is placed in the context of Nussbaum’s abiding hope in ultimate justice which this proposed scheme seeks to fulfill.

 © Bitter Bredt Fotografie

[医]苦涩的福托格拉菲(Bredt Fotografie)

“这项设计的任务之一是将努斯鲍姆藏品存放在一个新的博物馆综合体中，并将整个历史建筑组合变成另一个整体。”“无人见证和未完成的博物馆”是对死亡的共鸣，也是对无法描述的大屠杀深渊的意义的共鸣。博物馆有一个特殊的任务：避免一个伤感的时刻，以便通过披露新的文化价值观，使奥斯纳布吕克现有的历史背景变得更加生动。

"It is part of the mission of this design to house the Nussbaum collection in a new museum complex, as well as to transform the entire historical ensemble of buildings into yet another whole. Expressive of permanent absence, 'The Museum of the Unwitnessed and Unfulfilled' is a Museum resonant of both the fatality as well as the significance of the unrepresentable abyss of the Holocaust. The Museum has a particular task: to avoid a sentimental moment in order to thematize the existing historical context of Osnabrück through the disclosure of new cultural values.

 © Bitter Bredt Fotografie

[医]苦涩的福托格拉菲(Bredt Fotografie)

“新建筑群的不同组成部分被视为连接和构成一个整体结构，同时暴露出一个永久的断路地平线，矛盾地将重要的地方与城镇联系在一起；历史的实质点与空间记忆相联系。因此，新的建筑并不寻求作为一种新的形式占据主导地位，而是退却，为现存的历史博物馆和包含民间艺术藏品的别墅创造了希望的背景。这些建筑物被视为熟悉的，但每天孤独的数字，而整个网站是重新组织围绕着一个新的地形连接，连接城镇回到自己。努斯鲍姆博物馆成了通往遗失历史的纽带。它就像一个变压器，传递着时间和命运的神秘不可逆性。

"The different components of the new complex are seen as connecting and composing an integral structure, while at the same time exposing a permanent horizon of disconnection paradoxically linking significant places to the town; substantial points of history to spatial memory. The new building, therefore, does not seek to dominate as a new form, but rather retreats to form a background of hope for the existing Historical Museum and the Villa containing the folk art collection. These buildings are treated as the familiar, yet solitary every-day figures, while the entire site is reorganized around the nexus of a new topography which connects the town back onto itself. The Nussbaum Museum becomes the link to a lost history. It acts as a transformer, transmitting the mysterious irreversibility of time and destiny.

 © Bitter Bredt Fotografie

[医]苦涩的福托格拉菲(Bredt Fotografie)

“游客从侧面进入Nussbaum通道，这条通道被切开，以便记录和确定‘不离开博物馆’的重要性。”努斯鲍姆道路的外部是缺席本身-这是努斯鲍姆殉难生活的一片空白-指的是犯罪的绝对性和公共场所的重要性。这种空洞的外表留下了一种开放和不完整的感觉，这对于解释努斯鲍姆的全部作品是必要的。在努斯鲍姆通道内，有奥斯纳布吕克前犹太人生活活力的痕迹。一旦参观者在这个被三角天窗照亮的压缩空间中，他/她将面临一个包含垂直入口体积及其相应功能的移位空间。

"The visitor enters laterally into the Nussbaum pathway, which is cut open in order to record and define the importance of entering ‘The Museum Without Exit.' The exterior of the Nussbaum pathway is absence itself - an empty canvass of Nussbaum’s martyred life - referring to the absoluteness of the crime and the importance of the public site. This empty exterior bequeaths a sense of openness and incompleteness which is necessary for the interpretation of Nussbaum’s oeuvre. Within the Nussbaum Pathway there are traces of the vitality of the former Jewish life of Osnabrück. Once the visitor is inside this compressed space illuminated by triangular skylights, he/she is confronted with a displaced volume containing the vertical entrance volume and its attendant functions.

 © Bitter Bredt Fotografie

[医]苦涩的福托格拉菲(Bredt Fotografie)

“Nussbaum通道使博物馆建筑群清晰可见，并刻有无形的焚化犹太教堂。参观者被置于不稳定的平衡之间，收集和无法收集，或回忆和无法记录。Nussbaum路径带领访客通过压缩的双锥视觉几何，这(向前和向后的时间)提供了大卫之星的视觉和动力学的化身-由努斯鲍姆选择作为他的最后识别出生和死亡标志。

"The Nussbaum Pathway makes visible the Museum complex as well as inscribing the invisible incinerated synagogue. The visitor is placed in the precarious equilibrium between the collected and the uncollectable, or the recollected and the unrecordable. The Nussbaum Pathway leads the visitor through the compressed geometry of double cone of vision, which (forward and backward in time) gives one the visual and kinetic embodiment of the Star of David - chosen by Nussbaum as his final identifying birth and death mark.

 © Bitter Bredt Fotografie

[医]苦涩的福托格拉菲(Bredt Fotografie)

“通过博物馆的整个轨迹让游客意识到犹太教堂失去的阴影与预期的未来之光之间的相互作用。参观者向临时展览的开放空间走去，瞥见了通往第二层连接的路线建成后打开的狭窄垂直地平线。该镇的临时展览、演讲厅和当天的活动对第二层进行了相关的介绍，其中包含了展现努斯鲍姆戏剧作品的必要空间。这一设计表明，至少在象征意义上，将奥斯纳布吕克的历史藏品纳入努斯鲍姆的工作背景十分重要。这使努斯鲍姆的藏品与历史博物馆的藏品相提并论。

"The entire trajectory through the Museum makes the visitor aware of the interplay between the lost shadows of the Synagogue and the light of an anticipated future. The visitor moves towards the open space of the temporary exhibitions, glimpsing the narrow vertical horizon which opens at the completion of the route into the second story connection. The temporary exhibitions of the town, the lecture hall, and the activities of the day make a relevant introduction to the second level which contains the necessary space for the unfolding of Nussbaum’s dramatic work. The design suggests the importance of integrating the historical collections of Osnabrück, at least emblematically, into the context of the work of Nussbaum. This places the Nussbaum collection back in context with the Historical Museum’s collection.

 © Bitter Bredt Fotografie

[医]苦涩的福托格拉菲(Bredt Fotografie)

“在二楼展览结束时，参观者意识到努斯鲍姆作品的空间崩溃，其悲剧性在于双重认识到逃避的政治徒劳无益和艺术在非人道压迫面前的精神反抗。二楼未完成的画廊是一个时间削减，这意味着斜和扳动的部分，一个暂停连接到现有的博物馆。这一暂停表明1944年绘画的终结性，证明了努斯鲍姆不屈不挠的精神和艺术的普遍性。这个关键部分的体积是相等和倒数的几何切割和断开连接的努斯鲍姆博物馆。

"At the completion of the second floor exhibits, the visitor becomes aware of the collapsed spatiality of Nussbaum’s works, the pathos of which lies in the double recognition of the political futility of escape and the spiritual resistance of art in face of inhuman oppression. The second floor's unfinished gallery is a time-cut which signifies the oblique and wrenched segment, a suspended connection to the existing museum. This suspension indicates finality of the 1944 paintings testifying to the indomitable spirit of Nussbaum and the universality of art. The volume of this critical segment is equal and reciprocal to the geometry of the cut and disconnected Nussbaum Museum.

 © Bitter Bredt Fotografie

[医]苦涩的福托格拉菲(Bredt Fotografie)

“与现有博物馆的浮动连接导致一个展区，它改变了城市历史博物馆二楼的一部分。该方案说明了超越表象的新旧结合的必要性，以及历史与审美的实际联系。现有博物馆与新建博物馆的整合是博物馆必须完成的关键任务，才能使对过去的记忆活跃在当下及其正在进行的叙事中。

"The floating connection to the existing Museum leads to an exhibition area, which transforms part of the second floor of the city’s Historical Museum. The scheme indicates the necessity of integrating the new and the old beyond appearances; the actual connection between the Historical and Aesthetic. The integration of the existing and the new museums is the key task which must be accomplished so that the memory of the past will become active in the present and its ongoing narration.

 © Bitter Bredt Fotografie

[医]苦涩的福托格拉菲(Bredt Fotografie)

“最后，该计划的主要结构特征表明，努斯鲍姆博物馆虽然与现有的博物馆建筑分离，但由于其形式和功能与它们有着深刻的联系。1933年，作为纳粹党总部的民间艺术博物馆和主要的历史博物馆被有意识地、有意识地吸收到复调作品中。整体代表了一个建筑枢纽，它阻止了整个遗址的条块分割、同质化和历史事实的孤立。参观者意识到，努斯鲍姆的作品，特别是它与奥斯纳布鲁克的文化、历史和身体身份的关系，需要非凡的精神分化。因此，公共空间(包括内部空间和外部空间)以及生态系统与建筑之间的关系是明确的。

"Finally, the key structural feature of the plan suggests that the Nussbaum Museum, though separated from the existing museum building, is by virtue of its form and function profoundly related to them. The Folk Art Museum, which in 1933 was the Headquarters of the Nazi party, and the Main Historical Museum are reattached and absorbed in a conscious and deliberate manner to the polyphonic composition. The whole represents an architectural hinge which prevents the entire site from banalizing, homogenizing and isolating historical facts. The visitor becomes aware that the work of Nussbaum, and particularly its relationship to the cultural, historical and physical identity of Osnabruck, requires extraordinary spiritual differentiation. Thus the import of public space, (both internal and external) and the relation between the ecosystem and the architecture is clear.

 ground floor plan

“努斯鲍姆博物馆(Nussbaum Museum)成为未来与过去相遇的一个深刻场所，不仅仅是对不可能的命运的证明。费利克斯·努斯鲍姆(Felix Nussbaum)的那些未绘画的绘画，对观望者来说，是不可忽视的。”

"The Nussbaum Museum becomes a profound place for the encounter of the future and the past, more than just a testament to an impossible fate. The unpainted paintings of Felix Nussbaum demand nothing less than to become visible to the contemplating eye."