傳統木藝早在台灣彰化縣鹿港鎮深深地扎根，自乾隆49年（西元1784年）鹿港與泉州蚶江正式對渡後，漸漸成為台灣中部登陸開發的據點，隨著陸續移民至鹿港定居而從事貿易的增加，也帶起鹿港廟宇文化興盛，龍山寺、文武廟等，從泉州聘請來臺的匠師建廟並開業授徒，從大小木作，到細工木作、雕花等，皆成為新興技藝與行業，打下深厚傳統木藝基礎的「鹿港師父」因而聲名遠播。
在鹿港濃郁的閩南建築中，有別於傳統中式雕刻且獨樹一格的「正利木器」，40年多來只專注一項，2021年初已逝的創辦人陳煌輝師傅稱之為「窗花」。國寶大師陳煌輝師傅在16歲學徒路上，因緣際會得到知名電器大同公司的委任，負責修繕木造日本樣式的宿舍，發現當時所用的一種獨特花窗，在日本稱之「組子細工」是將木片層層拼湊成幾何圖樣，再透過精準細密榫接組裝，當時陳煌輝師傅對於前所未見的工藝技法激起得好奇及挑戰心，參悟了「組子細工」的精髓後，於1968年36歲之時返鄉創業，在1976至1981年期間，在臺灣正蓬勃發展木藝花窗外銷產業達到全盛時期，除了接任大量日式住宅修復外，工廠平均一個月也要出口三個貨櫃來因應外銷訂單，但由於建築工法改變及冰冷機台的取代，慢慢地原本有60位員工至今只剩六位，訂單連以前的1％都不到。
鹿港曾經以傳統花窗木藝為引以為傲的技藝，但隨著時空環境的變遷，無論是臺灣或日本，會特別特製木花窗的客群也日益減少，市場逐漸萎縮。當運作以久的工廠空閒下來，陳家父子三人面對現況卻不氣餒，反倒更善用時間鑽研小型產品，因此，第二代陳正忠從數十年前開始思考，保留既有外銷訂單外，如何將一家人擅長的木窗花工藝技術，帶入尋常人的生活之中？讓大家在生活中都能看到精湛的沉默之美，並能延續這項傳統木藝技法。
本研究係採用哈佛個案研究方法，藉由個案故事討論傳統工藝技能得以延續的商業模式、資源拼湊、組織靈巧、資源基礎理論性等四項經營管理議題，深入分析傳統技藝在面臨環境變遷與科技進步下，如何從漸漸式微局面翻轉再創工藝價值及傳承。

Traditional woodworking has deep roots in Lukang Township, Changhua County, Taiwan. It began to take hold in central Taiwan after Lukang and Quanzhou's Hanjiang officially crossed the strait in the 49th year of Emperor Qianlong's reign (1784 AD), and gradually became a landing point for development. As more people migrated to Lukang and engaged in trade, the temple culture in Lukang flourished, with temples such as Longshan Temple and Wenwu Temple employing artisans from Quanzhou to build and train apprentices. From large to small woodworks, to delicate woodcarving and flower carving, they all became emerging skills and industries, laying the foundation for the deep-rooted traditional woodworking skills of the "Lukang masters," who became famous far and wide.
In the rich Minnan-style architecture of Lukang, there is a unique type of woodcarving that differs from traditional Chinese carving and stands out from the rest: "Zheng Li Woodcraft". For more than 40 years, its founder, Master Chen Huang-hui, focused solely on this craft. He called it "window flowers." When he was 16 years old, the national master Chen Huang-hui stumbled upon a unique type of wooden lattice work while working on a commission from the well-known Japanese electrical appliance company Daikin. He was responsible for repairing a wooden dormitory built in the Japanese style. He became curious about the previously unseen craftsmanship and skills involved in this type of lattice work, which is known in Japan as "KUMIKO". After studying and mastering the essence of "KUMIKO," he returned to his hometown at the age of 36 in 1968 and started his own business. Between 1976 and 1981, during a period when Taiwan's woodcraft flower window export industry was booming, he took on many projects to decorate Japanese-style homes. At the height of the business, the factory exported three containers of products every month to fulfill overseas orders. However, due to changes in construction methods and the discontinuation of cold processing equipment, the local headquarters, which once employed 60 workers, now has only six left. Orders are less than 1% of what they used to be.
In Lukang, the traditional Minnan-style wooden window frames were once a source of pride, but with the changes in time and environment, the market for custom-made wooden window frames has shrunk as the number of customers in Taiwan and Japan has decreased. As the long-running factory became idle, the three members of the Chen family did not lose heart but instead used their time to study how to transform their craft into small-scale products. Therefore, the second generation, Chen Zheng Zhong, has been contemplating for decades on how to incorporate their family's expertise in wooden lattice craftsmanship into the lives of ordinary people, in addition to maintaining existing export orders. Their goal is to allow everyone to appreciate the exquisite beauty of this silent art in their everyday lives and continue the legacy of this traditional woodworking technique.
This study adopts the Harvard case study method to discuss four management issues related to the continuation of traditional craftsmanship, including the Business model, Resources bricolage, Organization ambidexterity, and Resources-based View, through a case study. It analyzes in depth how traditional craftsmanship can turn around and create new value and inheritance in the face of environmental changes and technological advancements.

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