The corners of the dwarf walls of the mandapa (pillared hall) of the Mahanaleshwar Temple have icons at their joining juncture. These images are mostly of dikapalas (gods of cardinal directions), the directional deities, but since the icons are mutilated, it is difficult to identify them. The west-facing devakoshtha (niche) seen here probably had the icon of Ishan, the god of the north-east direction. The base of the dwarf walls with devakoshthas (niches) have two sets of pillars at their edges. One of these is a half pillar that rests over the kakshasana (seat backs) from the interiors of the temple and the other is a pilaster that connects to the perforated windows of the mandapas.
A Triple-shrine temple cluster, facing east, stands near the Mahanaleshwar Temple. According to Michael W. Meister, this cluster is one of the earliest temples in the Mahanaleshwar temple complex. Based on style, the north and south shrines from this triple shrine belong to the 8th century CE. Meister argues that the central shrine from the triple shrine was a later period addition. The construction material for the older two shrines is completely different from that of the central shrine. The red sandstone of the central shrine is similar to other monuments in the Mahanaleshwar temple complex. The older shrines have been reassembled as part of the restoration work undertaken by the Archaeological Survey of India (ASI).
The vedibandha (basal mouldings) of the Mahanaleshwar Temple are also divided as per this plan. In elevation, the mouldings consist of a jadyakumbha, gajathara, narathara, and a plain band followed by a broad kumbha moulding, kalasha, and kapotali. All these form the vedibandha section of the temple. The jadyakumbha (lotus-shaped moulding) has decorative motifs called the padma (lotus) and ardharatna (half diamond motifs). Just below the central kumbha (pot), the mouldings are punctured with a pranala, a water chute that facilitates the passage of water from the inside of the garbhagriha (sanctum sanctorum).
The northern side lateral transept attached to the mandapa (pillared hall) of the Mahanleshwar Temple has devakoshthas (niches) on all sides containing deities. Seen here is probably a broken sculpture of a river goddess in one of the niches flanked by a row of pilaster motifs and dancing figures. The dwarf wall of the transept has kakshasana (seat backs) containing designs of balustrades separating the sculptural depictions formed in circles.
Similar to the western boundary of the Mahanaleshvar temple complex, the northern side also has two temples that stand close to the Mahanaleshwar Temple. Seen here is one of these temples whose superstructure is lost. The plinth of the temple and the walls have been partially reconstructed. The original temple was designed to have a garbhagriha (sanctum sanctorum), an antarala (vestibule or antechamber) and a mandapa (pillared hall). Based on the remains scattered in the vicinity of the temple, the temple might have had a shikhara of the shekhari (multi-spired) variety. The main shrine was designed to be pancharatha (consisting of five projections).
The south-facing jangha (wall) of the Mahanaleshwar Temple is similar in scheme to that of the north and west-facing janghas. The bhadra (central projection) has the depiction of the Tripurantaka form of Shiva, the slender intermediary projections have surasundaris (celestial damsels), and the corner projections have dikapalas. On its left, the jangha connects to the kapili (the exterior wall portion that corresponds to the internal antarala or vestibule of the temple).
The north-facing elevation of the Suhaveshwar Temple is identical to the south-facing side. The protruding shukanasa, the front of the shikhara (superstructure), is visible here. It is a semi-circular opening. The topmost portion of the main shikhara is missing. Along the elevation of the temple, the mandapa (pillared hall) shikhara has a row of large ghantikas (aedicules) that cascade from the centre. The base of the mandapa shikhara has a square block with diamond motifs that is topped by a gavaksha (dromer window) design.
The plinth moulding bands like the gajathara (band of elephants) and narathara (moulding containing human figures) are followed by the kakshasana (seat backs). These have vertical walls which are called the vedika (railing) consisting of rectangular slender geometric patterns that are separated by sculptures. Above the vedika is a slender dwarf wall which acts as the resting backrest from the inside. On the exterior, these slender walls have pilaster motifs with figures in between that are framed by circular niches. The kakshasana is the base of the semi-open mandapa (pillared hall) of the temple.
This is the rear or east-facing elevation of the Mahanaleshwar Temple, reflecting the bhumija temple shikhara (superstructure). All four sides of the shikhara have cardinal bands, called lata, at the centre. The four quadrants which are formed in between these are filled with rows of miniature shikharas or bhumis. These have motifs of the details of the main shikhara. The base of the lata has an ornamental window, and a chaitya dormer with a miniature motif of a kutastambha in it.
The central shrine in the Triple Shrine Temple shares the porch with its adjacent shrines. The central shrine is constructed out of a different stone than the other two shrines. The shikhara (superstructure) of the mandapa (pillared hall) is fallen. Only the basal mouldings, made up of three stone blocks with diamond motifs, have survived.