Residential house with a rectangular layout, ground floor and two storeys, featuring a hipped roof formed by flat tiles arranged diagonally like scales. It also has a square-section tower attached to the left side. This tower consists of four storeys with a hipped roof. The windows are located only on the top floor, giving the tower the appearance of a Romanesque bell tower. At the apex of the roof there is a weather vane. Its height makes it stand over four metres above the house. It is constructed with unpolished ashlar, giving it a rustic appearance.
The dwelling has a refined appearance thanks to its decorative elements. While the same type of stone forms the plinth, the jambs and the openings on the first floor, the rest of the walls are rendered and painted yellow. The house's entrance portal is next to the tower and is arched, forming a flattened arch that blends into the plinth. On the same axis, and at the first-floor level, there is a greenish ashlar stone engraved with the date 1921 and signed with the initials J.Mª P, the name of the architect who designed the project.
On the first floor, rectangular and relatively large windows are arranged, connected by strips of unpolished stone. On the second floor, the openings are smaller, and the lintels are decorated with finely detailed esgrafiados in a reddish hue, just below the cornice. On the northern side, there is a gallery with a single-pitched roof and small windows in the upper section. In the southeast corner stands the Virgin of the Rosary.
In the centre of the northeast façade, there is a semicircular bay window with a conical roof. It is opened by a mullioned window divided by two columns of composite Corinthian style. On the northwest façade, also on the first floor, there is an attached gallery open with three semicircular arches. At its western end there is a private chapel with a semicircular apse covered by a gable roof.
The second floor features smaller openings framed by two mouldings. Above them, there are esgrafiados in reddish tones with medallion shapes, located just under the roof eaves, which are supported by brackets and corbels.
The west façade opens onto a garden through a second porch on the ground floor. It consists of three semicircular arches supported by rustic pillars on the sides and two finer columns with decorated capitals in the centre. Above, there is a terrace connected to the roof of the chapel dedicated to the Virgin of Montserrat. On the left side, there are four arches opening onto the west façade with stained-glass windows, each depicting a saint.
The three semicircular arches on the right side lead to the service quarters and are supported by columns with capitals sculpted in vegetal forms. The spandrels are decorated with paintings of medallions and geometric patterns.
The interiors are decorated in accordance with Pericas’s specifications: coffered ceilings, ceramic pavements, stained-glass windows, glazed ceramic dados and geometric and border paintings on the walls. The furniture is also carefully integrated into the ensemble.
The building is surrounded by gardens enclosed by a stone wall made with river cobbles. The garden follows a strongly marked and symmetrical axis inspired by Renaissance French gardens, with a pond and a sculptural fountain featuring two symmetrical lions. The garden is populated by cypresses, firs and plane trees, as well as some shrubs shaped into geometric forms.
The ancestral home of the architect Pericas is located between Puig de les Tres Creus and La Coromina. It was built around 1920, with the entrance portal completed in 1921. It served as the residence of the architect who designed it, Josep Mª Pericas. In fact, it was conceived as a summer house for the architect and his wife. Its stylistic lines blend several styles, showing a certain eclecticism, as the architecture oscillates between Neo-Romanesque, Noucentisme and Catalan Art Nouveau.
It was expropriated during the uprising of fascist military forces against the government of the Second Republic and occupied during the Spanish Civil War. Although the original furniture disappeared, the structure did not suffer significant damage.
Being located in an area somewhat removed from the urban centre and due to its dimensions, it was converted into a sanatorium for patients with contagious diseases. The naturalist physician Honorio Gimeno Pérez (1907–1991) gave popular lectures there.
