TOWARD THE TALLEST STATUE OF GARUDA WISNU KENCANA: AN EXPLORATION OF THE ARCHITECTONIC DESIGN OF THE LAND ART OF NYOMAN NUARTA’S WORK

The research is focused on land art of an eminent Indonesian artist, Nyoman Nuarta. He is an artist of the (next) tallest statue in the world named Garuda Wisnu Kencana (GWK) in 145 metres (1978-present) in Ungasan Bali. By referring to multidisciplinary approach within a grounded theory of Glaser and Strauss (2010) in architectural research, it was revealed as a new architectonic of land art design as well as his mentalité-artistry. By investigating his works, it is defined three periods categorized of Nuarta's land art in 1977-2017, among others: (a) ‘Jejak Sains' (the Science's Traced) period represent his sculpture's knowledge and his ideology of Indonesian New Art Movement (Gerakan Seni Rupa Baru Indonesia) were revealed a new indonesian genre in modern sculpture integrated with land art project as investigated in the Presidential Sculpture Competition for Indonesia's Proclamation of Independence Statue (Patung Proklamator Soekarno-Hatta) (1977-1978) in Proclamation Park (Taman Proklamasi) Jakarta, (b) ‘Jejak Teknologi' (the Technology's Traced) period represented his new genre of mass and space invation, in which he created ‘the light of metal' to visualized sculpture narratives of Arjuna Wijaya's apart of the Baratayudha's myth (1989-2014), and his prestigious work of the Jalesveva Jayamahe monument in Indonesian Marine's Corp in Surabaya (1996), (c) ‘Jejak Budaya' (the Culture's Traced) period represent his artist passion realized the first proposed of Garuda Wisnu Kencana (145 m) statue to the tallest in the world in 2017, meanwhile he operated his own museum The Nuart Sculpture Park in Bandung. This study also revealed the mentalité-urup (life to‘give life' of others) shown as the depth of his way of life that also provoking his new nation pride through his artist passion as well as his view of Balinese philosophy.