As a pillar of the Iranian Art, carpet bears a deep concept, representing part of the universe through its fabrics and patterns. Precisely speaking, carpet coupled with a contradiction, of the whole world and serves a first of the pile. As Foucault mentions in “Other space” “ As for carpets, they were originally reproductions of gardens (the garden is a rug onto which the whole world comes to enact its symbolic perfection, and the rug is a sort of garden that can move across space). The garden is the smallest parcel of the world yet it is the totality of the world. “This is in line with the “ Heterolepis” introduced by Michel Foucault. Compared to a quotidian space, heterotopic space bears more concepts and interrelations. Foucault categorized the place into three parts of Utopia, the real place, and heterotopia. He introduces heterotopias or alternatives to realms. We exist between real places that exist and the ones that are not really present and the ideal species of real places. “Other Spaces' ' act as a separation between ideal and real social places, and in a definite relationship with each other and with the social structure of power, in addition to being applicable to material places, such as urban territories or even geopolitical structure. Including conceptual ( immaterial) places. Iranian carpet is also an example of Heterotopic spaces based on Foucault. The carpet design structure is mostly a metaphor of life and existence, and links the harmony ( form of harmony) between form and content of that form of appearance to its mythical thought content. The Sacred Garden also seeks to record the pattern of carpet as representative of the world at some point in time to make it eternal. One of the most common themes in Persian rugs is Floral. The image of a lush garden is one that is deeply rooted in both the religious and cultural heritage of the persian design. Garden design is usually based on the formal gardens of ancient persia with their abundance of flora separated by pathways and ornamental panels. It seems the garden is coming straight from heaven, that they want to have it on earth and live on it. The Idea of bringing the garden on earth and walking on it every day feels that you want to keep it in your life forever. You want your garden inviolate. Rugs and weaving played an important role in the life of Iranian people, and is always a witness of everydayness. Particular patterns, symbols and colors were chosen for their belief oriented life-protecting and life-enhancing attributes. In the ancient Orient, for example, specific colors were chosen to activate a particular spiritual sensation in one's life, or to assist in one's living in harmony with nature. certain symbols have meant throughout history. As “Tree of life” means Direct path from Earth to Heaven, “Rose” means General-Mystery, “Lotus” means Rebirth, Immortality and “Leaf “ means Endless Regeneration, the colors also has its own meaning behind them: Green, Represents Hope, Renewal, Life, Spring | A Holy Color used Sparingly. Red, Represents Beauty, Wealth, Courage, Luck, Joy, Faith. Blue, Represents Power or force, solitude - Allusion to the Afterlife. Orange, Represents Humility and piety. The thought of Persian carpet throughout the time and compare it to our beliefs and thoughts in life, came to me long ago when I have read the news of discovering the oldest carpet being found in the world which is 2500 years old. “Russian archaeologists Rudenko and Griaznov in 1949 discovered the oldest known "knotted" carpet in the Pazyryk valley, about 5000 feet up on the Altai Mountains in Siberia. Dating back to the fifth century BCE The Pazyryk carpet is of rare beauty and woven with great technical skill. It was found preserved in the frozen tombs of Scythian chiefs, which were 2400 to 2500 years old, it is now kept in the Hermitage Museum of Leningrad. Another rug found in the same area, dates back to the first century BCE.”. The carpet were as good as new and seems like times has really stopped and nothing has changed . The garden was frozen, and the flowers were stayed forever. The Idea of creating the garden I used to grow up on just came to me while I was sitting in my studio in Berlin watching the sun coming through the window bringing in the movement of leaves in the wind on the ground. This immediately took me to my childhood memories. We laid down on carpets and played with the sunlight which lit up the trees and flowers on our carpet. Somehow the life of our garden depended on sunlight. The mesmerizing moves got into me and made me want my garden to always be alive and this was the beginning of creating this collection. Imagine the ability to immerse yourself into the living, breathing pages of our history and you see the nurture in its most pure form, where the time has stopped a long time ago but the human still lives up to the eternal rhythm of nature. Time is passing by and things are changing slowly but relentlessly. A day doesn’t seem very long, but changes do happen. Each day, a little different. A little bit of drift this way or that. As Brigit Pegeen Kelly says in “The orchard” “All our murals, pictures of gardens and presiding deities, things painted on plaster to keep the dying company, a toppled jar, a narrow bird, an ornamental tree with no name...might stay forever.” As if I wanted to stop the time and leave the garden as it is and don’t let it die. I wanted the paradise to stay forever silent. I want to live in paradise. I keep my paradise alive.