實(shí)用性不強(qiáng)、制作工藝不佳、修繕難等問題也讓部分山東濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)鼐坝^小品成為城市里尷尬的存在。 山東濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)鼐坝^小品是景觀工程中不容輕視的重要節(jié)點(diǎn)，它們能把景觀元素巧妙地串聯(lián)，形成有序的系統(tǒng)，進(jìn)行有機(jī)、美學(xué)地融合，城市視覺形象及文化內(nèi)涵?！耙粋€(gè)區(qū)域內(nèi)的山東濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)鼐坝^小品應(yīng)該是風(fēng)格統(tǒng)一的，它的作用是‘1＋1＞2’，而不是相互獨(dú)立、零散的個(gè)體，但目前定海城區(qū)的山東濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)鼐坝^小品風(fēng)格不夠統(tǒng)一?！鄙綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)鼐坝^小品改造工作從無到有，再從有到優(yōu)是一個(gè)較為漫長的過程，部分區(qū)域缺少山東濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)鼐坝^小品，也有一些山東濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)鼐坝^小品僅僅是單獨(dú)存在，沒有特色和意義，缺少文化意蘊(yùn)，讓人過目即忘。 “我們計(jì)劃將更多山東濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)鼐坝^小品連點(diǎn)成線、連線成面，發(fā)揮山東濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)厣綎|濟(jì)寧當(dāng)?shù)鼐坝^小品的連片效應(yīng)，形成景觀休閑帶，凸顯定海的文化品質(zhì)?！崩缒壳巴七M(jìn)的“海之歌”景觀工程，其原先的設(shè)計(jì)風(fēng)格非常西式。