What survives here is not a ruin in the conventional sense but rather a carefully engineered interior space, divided into two distinct levels by a low revetment wall, roughly 60 centimetres high, built from crude drystone masonry with some notably large boulders worked along its base. A revetment of this kind is essentially a retaining structure, used to hold back earth or create a stepped terrace within a confined space, and its presence here suggests a deliberate and considered use of the sloping ground rather than any casual occupation.

On the upper, south-western level of the site, three large upright slabs, each averaging around half a metre high and three-quarters of a metre wide, are arranged to form a right angle, a configuration that implies a corner or partition of some kind. Alongside these stand two adjoining rectangular structures whose roughly coursed walls survive to only one or two courses in height and average about 90 centimetres in width. The internal floor area of these structures measures approximately 5.3 metres by 3.5 metres, which is compact but not negligible, comfortably within the range of small domestic or pastoral shelters found across early Irish settlement sites. The archaeological survey of the Iveragh Peninsula, compiled by A. O'Sullivan and J. Sheehan and published by Cork University Press in 1996, recorded the site as entry number 624, placing it within a broader landscape of pre-modern activity along this stretch of south Kerry that is far denser and more varied than the bare hillsides might initially suggest.

What the site lacks in obvious visual drama it compensates for in the particularity of its construction. The combination of the terracing revetment, the upright orthostatic slabs, and the adjoining rectangular cells points to a structure that was subdivided and purposeful, even if its precise function and date remain unresolved. On a peninsula where stone is everywhere and labour was finite, the decision to incorporate exceptionally large boulders into the base of an interior wall implies not improvisation but intention.