In contrast to the outside appearance, the holy temple is designed to open a large frame in the harem, facing the water and natural greenery surrounding the land's northern boundary. In this masterplan, we think that the water feature surrounding the harem of the building is an organic extension of architecture, showing how the structure exists in modest relation to the natural landscape. The inherent natural scenery here also creates a "big" harem or a "green" background surrounding the architecture.

This connection recalls the early spiritual perceptions when primitive man began to perceive the spirits of nature and always turned to nature in sacred emotions (as recent scholars suggest).
A system of symbols is used in the project to evoke the local spirit. The relationship between "heaven - earth - human" is expressed consistently, quite clearly along the horizontal axis (front - inside - outside) or the vertical axis (base — body — roof).

The base (earth — includes the decorative "terrain" details), the body (human — the space occupied by visitors), and the roof (heaven) with an emphasized and complex structure (even excess regarding strength due to the traditional wooden structures) but expressing a profound upward spirit often found in ancient Vietnamese architecture.

The main materials are brick and wood, treated rustically to resemble local life. This entire symbolic system is carefully placed in a variant of the Western scholastic temple plan (pseudo dipteral form). With a religious work, we believe that symbolism and polysemy transcend the interpretations of functionalism and structuralism. Our research and skillful combination of the above factors contribute to minimizing compulsions in the design. Also, the symbolic system acts as a reminder somewhat of the ambiguity in the religious consciousness of the Vietnamese people.