The house is composed of three interconnected prismatic volumes, out of which a tall lookout tower that has a cylindrical body attached to it covered with a pyramidal cap of broken tiles stands out, while the rest of the roofs are of flat red tiles arranged in four slopes that give rise to a very pronounced barbican. There is also a terrace with balusters on one side. The play of volumes is complemented by the arrangement in two of the corners of windows in the form of small triangular tribunes. The openings maintain verticality and only show a certain alteration of the regularity due to the superimposed framing of the sgraffitos that denote more compositional freedom, as also evidenced by the asymmetrical distribution of the same. The regularity and geometry marked by the volumes denotes Jujol's move towards the Noucentisme, which already began to be evident in the Serra-Xaus House (1921), and which was maintained in the Passani House (1932), both in Sant Joan Despí.
The whole facing is in soft pink stucco, on which flowers, garlands and birds appear, as well as the inscription of the date of its construction "1928", the reproduction of two figures representing Sant Isidre and Santa Maria Magdalena, and that of a worker carrying a watering can, a fact that indicates Jujol's sensitivity to referencing the environment in which the building is located. The building remains isolated surrounded by a garden area and forms part of the Fatjó Partial Plan of the Cornellà City Council to protect the building and its surroundings.
In 1928 Jujol was commissioned to build a house for Cebrià Camprubí, on the border of Cornellà and Sant Joan Despí. Camprubí was a prestigious rose grower and Jujol designs a building that evokes the occupation of its owner.
