The church forms part of a wider timber-built complex grouped around an open, light-filled courtyard, housing various parish functions alongside the church hall. A separate bell tower stands near the entrance, and the main worship space has a church porch set apart to the west.
Externally, the architect combined something of the upward lift of a medieval church with the restrained, simplified forms typical of Swedish church design in the 1950s. The walls are clad in wood shingles beneath a saddle roof, and inside, the hall-shaped nave rises to a steeply pitched ceiling with exposed laminated timber roof trusses. The chancel is marked only by a slightly raised floor rather than any structural division, and the walls and ceiling throughout are timber-panelled.
A notable feature is the glass mosaic window in the chancel by the artist Jan Brazda, depicting heavenly light breaking into human darkness and revealed through Christ's crown of thorns. Beneath it hangs a crucifix by the German sculptor Herman Sutor.
Other furnishings include a free-standing altar table of Bohus granite and a font of Gotland marble, both said to follow the architect's own designs. A votive ship is suspended before the organ loft, a traditional feature in many Swedish churches, while the church's textiles were created by the artist Anna-Lisa Odelqvist-Cruse. A wrought-iron work by Herman Reyers hangs on the south wall.
The church has had a succession of organs: an instrument built in 1959 by Starup og Søn of Copenhagen, rebuilt in 1967, followed by a new organ from the Danish firm Krohns in 1986 incorporating much older pipework, and most recently a further instrument built in 2021 by Tostareds Kyrkorgelfabrik, which reuses the 1959 organ case as its façade.