建筑反映着城市的喧嚣，而美术馆则回荡人内心的声响，某种意义上，美术馆便是人们本心本色的折射。在各色艺术馆焕发着自由色彩的同时，国内首家地板美术馆孕育而生。
Architecture reflects the hustle and bustle of the city, while art museums echo the inner voice of people. In a sense, art museums are a reflection of people's true nature. While various art museums are shining with free colors, the first domestic flooring art museum has emerged.
对于身边的人来说，江久学和他一手创办的地板美术馆是件十分不可思议的事情。位于福州的别墅原本是江久学的居所，上下四层空间宽广，地理位置极佳，环境优美，可以说，本该是很多人理想的居所，而他毫不犹豫地将其改建为美术馆，“从内心来讲，我还是想做一些自己真正想做的事情，”他说。
For those around him, the flooring art museum founded by Jiang Jiuxue and himself is a very incredible thing. The villa located in Fuzhou was originally Jiang Jiuxue's residence, with spacious upper and lower floors, excellent geographical location, and beautiful environment. It can be said that it should have been the ideal residence for many people, but he did not hesitate to convert it into an art museum. "From the bottom of my heart, I still want to do something that I truly want to do," he said.
江久学曾经种过树、做过传媒，开过展示店，也很多艺术家有过合作，而最终还是回到辐射他整个童年生活的老木头。对他来说，过去所经历的就像树木的年轮，兜兜转转，层层叠叠，树木因此长成苍天大树，而他人生的内涵也因此加深。回到江久学挚爱的老木头，不是循环与重复，而是深入与上升。
Jiang Jiuxue once planted trees, worked in media, opened exhibition stores, and collaborated with many artists, but ultimately returned to the old wood that radiated throughout his childhood. For him, what he experienced in the past was like the rings of a tree, spinning and layering, causing the tree to grow into a towering tree and deepening the meaning of his life. Returning to Jiang Jiuxue's beloved old wood is not a cycle and repetition, but a deepening and rising.
筹备美术馆的过程同样也是充满了江久学的个人特色。得益于常年和艺术家们往来，耳濡目染之下，江久学也形成了自己关于艺术设计的特殊见解。他的地板美术馆的成型，除却在筹备阶段参考了艺术家们的意见之外，美术馆从设计、装修到软装搭配基本由他一手策划成型，像入口处的英伦士兵、墙上的挂饰都是由他亲自挑选回来的。
The process of preparing for the art museum is also full of Jiang Jiuxue's personal characteristics. Thanks to years of interaction with artists, Jiang Jiuxue has also developed his own unique insights into art and design. The formation of his floor art museum, apart from taking into account the opinions of artists in the preparation stage, was basically planned and formed by him from design, decoration to soft decoration matching. He personally selected the British soldiers at the entrance and the wall decorations.
地板美术馆一共四层，一、二两层是美术馆的主要展示区域，这两层用于展示江久学收集而来的各色欧洲木料与各种涂料，而二层的天井则是美术馆的重头戏。这个天井连通二层与三层以上的空间，四面贯通，在美术馆内形成一个天然的视线重心，在这个区域，江久学则用来展示高端地板的制作工艺，“（木地板的）制作过程及其精细，它本身也是一种艺术，”他说道。
The Floor Art Museum has a total of four floors. The first and second floors are the main exhibition areas of the museum, which are used to display various European wood materials and coatings collected by Jiang Jiuxue. The courtyard on the second floor is the highlight of the museum. This courtyard connects the spaces on the second and third floors, and is connected on all sides, forming a natural visual center within the art museum. In this area, Jiang Jiuxue is used to showcase the production process of high-end flooring. "The production process of wooden flooring is extremely fine, and it is also an art form in itself," he said.
三、四层的空间则用于交流互动，如果是说三层的空间等待着别的艺术形态的参与，那么四楼宽广的桌椅则等待着其他艺术家前来把酒言欢。
3、 The space on the fourth floor is used for communication and interaction. If the space on the third floor is waiting for other art forms to participate, then the spacious tables and chairs on the fourth floor are waiting for other artists to come and drink and have fun.
而关于江久学建立地板美术馆的用途，一是为了展示他所收集收藏的各色欧洲老木头，帮助大家认识在国内尚且陌生的欧洲木料。江久学表示，虽然目前国内对欧洲木头的认可度很高，但很多人对欧洲木头的使用场景和方式还是比较陌生的，事实上，和我们的直觉相反，除却外墙之外，欧洲人同样大量使用了木头作于建筑之中，尤其是地面，欧洲人鲜少不用木料进行装饰的，可以说，欧洲人适应木头的频次不在中国人之下。同时，欧洲人对木头的使用和工艺，更适合现代人的生活需求。江久学认为，他的美术馆的存在能够帮助人们认识和体会欧洲木地板及其制作过程、制作工艺，对他来说，建立美术馆的初衷是非功利性的。
Regarding the purpose of Jiang Jiuxue's establishment of the flooring art museum, firstly, it is to showcase the various colors of European old wood he has collected and collected, helping everyone understand the unfamiliar European wood materials in China. Jiang Jiuxue stated that although there is currently a high recognition of European wood in China, many people are still unfamiliar with the usage scenarios and methods of European wood. In fact, contrary to our intuition, besides the exterior walls, Europeans also extensively use wood in buildings, especially the ground. Europeans rarely use wood for decoration. It can be said that Europeans adapt to wood not as frequently as Chinese people. At the same time, Europeans' use and craftsmanship of wood are more suitable for modern people's living needs. Jiang Jiuxue believes that the existence of his art museum can help people understand and appreciate European wooden flooring and its production process and craftsmanship. For him, the original intention of establishing an art museum is non utilitarian.
其次，江久学也想借着美术馆的存在多与其他艺术家进行对话。他表示，艺术本身是纯粹的，而因其纯粹的本质，使得不同的艺术之间总是彼此贯通的，而唯有与其它艺术家多对话，他们自己才能获得成长的空间。所以，他希望的地板美术馆总是能向着艺术家们敞开，他一再强调，“如果有艺术家苦于没有场地使用，随时欢迎到我的美术馆中”。
Secondly, Jiang Jiuxue also wants to use the presence of the art museum to engage in more dialogue with other artists. He stated that art itself is pure, and due to its pure nature, different arts are always interconnected with each other. Only by having more conversations with other artists can they gain space for growth on their own. So, he hopes that the floor art museum will always be open to artists, and he repeatedly emphasizes, "If any artist is struggling with no space to use, feel free to come to my art museum at any time.".
现代艺术馆常常追求机巧与细致，但却忽略了艺术的本质是追求“真”的，唯有漫步于本心之中，将自身的本然之态融入到空间之中，艺术馆才能焕发出更真诚、更纯粹的姿态。
Modern art museums often pursue cleverness and meticulousness, but overlook the fact that the essence of art is to pursue "truth". Only by strolling in the heart and integrating their natural state into the space can art museums radiate a more sincere and pure attitude.