The Church of the Assumption of the Mother of God serves as the compositional and semantic center of the Gethsemane Skete. The name of the architect is unknown, but it is known that in the early 20th century, likely in 1906, a wooden chapel was built here, which was reconstructed and expanded to the size of a church in 1911. The building has a rectangular shape with risalits in the central part. A two-tiered bell tower, set on the square of the refectory, adjoins it from the west. The first tier of the bell tower, the square, is illuminated from the west and east, while the second, the ringing tier, is an octagon with arched openings oriented towards the cardinal directions. To the east, the church is completed with a five-walled altar apse. The entrance is designed as an open porch on four pairs of wooden columns with a gable roof. The church has five domes. At the intersection of the main volume with the risalit, a central octagonal lantern drum is installed, topped with an octagonal tent with an onion dome on an octagonal neck. The other four domes, also onion-shaped, are located on the pediments of the risalit and the ridge of the main volume's roof. The bell tower is topped with an octagonal tent with an onion dome.

The church is built of timber in a 'lap' style and is clad with profiled boards. In terms of layout, it belongs to the cell type of churches, characteristic of northern Russian wooden architecture. The decorative embellishment of the facades includes applied carvings that adorn the frieze, the porch columns, and the window openings. The pilasters that highlight the corners of all volumes of the church are topped with decorative carved brackets. However, this is not the traditional northern carved relief, as seen on the gables and towels of the Kizhi churches, but rather a volumetric style typical of the central provinces of Russia. This is due to the fact that carpenters from different regions came to Valaam, bringing their customs and traditions.

In the second half of the 19th century and the early 20th century, wooden churches began to deviate from the traditions of folk wooden architecture, which was sanctioned by the imperial government and the synod. Many wooden churches appeared, clad inside and out with timber 'under stone.' Strict windows that retained heat were replaced with 'Italian' semi-circular ones, and massive doors were replaced with light double-leaf paneled doors with glazing. Timber roofs and wooden shingles gave way to iron roofing. Classic porticos, pilasters, and arches were added to the clad log structures. Powerful tents either disappeared, giving way to five domes, or were masked, supplemented by four small domes above the log structure. All these features can be seen in the Assumption Church and other wooden buildings of the Valaam Monastery.