Eight hundred meters west of the Gethsemane Skete, along the Great Monastery Road, lies the Resurrection Skete. Along the entire length of the road, natural forest alternates with plantings of fir trees, of which there are more than a hundred here. At the skete itself, the firs form a neat single-row alley, emphasizing the road to it. Among the ninety-year-old firs stand out the slender and powerful trunks with geometrically correct conical crowns. At human height, the trunks are encircled by a white band, indicating their belonging to the 'plus' trees. These trees are distinguished by their large trunk diameter, height, slenderness, and abundant fruiting, representing a valuable gene pool for selective seed breeding.

The church, which had not yet been built, was immediately called the 'Northern Jerusalem,' spreading the rumor that the new church would be an exact copy of the Orthodox church in Jerusalem, erected in the second half of the 19th century according to the design of Russian architect D. I. Grimm. However, the Resurrection Church was built according to the design of architect V. I. Barankeev, and it is only some stylistic features that connect it to Grimm's church. Construction began in 1901 and was completed in 1906 with a solemn consecration.

The Resurrection Church is the compositional and semantic center of the ensemble of the Resurrection Skete, which was finally formed by 1910. Located on the top of a hill, it organizes a significant water space and serves as a good landmark for vessels approaching Valaam from the west. The church is a quadrangular two-story building, with a semicircular altar apse adjoining it from the east, and a two-tiered bell tower rising above the church porch from the west.

The entrance to the upper church is designed as an open porch, with two granite staircases leading to it from the south and north. Four massive granite columns support the gabled roof of the porch. They are connected by arches, and along the axis of the main entrance, a decorative weight hangs between the columns.

Under the porch is the entrance to the lower church, which is accessed from the west by a two-flight granite staircase leading down the slope of the hill. The central part of the temple is covered by a dome with four round skylights, above which rises an octagonal blind drum topped with a bulbous gilded cupola and cross. The first tier of the bell tower is made in the form of a square, illuminated on four sides by round windows, above which is another square, the ringing tier with arched openings oriented towards the cardinal directions. The dome, drum, and cupola that complete the bell tower correspond in shape to those above the main volume, but are slightly smaller in size.

The Resurrection Church is built of locally produced brick and is set on a high plinth of gray granite. The walls are divided by pilasters that emphasize the corners of all volumes. The windows of the upper church are adorned with sandriks with decorative weights. All volumes of the temple are highlighted by a bracketed cornice of complex profile. The dome and cupolas of the church were covered with 'checkerboard' roofing iron, which was replaced with sheet copper during restoration.

The Resurrection Church is an example of one of the directions of eclecticism known as 'brick style,' which was widely spread in Russian architecture in the late 19th century.

As mentioned, the church has two stories. The two floors differ significantly from each other in both volumetric-planning and decorative solutions. The lower church is located in the basement and is set into the rocky foundation. Daylight penetrates there through six small windows, and heavy vaults loom overhead. Lamps and candles created a flickering light. The altar of the church was consecrated in the name of the Apostle Andrew.