For a real-world answer:
According to the contemporary book 'The Making of Star Trek: Deep Space Nine' by Judith and Garfield Reeves-Stevens, in a section dealing with the evolving early production design on the show (Chapter Eleven), a memo from scenic artist Michael Okuda to series creators Rick Berman and Michael Piller, dated 21 May 1992, is printed, on p 170 - 172, in which the question is brought up:
We are rapidly approaching the point where we still need to address the question of whether or not our heroes can read the Cardassian language. This is important [...] as it affects the design of consoles and readouts.
Okuda is here opening a discussion about whether the set design should be an all-alien environment, or one which incorporates elements of alien equipment jury-rigged with Starfleet designs? The choice would be important to establishing the show's visual identity.
Okuda goes on to write, in favour of an all-Cardassian look, that he feels:
[...] it would be visually fun. Having a more alien style to the hardware and readouts would be more interesting visually, and would help to distinguish the two Star Treks from each other.
This is a key point, made alongside the story-telling possibilities of having a station where the human crew may have to figure out ways to make the equipment function like starfleet vessels. Okuda then goes on to offer several alternative ways this may be approached, including some kind of visual Cardassian-to-English translation on the screens, having the characters simply verbally translate for the audience, or going the route of having very alien set designs that gradually show more Starfleet tech over time as the crew gradually update the station, until it is a mesh of both.
The production crew ultimately made the choice to visually separate the new show from the old as much as possible, something which informed choices on designing new Starfleet uniforms as well, so as to keep the two co-current Star Trek TV shows as visually diverse from each other as possible.