Mandapa in the context of "Derasar"

A Jain temple, Derasar (Gujarati: દેરાસર) or Basadi (Kannada: ಬಸದಿ), is the place of worship for Jains, the followers of Jainism. Jain architecture is essentially restricted to temples and monasteries, and Jain buildings generally reflect the prevailing style of the place and time they were built.

Jain temple architecture is generally close to Hindu temple architecture, and in ancient times Buddhist architecture. Normally the same builders and carvers worked for all religions, and regional and periodic styles are generally similar. For over 1,000 years, the basic layout of a Hindu or most Jain temples has consisted of a small garbhagriha or sanctuary for the main murti or idol, over which the high superstructure rises, then one or more larger mandapa halls.

Hindu temple architecture as the main form of Hindu architecture has many different styles, though the basic nature of the Hindu temple remains the same, with the essential feature an inner sanctum, the garbha griha or womb-chamber, where the primary Murti or the image of a deity is housed in a simple bare cell. For rituals and prayers, this chamber frequently has an open space that can be moved in a clockwise direction. There are frequently additional buildings and structures in the vicinity of this chamber, with the largest ones covering several acres. On the exterior, the garbhagriha is crowned by a tower-like shikhara, also called the vimana in the south. Gopuram gateways are elaborate in the south. These are topped with a finial called kalasha. The shrine building often includes an circumambulatory passage for parikrama, a mandapa congregation hall, and sometimes an antarala antechamber and porch between garbhagriha and mandapa. In addition to other small temples in the compound, there may be additional mandapas or buildings that are either connected or separate from the larger temples.

Hindu temple architecture reflects a synthesis of arts, the ideals of dharma, values, and the way of life cherished under Hinduism. The temple is a place for Tirtha—pilgrimage. All the cosmic elements that create and celebrate life in Hindu pantheon, are present in a Hindu temple—from fire to water, from images of nature to deities, from the feminine to the masculine, from kama to artha, from the fleeting sounds and incense smells to Purusha—the eternal nothingness yet universality—is part of a Hindu temple architecture. The form and meanings of architectural elements in a Hindu temple are designed to function as a place in which to create a link between man and the divine, to help his progress to spiritual knowledge and truth, his liberation it calls moksha.

The Brihadisvara Temple is a Hindu temple dedicated to Shiva in Gangaikonda Cholapuram, Jayankondam, in the South Indian state of Tamil Nadu. Completed in 1035 CE by Rajendra Chola I as a part of his new capital, this Chola dynasty era temple is similar in design, and has a similar name, as the older 11th century, Brihadeeswarar Temple about 70 kilometres (43 mi) to the southwest in Thanjavur. The Gangaikonda Cholapuram Temple is smaller yet more refined than the Thanjavur Temple. Both are among the largest Shiva temples in South India and examples of Dravidian style temples. The temple is also referred to in texts as Gangaikonda Cholapuram Temple or Gangaikondacholeeswaram Temple

The main temple dedicated to Shiva is based on a square plan, but it displays other Hindu deities such as Vishnu, Durga, Surya, Harihara, Ardhanarishvara, and others. It opens to the sunrise and its sanctum, as well as the mandapas, are aligned on an east–west axis. In addition to the main shrine, the temple complex has a number of smaller shrines, gopura, and other monuments, with some partially ruined or restored in later centuries. The temple is famed for its bronze sculptures, artwork on its walls, the depiction of Nandi and the scale of its tower. As well as its notability for having been built by Rajendra I, the temple is also noteworthy for its numerous inscriptions, although none of them are his.

Antarala (Sanskrit: अन्तराल; lit. 'intermediate space') is a small antechamber or foyer between the garbhagriha (shrine) and the mandapa, more typical of north Indian temples.

Antarala are commonly seen in Chalukyan Style temples, in which the vimana and the mandapa are connected through the antarala.

A pendhapa or pandhapa (Javanese: ꦥꦼꦤ꧀ꦝꦥ or ꦥꦤ꧀ꦝꦥ, Indonesian spelling: pendapa, nonstandard spelling: pendopo or pěndåpå) is a fundamental element of Javanese architecture unique in the southern central part of Java; a large pavilion-like structure built on columns. Either square or rectangular in plan, it is open on all sides and provides shelter from the sun and rain, but allows breeze and indirect light. The word pendhapa is cognate to the Sanskrit word mandapa ("hall").

The Dutch writer, Multatuli, in his colonial reformist novel, Max Havelaar, described the pendhapa thus: "After a broad-brimmed hat, an umbrella, or a hollow tree, a 'pendoppo' [sic] is certainly the most simple representation of the idea 'roof'."

Compound pier or cluster pier is the architectural term given to a clustered column or pier which consists of a centre mass or newel, to which engaged or semi-detached shafts have been attached, in order to perform (or to suggest the performance of) certain definite structural objects, such as to carry arches of additional orders, or to support the transverse or diagonal ribs of a vault, or the tie-beam of an important roof. In these cases, though performing different functions, the drums of the pier are often cut out of one stone. There are, however, cases where the shafts are detached from the pier and coupled to it by annulets at regular heights, as in the Early English period.

Compound piers can often be found in Romanesque cathedrals of France and Norman architecture of England, including cathedrals of Durham, Winchester, Ely, and Peterborough. The Gothic evolution of the idea is frequently called a clustered column or cluster column.