This study examines the spatial logic of Maurits Cornelis Escher as a conceptual framework for reinterpreting interior architectural design. While Escher’s works are traditionally celebrated within the fields of mathematics and visual art, this research situates his methods of reflection, optical illusion, spatial division, and dimensional coexistence as catalysts for innovative design strategies. Through a qualitative methodology combining spatial analysis, theoretical interpretation, and case-based applications, the study identifies four core spatial aspects embedded in Escher’s oeuvre: the rediscovery of everyday life through reflective media as synesthetic and multi-sensory space; the production of ambiguity and selective perception through perspectival modification; the generation of cognitive spatial divisions through Euclidean, non-Euclidean, and topological principles; and the coexistence of multiple dimensions expressed through recursive transformation. These conceptual dimensions are then mapped onto interior design practice across both structural and decorative domains. Structurally, mirrors, planar transformations, and volumetric divisions redefine walls, floors, and ceilings as dynamic agents of spatial experience. Decoratively, light, color, and deviant objects disrupt perceptual stability, creating selective and ambiguous engagements. The findings demonstrate that Escher’s visual logic provides a systematic foundation for expanding interior design beyond conventional artistic-rational binaries, offering pathways toward immersive, multi-layered, and reactive environments. By bridging perceptual ambiguity with design application, this study contributes to contemporary architectural discourse, highlighting the potential of Escher’s spatial logic to inform future explorations in hybrid physical-digital spaces. While the scope is limited to selected expressions, the research highlights the need for continued inquiry into spatial logic as a catalyst for innovative, human-centered design.