The temple is highly ornate example of Hoysala architecture. The temple plan is that of a trikuta, though only the middle one has a superstructure and a sukhanasi. The three shrines are connected by a common hall which is unique in that it mixes characteristics of an open and a closed hall. The lateral shrines are connected directly to the hall while the middle shrine has a vestibule that connects the sanctum to the hall. Since the lateral shrines have no tower over them and are directly connected to the hall without a vestibule and its corresponding tower like projection, they do not appear like shrines from the outside. Rather, they are absorbed into the walls of hall. The central shrine on the contrary is highly visible because of its tower and the sukhanasi that projects prominently from the tower. The cella in the central shrine has a linga while the lateral shrines contain an image of surya and a pair of nagas. The temple stands on a platform called jagati, a feature common to many Hoysala temples. The platform, in addition to its visual appeal, is meant to provide devotees a path for circumambulation around the temple. It closely follows the outline of the temple, giving it a good elevated look. It has two flights of steps leading to each lateral entrance of the temple. The tower over the central shrine and the vestibule are intact and highly decorative. The other standard features of a Hoysala temple; the large domed roof over the tower, the kalasaon top of it and the Hoysala crest over the sukhanasi are all intact, adding to the decorative look. The dome is actually a heavy, well sculptured "helmet" over the tower and is the largest piece of sculpture in the temple. Its shape usually follows that of the shrine and hence can be either square or star shaped. style vimana'' in the Mallikarjuna temple at Basaralu between lower and upper eves in Mallikarjuna temple at Basaralu
Decoration and sculptures
The decorative plan of the walls of the shrines and the mantapa is of the "new kind", with two eaves that run around the temple. The wall panel images have the same quality of workmanship seen in the more famous temples at Belur and Halebidu, though the images are smaller and simpler. In the "new kind" of decorative articulation, the first heavy eaves runs below the superstructure and all around the temple with a projection of about half a meter. The second eaves runs around the temple about a meter below the first. Between the two eaves are the miniature decorative towers on pilasters. Below the second eaves are the wall panel of images of Hindu deities and their attendants in relief. Below this, at the base are the six equal width rectangular moldings. Starting from the top, the friezes depict hansa in the first frieze, makara in the second, epics and other stories in the third, lions in the fourth, horses in the fifth and elephants at the bottom. At the entrance to the hall are elephant balustrades. Notable among the wall panel sculptures and depicting scenes from the epics and puranic stories are the 16-handed Shiva dancing on the head of a demon called Andhakasura, dancing images of a 22-armed Durga and Saraswati, King Ravana lifting Mount Kailash, the Pandava prince Arjuna shooting the fish target, and Draupadi rushing forth with garland, and the slaying of the demon Gajasura.
