The church is located in the center of a vast pre-factory square, which allows it to be perceived well as an architectural monument.

In December 1832, a decree was received for the construction of a factory church in honor of the Savior Not Made by Hands. In 1835, the first northern Ekaterininsky chapel of the warm church was consecrated. The second altar in the refectory, dedicated to the Nativity of John the Baptist, was consecrated in 1843. Work on the main Savior altar in the cold church was completed only in 1858. Although some sources claim that in the 1860s the church building underwent reconstruction, an examination of the monument did not confirm this. The brick walls were plastered and whitewashed, with ochre color used in places. To date, the light drum with the dome, the upper part of the square, and the deep four-column porticoes marking the portals of the cold church have been lost. Only the lower tier of the bell tower remains, serving as a narthex. The church fence is completely destroyed. The original composition of the church, executed in the style of 'rotunda on a square', as well as the facade decor, are characteristic of provincial mature classicism. The author of the project is unknown, but it was likely the factory architect of those years.

Significant losses of the monument and the absence of reliable images do not allow for a detailed description of its architectural appearance. Without vertical accents, the building seems dull and, at first glance, ordinary. This impression is enhanced by the linearity of the volumes and the modest facade decor. However, by studying the monument and imagining it in full, as well as analyzing the surrounding development, one can see the stylistic harmony and ensemble design of the square's construction.

The building plan expands from east to west. The main space of the church is connected by a wide arch to the semicircular altar part, covered with a conch with window openings. The transition to the rotunda was likely made through triangular sails, and the rotunda was topped with a dome with a light ring of the drum. To the west, the square connects to the refectory through a double arched opening. The square refectory has altar niches in the eastern part, formed by columns connected with arches. Exedras and niches in the walls give the interior plasticity. The system of vaults in the refectory rests on the side walls and combines with the ceilings of the eastern cells. The vault over the narthex has been lost, and the tents had flat wooden ceilings.

Wide pilasters on the facades of the square indicate the axes of the lost Tuscan columns. The apse is treated with rustication to the level of the windows. The smooth facades of the refectory are divided into five axes, placed in niches with cornices. The niches under the windows of the tents have arched finishes. The cornices are decorated with stucco decor featuring plant elements. The false windows of the apse are painted dark. Above the cornice, an attic rose.

The lost rotunda had twelve light openings and six false skylights. It was topped with a high drum with a cross. The upper tiers of the bell tower were decorated with paired pilasters and finished with a roof with a spire.

A photograph from the district museum shows the iconostasis of the first half of the 19th century. The single-tier iconostasis, made in a unified style with the church, featured a professional composition. The central part with the royal gates was designed as a four-column portico of the Corinthian order. Above it was an attic with an arch, which contained five niches with iconographic images, likely of prophets.