It is recognised as one of the finest churches of the first half of the twentieth century[citation needed] and the masterpiece of Edward Schroeder Prior.

Three years before commencing St Andrew's, Prior had written that the architect's first purpose was to provide; "a dignified distinct building dedicated to the service of the Church.

His experiments in structure, concern for materials and means of building reached their apogee at St Andrew's.

His successor, the Reverend Handley Moule, was an original trustee of Prior's Henry Martyn Hall, Cambridge.

Priestman appears to have been a religious radical, heavily influenced by the late 19th century liturgical movement that sought a return to the importance of the word and communion, rather than placing an emphasis on the mysteries of the church and sacraments.

He wished the church to seat 700, and most importantly for the entire congregation to have an uninterrupted view of the altar and pulpit, with no chancel screen and good acoustics.

Prior re-worked the design adding a morning chapel and moving the south porch to the west.

The hilltop exposed site by the sea and availability of stone suggested a similar structure and approach to that taken at Holy Trinity Church, Bothenhampton in Dorset.

The use of the material has a significant influence on the design, for example the nave arches are shaped to ease the pouring of concrete.

The church has a five-bayed nave 52' wide with an extraordinary single span roof with thick, deep arches that spring low from massive walls.

The transverse nave arches basically follow the design at Holy Trinity but the span of the roof is 42' instead of 29'.

The buttresses are pierced to make side passages, the weight being transferred to paired columns of a pattern of Saxon origin, with simple cushion capitals similar to those depicted in William Lethaby's The Church of Sancta Sophia, Constantinople.

Prior, Randall Wells and the masons explored the limits of the stone through the construction and adapted the design accordingly.

The interior and exterior finish is of unplastered uncoursed random-rubble with only the quoins and voussoirs dressed to a flat surface.

The chancel was originally left with its shutter marks displayed until MacDonald Gill implemented Prior's suggested decorative scheme.

The small windows of the tower show a distinct Saxon influence, directly quoting St Peter's Church, Barton-upon-Humber.

The baptistry contains a stone bowl font by Wells with carved hexagonal piers and a wood cover by Robert (Mouseman) Thompson of Kilburn.

The walls of the nave are panelled in oak to 7' 8" high with boards of uneven width, fixed with hand made nails.

[5] As at Home Place, Kelling in Norfolk, Prior disposed of the normal method of procurement, there was no overall contract.

Wells acted as resident architect sending drawings of details to Prior at regular intervals.