The half-timbered building, which was rebuilt here under the direction of the architect Conrad Hermsdorf, had previously served as an emergency church for Leipzig's Andreas and Michaelis congregations.

From 1912 onwards, the new pastors Kurt Schröder and Otto Flor pushed ahead with the new construction of the Bethanienkirche.

An architectural design competition was announced for a shared building with a church space with 750 seats, a parish hall, confirmation rooms, an office and a sacristan's apartment.

By renting it to the radio, the congregation did not need any subsidies from the regional church, and a large part of the costs for a new organ could also be covered from this.

Over time, the small hall was renovated and redesigned, the congregational kitchen, chancellery and confirmation room were refitted, the church roof was re-covered, rust was removed from the bell tower and the tower blinds were renewed, and major plastering work was carried out on the arcades.

To improve access to the higher church space and the congregation halls in the basement, an elevator was installed in 2016.

The upper end of the reinforced concrete skeleton tower has earned the church the nickname "lemon squeezer".

The two staircases are reminiscent of outstretched arms, which the architects believe is an inviting gesture in keeping with Christ's words "Come to me, all of you" LUT.

The prominent central nave is bordered by a higher chancel (with an altar made of red and gray marble by Otto Wutzler) and two flatter side aisles.

The room, which is bathed in warm light and decorated with understated solemnity, is dominated by the central stained glass window "The Entering Christ" by Emil Block,[2] which is designed like an altarpiece.

They are part of a Bethany iconography related to the altar window, which depicts Jesus visiting Martha and her sister Mary in Bethany, and depict events surrounding the sisters living in the Palestinian village and their brother Lazarus, who were special friends of Jesus according to the Gospel of John (LUT).

Despite the less than ideal acoustic conditions, it was reinstalled in the tower chamber behind a concrete arch for reasons of monument protection.