Håslövs kyrka

The building was raised between 1879 and 1880 using yellow hand-struck brick from the Skegrie brickworks, on a Latin-cross plan that combines granite, fieldstone, Portland cement, tinted glass and pine. The church's appearance was shaped chiefly by its intended function, said to properly express the idea of evangelical worship, with a tower marking it out from secular buildings. A tall tower, reportedly around 44 metres high, is surrounded by smaller turrets around the nave.

The medieval church it replaced was a Romanesque building with rounded arches and stepped gables, roofed mostly in lead. It was demolished chiefly because of severe damp damage, though the parish's growing wealth and the nineteenth-century taste for sweeping away older buildings in favour of new ones that visibly represented the state church also played a part. Accounts describe the demolition as carried out with little care: two medieval grave slabs in the chancel were broken up, coffins emptied and their contents reburied elsewhere in the churchyard, and a medieval stone font is said to have ended up as fill in the construction of Trelleborg harbour. Wikipedia's account adds a striking, though unverified, story that embalmed bodies from an old burial vault, including a much-loved former priest known as "Father Sebastian", were tipped carelessly into a new grave by the building contractor, provoking outrage and a formal dispute within the parish.

Several older fittings survive and are displayed in the north transept of the new church, including the old altar table with its screens, a font, the canopy from the earlier pulpit, and a collection box. Portraits in the sacristy are said to depict the seventeenth-century priest Mads Nielsen Odder and his wife; fittings linked to their son and successor, Bastian (Sebastian) Odder, including coffin fittings and a gravestone, are kept in the porch. A portrait in the porch itself is of unknown origin. The two old gravestones and coffin plates from the medieval church are now kept in the tower room.

Inside, the church is whitewashed, light and spacious, with only the wall facing the exit decorated with painting. Zettervall's numerous windows were intended to bring the building closer to nature, and the floor is laid with brick in a mosaic pattern. Somewhat against the architect's original ideas, the pews were fitted with doors to reduce draughts, and the altar rail was built high, with doors through to the sacristy. At the centre of the altar is a plaster copy of Thorvaldsen's figure of Christ, and the communion chalice, though old, was remade in 1749.

The organ, largely dating in its present form from 1946 though incorporating earlier material from 1882, has 28 stops across three manuals and works on a pneumatic system containing around 2,100 small leather-covered bellows; it was cleaned and restored around 2000. A wider interior renovation between 1996 and 2000 renewed floors, plasterwork and pew fittings while restoring the pulpit, altar and altarpiece.