Rather than a single unified structure, the building is in fact two separate phases of construction, set parallel to one another and joined together, with hipped roofs, where the roof slopes down on all four sides rather than ending in a gable, appearing to have been added later still. The result is a house that seems, at first glance, straightforward enough, but rewards closer attention with the evidence of its own accumulated decisions.

Both phases carry the hallmarks of eighteenth-century domestic architecture in Ireland, though neither can be precisely dated from what survives. The southern part presents the formal entrance front: a central door flanked by sidelights, framed in a stone surround with pilasters, the vertical decorative columns supporting a pediment above. This is the composed, public face. The northern part is slightly wider and turns instead toward a view front of five bays, with a shallow breakfront, a gentle projection of the central three bays that gives the facade a subtle sense of rhythm without dramatic emphasis. Two chimney stacks rise from the valley formed where the two joined sections of roof meet. Alongside the main house, restored two-storey farm buildings sit to the south, and a gate lodge in the neo-Tudor style, a nineteenth-century romantic revival of pointed gables and mock-medieval detail, marks the approach. Perhaps most intriguing is the presence of a tower within a walled garden to the southwest, a structure that suggests the grounds were once laid out with more ambition than simple utility required.