三个入口的比例经过对历史资料的考究，在与现存教堂的搭配之下达到和谐统一的视觉效果，并且结构上独立承重，不依赖于老建筑的机构，这一点也是致敬哥特式教堂本身的结构逻辑。“We wanted to put ourselves in the shoes of the builders of the Middle Ages and to create a regulatory framework, using compasses, thus generating the proportions which lead to unity. 我们把自己想象成中世纪的建造师，用他们的规则来指导设计，因此产生的设计自然就和原本的建筑和谐统一。——隈研吾新增入口的方案采用石材，并且通过石材分割技艺（stereoromy）来达到小块组装，整体成型的效果，同时为结构逻辑的成型提供了可行性。
“Architecture, beyond being linked to human uses from a practical point of view, can have an intrinsic symbolic value, which is not written or expressed in a specific way but in an abstract and synthetic manner, sending a symbolic message, which will reach posterity. 建筑除了与人类的行为活动的实用性相关联，还可以拥有内在的象征意义。这种内在的象征意义不是通过书面或者具体的形式来表达出来，而是一种抽象的，合成的方式，向后世发出讯息。——Santiago Calatrava重建后的大教堂在立面上采用大量半透光石材，致敬罗马的万神殿，并在夜晚降临时如灯笼般亮起。
“It is an interweaving of an older time in a new time which does not undo, which does not recompose, but which links, attach, grabs, two unknown and not foreign parts, one of which becomes the extension of the other. in a sort of transfiguration. （这个项目）是古老的时光与现代时光的交织，不消除，不更改，但是两者相互连接，依赖，为我所用，让本来相互陌生的关系变成了相辅相成，是一种重新梳理关系的过程。——Amelia Tavekka
