The church is set on one side of an open square, with the open porch and forecourt creating the feeling of welcome found on a marae.
Inside the church, the free-standing altar is the focal point, with the cross above (wrought iron and Southland beech).
The liturgical East End beyond, which actually faces south in this case, is paneled in sycamore plywood which has been painted tinted green. In this are light narrow vertical windows, and set back in each is an aluminium baffle, which reflects and spreads the natural light on to the plywood panels so the whole wall is lit up. A design of holes in the baffles creates a series of daylight crosses.
The Lady Chapel is separated from the Sanctuary by wrought iron screens intricately designed to carry 54 double sided mahogany panels, the work of Mrs Margaret Harvey (nee Thompson) an artist who has made a special study of ecclesiastical symbols, signs, and crests. The Chapel contains the Bree Memorial Window, retained from the original church building.
The Altar Rails are mahogany and wrought iron, elliptical in front and straight on the Lady Chapel side. The wrought iron was produced by Dutch craftsman Mr Tony Pausma.
The Bishop's Chair: carved in kauri, was a gift of the Sunday School in 1866
The Forecourt: a floating screen of glass panels created by James Turkington of the Elam School of Art, on which are sandblasted the figures of sixteen saints.
The Bell Tower: surmounted by a cross, and built slightly apart from the church, contains a 13-bell carillon from John Taylor's of Loughborough. These were provided by the bequest of James Stitchbury who was present in 1866 at the dedication of the first All Saints Church.
The Consecration Stone: set in the wall near the organ console, comes from the foundations of an ancient church near the Church of the Nativity in Bethlehem.