希望保留Charles Gustave Stoskopf于70年代所设计大教堂的原有基础——隐于阔市的教堂风格。教堂原有建筑与扩建部分通过既各具特色又和谐共处的几何建筑语言构建对话。具有人性化设计的原有入口处轮廓，与新项目那以中殿为中心的宏大规模相连接。
Architecture-Studio wished to respect the architecture of Charles Gustav Stoskopf, typical of the ecclesiology of the 1970s: a buried church in the city. A dialogue is established between the two architectural styles, different but consistent in their geometry. The human scale of the original entrance binds to the monumental volume of the new project, focused on the nave of the cathedral.
教堂钟楼独立矗立于广场一角，修长的外形凸显着教堂入口。钟楼顶端指向天空的设计代表了教堂的精神象征，同时让克雷泰伊大教堂融入到城区中。拱形圆顶赋予了大教堂新面貌，并使其在由高层住宅组成的街区中凸显出来。教堂前的广场和新绿化区域使教堂周围的空间更宽阔，重新定义了室外空间，并打造富有活力的教区生活空间。
The bell tower, detached from the building and situated at the corner of the square, punctuates the entrance of the cathedral by its slender silhouette. It restores an urban scale, ensures the integration of the cathedral in the city and acts as a spiritual signal that rises towards the sky. The dome affirms the Cathedral’s presence and draws a new “face” among the tall housing buildings of the neighborhood. The new landscaped square brings space and quality to the surrounding area while revitalizing the parish life.
穹顶的形状遵循原有建筑平面图的轨迹，两个半球型外壳朝向天空, 犹如祈祷的双手汇聚在圣坛之上。
The shape of the dome is based on the horizontal alignment of the original building. Two spherical shells are deployed to the sky like two clasped hands that meet above the altar.
新添加的看台大幅提高了教堂的可容纳人数。原有祭坛被保留下来并以其为中心设计了半弧形座席。
This new space can be occupied by stands, which significantly increases the seating capacity of the cathedral. The existing choir is preserved and the seats are spread around it like a semicircle.
白天，阳光透过两个半球形外壳接缝处的彩色玻璃窗在圣坛上洒下彩色的光影；夜晚，教堂内的光亮透过彩窗使得这个新建筑成为当地活跃的基督教群体的闪耀亮点。
During the day, the stained glass windows, located at the junction of the two shells, give a colored light to the choir, while at night, illuminated from the inside, they signal the living Christian community to the city.
