The church was designed by the Malmö architect Alfred Arwidius and consecrated on the first Sunday of Advent, 28 November 1897. It was originally intended to replace the medieval church nearby, known as Kävlinge gamla kyrka, though for various reasons that older building was retained and still stands today.
Built in a neo-Gothic style typical of its period, the church has a facade of brownish-red brick with whitewashed blind arcading and window surrounds, buttresses and battlements faced in limestone slabs, and a roof originally of slate later replaced with copper. Inside, the nave is covered by an angular wooden barrel vault with seven visible tie-beams, while the apse forms a whitewashed five-part vault.
Arwidius designed numerous buildings and served on Malmö's town council, but sources note that he is perhaps best remembered for the scandal surrounding his death in spring 1915, reportedly from carbon monoxide poisoning caused by a faulty gas water heater in his bathroom, found alongside a teenage factory worker who had also died.
The altarpiece, depicting Jesus at the Last Supper, was painted by Fredrik Krebs, a co-founder of the Theosophical lodge in Lund; unlike some of his other church commissions in the region, this painting is not reported to contain any hidden Hindu imagery. The church also holds a wooden crucifix carved and donated by the artist Bror Forslund, three rya-technique tapestries designed by Kirsten Hennix and made by parishioners, and a hanging glass cross in the triumphal arch made by Erik Haglund in 1963. Since 2013 the western end of the church has displayed four large paintings by the Brazilian graffiti artist Limpo, depicting events in Jerusalem at Easter.
The church has two organs: a mechanical instrument built in 1980 by A. Mårtensson's Orgelfabrik with a facade designed by Torsten Leon-Nilsson, and an older one built in 1902 by Salomon Molander & Co, said to be that firm's final instrument, which was taken out of use and later restored in 2014. Two bronze bells in the tower, cast in 1747 and 1823, were brought from the old church in 1897 and are still in use.
The interior has been altered several times over the decades, including changes to seating, flooring and furnishings during renovations in the 1980s, for the church's centenary in 1997, and again in 2012–2014. The building is noted for its good acoustics and has hosted musical events over the years.